Chirogymnast

One of the most curious objects you will find during your visit to the Gallery of the Royal Collections of Madrid is this chirogymnast dedicated to Queen Isabella II of Spain by Casimir Martin Bessières, who invented it in 1840.

At the beginning of the 19th century, the pursuit of piano virtuosity led to the spread of teaching methods that focused on technical skills. Publications emphasized technical perfection, with Carl Czerny’s piano school becoming particularly popular, as were the revised techniques of Pleyel and Dussek, which aimed to develop pianists’ technical skills to a particular degree.

Despite intensive practice routines, technical aids such as the chirogymnast were introduced to further improve the strength and flexibility of the fingers. The device was promoted by famous pianists such as Ignaz Moscheles, who praised its potential to improve finger spread and strength, which were becoming increasingly important in contemporary piano styles.

The popularity of the chirogymnast grew rapidly through paid articles in music magazines such as The Musical World, which emphasized its advantages. The device allowed pianists to develop the independence, flexibility and control of their fingers without the need for lengthy practice sessions. Its design allowed pianists to stretch and strengthen their hands more efficiently than through traditional practice alone.

However, not all musicians supported these aids; Chopin, for example, criticized such artificial aids and urged his students to rely on thoughtful practice rather than mechanical devices. This caution was a harbinger of concern about injuries that could result from overuse of such devices.