Welcome to the Official Website of the Richardson 'Rock, Bell, and Steel Band'

Much has been written about both instrument and performers over the years, and there are numerous articles and blogs on the internet from people who have seen the instrument in the Keswick Museum and Art Gallery. However, these invariably contain a number of myths that have been popularly believed and perpetuated, and these have, unfortunately, become established over the years as 'fact'.

And it isn't just individual blogs that perpetuate the myths, even educational websites and publications are similarly guilty. The following are but a handful of examples:

"Although the band planned to tour the USA, Robert, Joseph’s youngest son and the best player, caught pneumonia. He died the day before the band was due to set off. Joseph was heartbroken, and the Rock Band was packed away. In 1917 it was given to Keswick Museum by Joseph’s great grandson."

"The band was given up during the 1870's after one son (Robert) contracted pneumonia and died after sleeping in a damp bed on tour. It was first stored in a bookshop in Keswick run by another Richardson, and subsequently in Keswick Museum. There is a grave in St. John in the Vale near Keswick to John Richardson who died in 1886. This was Joseph Richardson's son who was the schoolmaster there, and built the school with the help of his father."

“By 1840, the Original Monstre Rock Band became so popular, they rocked London’s Egyptian Hall and the Royal Surrey Zoological Gardens, and traveled the United States on a national tour. They even played for Queen Victoria at Buckingham Palace twice, an accomplishment which is likely the olden-day equivalent to headlining Coachella two years in a row.”

"By 1845, the 'Original Monstre Rock Band' was performing regularly at London’s Egyptian Hall, and played multi-week engagements at the Royal Surrey Zoological Gardens, amid traditional bands, animal feedings, and re-enactments of the Siege of Gibraltar."

"Reporting on a concert held in Liverpool in September 1842, a correspondent added ‘Some wild young fellows feel desperately inclined, under the exciting influence, to infringe upon the rules of formality, by clearing away benches and asking the young ladies to dance with them, which I’m sure, as far as the regularity of time and tune is concerned, might be easily accomplished; however the irregularity of time and place might shock the decorum of strait laced individuals’."

‘‘Spurred by these upstarts (rivals) the Richardson Rock Band rocks even harder, advertising themselves as the “Original Rock Band” and announcing a “Monster Stone Concert.” The band triumphantly plays to packed houses at Egyptian Hall in London. But the rock life proves too much in the end, and in 1845 band founder Joseph Richardson is found dead in his home at 134 Edgware Road. His depleted Rock Band soldiers on without him for a couple more years before disappearing.”

“Joseph Richardson died in 1855, but the Rock Band’s appeal endured, hence the advert for a concert at the Victoria Hall, which appeared in an 1891 edition of the English Lakes Visitor.“

Articles such as these contain multiple inaccuracies, and it is such inaccuracies that have been repeated over and over again across the internet by people who believe what others write without conducting any due research of their own.

John Phillips is an author and 3rd great grandson of Joseph Richardson. His grandmother, who was a great granddaughter of Joseph and niece of Richardson Henderson, the last owner and donor of the instrument to the Keswick Museum in 1917, used to relate stories about the instrument and its performers when he was a young child, and he grew up with a lifelong interest that would later become an obsession. But even some of what she understood to be correct has turned out to have been clouded over the course of two generations of relating.

Perhaps the greatest moment of his ancestors' lives came on 23rd February 1848 when they were commanded to perform at Buckingham Palace, before a whole host of European royalty, aristocracy and dignitaries. It must have been an overwhelming experience for Joseph and his three sons, but, by all accounts, they were so professional by that time that they carried off the performance with aplomb. Queen Victoria, although she had heard the Band play before, was very impressed and, together with Albert, requested a couple of encores. Although she commented that she didn't really like the addition of the Swiss Bells (which had been added since her previous hearing), she gave the performance her royal approval.

For the Richardsons, however, this wasn’t enough. It was, in fact, to be the beginning of something far greater. The highly reputed Belgian artist Charles-Louis Baugniet, at the time based in Paris, was commissioned to travel to London to depict the royal performance, just a few years before he was commissioned to depict Prince Albert himself. Five copies of Baugniet’s portrait were lithographically reproduced by the renowned printers M. & N. Hanhart, and published by Addison & Hodson, music sellers, of 210 Regent Street, London. It is the only image of Joseph Richardson and his sons to have been handed down the generations, in an age just preceding the advent of photography, and is an important piece of artwork in its own right.

With royal patronage, the future of the Rock, Bell, and Steel Band was assured. Wherever the Band went it was assured of packed houses, and its future success and prosperity was guaranteed. That the next major challenge lay across the Atlantic seemed to be certain, until misfortune overtook. But it was not as so many have been given to believe.

John spent several years painstakingly researching and unearthing the 'true' story of his ancestors' remarkable odyssey and ended up writing two books on the subject. The first is about the instrument, the second is about the performers, and both books complement each other perfectly.

Much material in the books and on this website originates from old family photos and documents relating to the 'Rock, Bell, and Steel Band' and its performers, and has not previously been published. Kindly note that any images marked © are protected under the Copyright Act 1968 and the Copyright Amendment (Online Infringement) No. 157, Act 2018 and may not be used without express written permission of the owner and may not be edited or used for commercial gain under any circumstances.

Two articles about the Rock, Bell, and Steel Band and the Richardsons of Applethwaite were published in the June and September 2023 Newsletters of the Cumbria Family History Society. If you would like to read these, please click on the following link: Cumbria Family History Society Stories

Whilst this website is designed to offer only the briefest of insights into this remarkable story, if you are interested in this aspect of Victorian popular culture, and would like to learn more, then please feel free to submit a message in the box provided at the bottom of this page. All genuine communications will be responded to as quickly as possible.

Alternatively, if you would like to place an order for either of the books, you can also do so via the form at the bottom of this page. All orders are dispatched by return following cleared payment.

The Families of Brothers Robert and John Richardson

The Hornfels of Skiddaw, 1827-1840

“The invention of this remarkable instrument by Mr. Richardson is among the curiosities of musical discovery. The inventor was a mason by trade, a native of Crosthwaite, near Keswick. In his daily work on the rocks among the mountains experience taught him that every sound might be extracted from the rude materials which he met with in the course of his labours. Being convinced that even the fragments of rocks, uncouth as they seemed, might be collected and so judiciously arranged as to form a musical instrument of surpassing power and sweetness, he was induced to commence his labours of experiment. He began to collect some stones of the order he needed, while building two houses at Thornthwaite and Braithwaite, near Keswick, but he found their quality defeated his purposes, He discovered that the stones best calculated for his purpose were only to be met with amongst the rocks of the mighty Skiddaw, and he began to explore the mountain in search of the musical treasures which it contained. The inventor bore these stones from the mountain a considerable distance to his home; he had afterwards to reduce many of them, to shape them, and to try their varied notes, before he could pronounce a favourable opinion on their merits. This was a work of immense labour and time, and required much determination and industry; but after selection and arrangement, and fashioning them with hammer and chisel - after thirteen years perseverance he brought to its present state the sweet-toned instrument he possesses."

The House at Applethwaite, 1827-1852

“One claim to fame for the property are the Musical Stones now found in Keswick Museum."

"The 1841 and 1851 censuses record that the occupier was Mrs. Elizabeth Richardson - "Wife of J. Richardson" - it being said that the instrument now in the Keswick Museum was produced in the original attached part of the house later sold in 1920" (at that time the byre, to the right of the house).

The Rock Harmonicon, 1840-1841

“The largest and most complete set of musical stones that was perhaps ever collected in this or any other country, may now be seen in Hutton’s museum, Keswick. The set consists of 56 stones, which vary in length from eight to thirty-six inches, and from which five octaves can be taken with the greatest precision. The wooden elevation on which the stones are placed is twelve feet in length, and though they are as rugged and unshapely in appearance as can well be imagined, they have occupied the owner thirteen years in collecting, and have been got chiefly from Skiddaw, at leisure times, by a man named Joseph Richardson, an industrious mason, residing at Applethwaite, near Keswick, who is reaping the fruits of his industrious and laborious research, as tourists no more think of leaving the capital of the lake district without seeing these truly astonishing musical stones, which the owner has very appropriately named the Rock Harmonica, than they do of leaving without seeing Flintoff’s celebrated model, or Crosthwaite’s far-famed museum. These stones, from the number and the compass they necessarily take up, are worked by Richardson and two of his sons, and they at once astonish every visitor who listens to their enchanting and perfect music. In fact, any piece of music set to the piano forte can with the greatest delicacy and correctness be played upon what the collector has so happily denominated the Rock Harmonica."

"Joseph Richardson Begs respectfully to announce to the Lovers of Music, that he has, after more than Thirteen Years' incessant toil, been so far successful as to produce tones of the richest and sweetest harmony, wholly produced from fragments found among the rocks of the majestic Skiddaw, in Cumberland. It extends to a compass of five octaves and a half, accompanied with all the additional semitones.

The inventor's three sons will perform on the instrument for visitors, daily, from ten o'clock until dusk."

The Commendations of Sir George Smart and Signor Michael Costa, 1841

Lines suggested by hearing Mr. Joseph Richardson's Rock Harmonicon, 1841

By Mrs. Edward Thomas

The Illustrated London News, 28 May 1842

The Real Rock Harmonicon, 1843

“We observe that the proprietors of the real Rock Harmonicon are about to pay this town a visit, and certainly if half of what our correspondents in other towns have reported of the extraordinary powers of the instrument and of the talent of the performers, be true, our musical readers have a rich treat in store. We must own that although the performance of the parties who sometime since visited us with a rock harmonicon surprised us, we were prepared to hear something very superior to the effect they produced. Our disappointment is now accounted for – theirs was not the Rock Harmonicon."

“One of the most extraordinary wonders that at present exists to amuse and astonish the world, and to which our curiosity led us on Wednesday last, is the celebrated Rock Band. The name, at first mention of rock band, to a novice, would excite a smile. We have heard the wind in its various states of agitation, glide from the gentle piccolo to the majestic and soul stirring trombone, and ape the very thunder in its roar. We have stood by the murmuring brook and heard its waters play a thousand notes, but never till this day could we be brought to believe that music, and that of so soft, sweet, and melodious a character, could ever be engendered from a mere hammered stone. But it is indeed true, and to the letter, as professors of eminence testified in the concert room, that sweeter tones they never heard; music of such a nature and quality, that nothing heard, before the invention, has any resemblance to. The Rock Band may indeed be pronounced to be perfectly unique, and in the hands of its three talented professors to possess a power not at one hearing to be correctly judged of. Every piece performed saving our national anthem, “God save the Queen,” which nothing but the continuous sounds of a brass band can do justice to, was loudly applauded; several were encored, and justly; in fact, the charms of this novel music so steal on the soul, and are so bewitching in character, from the perfect command of the black material the young professors possess, that time passes away unheeded and the mind enrapt, in delight, become concentrated wholly on the melody.”

Text and illustration of ‘The Rock Harmonicon”, above, from an original edition of the Illustrated London News, 28th May 1842  (© John Phillips)

The Rock Harmonicon Airs, 1843

“These attractive morceaux, which are the joint productions of Messrs. Richardson, the celebrated players on the Rock Harmonicon, consist of the Skiddaw Waltzes and Galop, arranged with spirit, grace, and much good taste."

Original manuscript of 'The Skiddaw Waltzes and Galop' by Joseph Richardson, arranged for the pianoforte (© John Phillips)

A Concert, 1845

“The human mind is prone to extremes, particularly when contemplating and describing something new. This propensity is often strengthened by a false association of ideas. In reference, for instance, to the case before us – the rock harmonicon, it has been thought a most marvellous thing that stones, “rude looking pieces of rock,” should be capable of emitting musical sounds; and, as if to increase the mystery, the sounds or tones are forthwith declared to be superior to those of the flute, or fife, or organ, or any other musical instrument. Now, we call this a false association of ideas, because, judging a priori, there is nothing more mysterious in obtaining sound from a stone than in getting it from a string, wire, pipe, bell, or drum. We make these remarks, not by any means to disparage the rock harmonicon, but to caution our readers and ourselves, while we examine its capabilities. Under the influence of these cautionary observations, it will not be thought surprising that we cannot receive the many extravagant eulogies which have been bestowed upon it, as seen in the various testimonials of the press. We think it not only unequal to, but unlike, the fife and organ. It is, however, very similar to the musical glasses, the hand bells, and the piano. We consider it an elegant and delightful addition to this variety of musical instruments. Whether it is inferior or superior to them, we do not attempt to determine. This, after its novelty has passed away, will be more accurately and satisfactorily decided by the extent and duration of public opinion in its favour. We were, indeed, highly gratified with the concerts. Still, however, we must say, we were much more delighted with the agents than with the instrument; with the performers than with the result. The playing of the Messrs. Richardson, three brothers, a singularly-gifted trio, was exquisitely correct, distinct, rapid, and graceful. The movements appeared to be the result of a combined spontaneity. The three pairs of hands appeared to be under the control and guidance of one presiding all-pervading mind. Each one seemed to anticipate and possess the slightest touch and graceful design and enthusiastic spirit of the other two. The entire performance in its agency and its instrumentality, was indeed a Concert."

"Impromptu", 1845

"Amphion, by his powerful tones,

Is said to have affected stones:

"The Rock Band" work a greater thing -

They make the stones themselves to sing."

The First Rock Concert Riot, 1846

“Mr. Reece, Curator of the Natural History Society (Worcester), appeared to get advice as to what he should do when, as on Tuesday night last, the court adjoining that Institution was blocked up by a set of noisy and unruly fellows. The Rock band was then performing in the room, and the court outside was crammed with persons attracted by the music, but who, instead of listening quietly to the sounds which floated from within, persisted in making disturbances and noises, much to the annoyance of the auditory. The Magistrates considered that under the present latitudinarian clauses of the city Act, which authorises the punishment of any one who shall cause any “obstruction or annoyance” in any of the public highways, the police would be authorised to clear the passage, and recommended Mr. Reece to have one in attendance on future occasions.”

The Chinese Steel Band, 1846 ....

“Encouraged by the success that have always crowned their Musical enterprizes (sic), which success has been obtained by the introduction of CLASSICAL MUSIC in their Programmes, and the principal novelties of the London Season, they have now added, at an additional expense, the now far-famed CHINESE STEEL BAND, which is admirably adapted to the Performance of Sacred Music.

On these occasions the attractive selections of Music (which were played by the Messrs. R. to crowded and fashionable audiences for upwards of fifty successive concerts, at the Queen’s Concert Rooms, Hanover-square, and at several of the Grand Concerts during the London Seasons, where the Rock and Chinese Steel Band were the principal attraction; also at the Soirées Musicales, where they received the most flattering reception from the Nobility, and the high approbation of the Royal Family), will be performed on their brilliant and silvery-toned Chinese Steel Instruments, and on their original and novel Instruments cut out of the solid Rock, which are acknowledged by Sir George Smart, Signor Costa, and other eminent Musicians, to equal in tone the most elaborate instruments that have ever been invented.”

.... and The Swiss Bells, 1847

“On Thursday evening, the Messrs. Richardson gave a concert here with the steel band, Swiss bells, and the original rock band. These performances have been so frequently spoken of in terms of praise, that criticism is out of the question, suffice it to say, the performers fully sustained their well earned reputation."

The Buckingham Palace Performance, 1848

"Messieurs Richardson and Sons had the honour of attending with their unrivalled Band at Buckingham Palace, by express command, on Wednesday last, the 23rd of February, and performed a grand selection of music, from the works of the most eminent composers, in the presence of her Majesty the Queen, Prince Albert, the Duchess of Kent, the Duke and Duchess of Saxe Coburg, the Duke and Duchess of Cambridge, the Duchess of Gloucester, the Marquis and Marchioness of Clanricarde, the Earl of Aberdeen, &c. At the close of the performance, Her Majesty and Prince Albert were graciously pleased to express their entire approbation of the music selected for the Evening's Entertainment, as well as the brilliant manner in which the pieces were executed, and entered into a most familiar conversation with the Messieurs Richardson, as to the invention and arrangement of their instruments, to all of which queries these Musical Gentlemen gave full and explicit answers.”

One of 5 original lithographs of Joseph Richardson and his three sons as they appeared before Her Majesty Queen Victoria at Buckingham Palace on the 23rd of February 1848. Produced by the renowned Belgian painter, lithographer and aquarellist, Charles-Louis Baugniet, printed by M. & N. Hanhart Ltd., and published by Addison & Hodson, Music Sellers, 210 Regent St. (© John Phillips)

The "Paddington Skiddaw", 1869-1876

“The Skiddaw at Paddington, London. – This may appear a rather odd title to our readers here in the north, who only associate the name of Skiddaw with our celebrated mountain. However, the “Paddington Skiddaw” is not exactly a mountain, but is a very lofty and elegant building, which, like its namesake, towers its lofty head above all its surrounding neighbours, and is dedicated to the purposes of commerce. But it may be asked what connexion (if any) can there be between the two? It is this: - “Paddington Skiddaw” is a fine property erected by one of our numerious (sic) successful north countrymen in the metropolis whose birthplace was at Under Skiddaw, Keswick, whose father lived there many years, during which time he invented and constructed a musical instrument such as had never been seen or heard of before, and afterwards became known throughout the United Kingdom as “Richardson’s Rock Band,” the music being produced from “whin stones” varying from 6in. to 4ft. 6in. in length, each so chipped as to produce its own separate note. They were collected from the Skiddaw, and the proprietor of the other Skiddaw and two brothers performed upon it, and laid the foundation of the fortunes of a numerous family. These are the connexions between the two, and we consider Mr. Samuel Richardson has given a very appropriate title to his last extensive enterprise. The instrument was afterwards called the “Rock and Steel Band,” some bells having afterwards been attached to it. They performed upon it at Buckingham Palace on the 23rd February, 1848, before the Queen, King Louis Phillippe, and a brilliant company; after which they made another successful tour in the provinces, but were compelled to give it up owing to the failing health of one of the brothers. “The Skiddaw” was opened with great success on Saturday week."

The Unsuccessful Revival, 1889

“Mr. Richardson Henderson, who has become possessor of the original instrument known as the “Rock, Bell, and Steel Band,” made and invented by his grandfather, the late Mr. Richardson, has determined to re-introduce it to public favour, and will be accompanied in a provincial tour by Messrs. Tangye and Son. As an auxiliary attraction, Mr. Henderson has added a really charming diorama of the Lake District, consisting of between forty and fifty pictures and effects. The paintings, which are in oils, have been executed by Mr. Joseph Barnes, who has achieved for himself a deservedly good name in the world of art, not only at Manchester, Liverpool, Southport and other Exhibitions, but also as an exhibitor at the Salon, Paris. They cannot fail to give pleasure to thousands who, we hope, will have the good fortune to see them up and down the country.”

"He has got an artistic friend to paint a few hundred yards of canvas with the prettiest views of our lake scenery, and has with him a rock band, fashioned out of Cumberland rocks and Workington steel. The pictures are remarkably pretty, and the music is exceptionally good. Mr. Henderson may be congratulated upon his success. There was, in fact, a most wretched audience. This I may explain to Mr. Henderson is our usual method of putting our hall mark of merit on any entertainment, and, now having successfully faced a Workington audience, he may confidently take his music and pictures anywhere."

"He tried to revive the old fame of the instrument, and induced a friend called Tangye and his two sons, to learn that art, with a view to touring the country, but, alas! public taste had changed, and the venture was a failure."

Richardson Henderson, above, and original Rock, Bell, and Steel Band Programmes from 1889, below (© John Phillips)

"This I am sure will be of interest to you. You never heard anything so pretty, the Keeper of the Museum played them then I did, the top rows are flats & sharps. There are smaller sets. We have been up Friars Crag this morning, lovely view again, been raining all the afternoon. Hope to go out again later. These stones were found on the mountains close by."

Original 1930s postcards of ‘Richardson’s Original Musical Stones in Keswick Museum’, by Haworth’s Keswick and Pettitt Photo (© John Phillips)

The Keswick Museum & Art Gallery, 2022

A family visit in July 2022. Left: the author with his brother Brian. Centre: the author with curator Nicola Lawson and former curator Jamie Barnes. Right: Illustrated talk to the Friends of Keswick Museum.

Nicola Lawson writes: "Richardson's musical stones remain a huge attraction to this day. We have a great number of visitors who come to the Museum specifically for them, often saying they encountered them years ago as children and are excited to see them again. We now not only allow, but encourage, people to play them and, when their music fills the gallery, it brings the Museum to life. The legacy of Richardson's instrument has endured for almost two hundred years, and I'm sure these wonderful stones will continue to interest people for many more to come."

The Future

The instrument that Joseph Richardson created between 1827-1840, which he gradually expanded until 1847, with which he achieved enormous success until 1852, and with which his grandson Richardson Henderson tried an unsuccessful revival in 1889, has resided in the Keswick Museum and Art Gallery since 1917. But, without much needed renovation, its future is uncertain. 

Gradual deterioration over the last century has taken place and much urgent restoration/conservation work is required for the instrument to be returned to something close to its original condition. Whilst the stones themselves do not deteriorate, and the public is encouraged to play upon them with hammers provided for the purpose, much of the underlying fabric of the instrument needs attention. The mounts for the sounding boxes need urgent attention; the straw ropes need replacing and fixing appropriately; the bells need new leather thongs, as well as numerous new pegs, so that they can be hung properly; the bell support bars need strengthening; and several missing steel bars and missing bells are in need of replacement.

Work like this requires very specialist skills and would be expensive. In early 2024 a detailed report is being prepared and will be submitted to the Trustees for consideration upon completion. It is to be hoped that the necessary restoration work can be undertaken in the not-too-distant future so that this wonderful instrument can be maintained for another century, not just as an example of the genius of one particular individual, but as an illustration of the ingenuity and inventiveness of a generation of individuals who collectively gave rise to an age that we today call the Victorian Industrial Revolution.

The Book Cover

An original water colour painting and pen and ink drawing by prominent Perth WA artist, Stef Hayward, the book cover depicts the three Richardson boys playing on the early version of the Rock Harmonicon (The Illustrated London News, 28 May 1842) in front of a typical Lakeland backdrop. (© John Phillips)