In the General discussion forum of concertina.net a thread with the title "Palm Rests" was iniated 13 July ( SteveS )

19 July there was a reply (Stephen Chambers) saying:

"Hand rests were tried long before Göran recommended them. They are to be found on the "double" concertinas (which are similar in appearance/ergonomics to "English" models) in Charles Wheatstone's 1844 Patent (though I've never seen one that still had them), and on the English concertina in William Wheatstone's 1861 Patent, but both of those designs also dispensed with the finger rests, whilst William Wheatstone's one majorly altered the centre of gravity of the instrument, so that it balanced better on the thumb straps.
But hand rests never caught on generally".

IF someone is interested in the matter - just to keep things in order some corrections of the statements above ought to be made.

1. They are NOT to be found - "on the double concertinas in Charles Wheatstone's 1844 patent".
Not a word is said about them and there is no drawing of anything alike

2. The "Double" concertinas should NOT be regarded as -"similar in appearance/ergonomics to English models"
The handles suggested for them are rather analogous to those on Anglos and common Duets ( Maccann, Crane etc )

3. In William Wheatstone's 1861 patent ( page 11 line 6) it says:
- "a semicircular or other suitably shaped rest for the wrist or ball of the hand is provided"
NOT a "hand rest". With this term we better mean the trad. sort of arrangement with Anglos and common Duets, since ergonomically there are significant differences between hand rests, palm rests and wrist supports as the stability differs and the movability of the hand is varying to a great degree, much depending on associated straps to make a complete "handle". This is absolutely essential !

4. S.C : "William Wheatstone's one majorly altered the centre of gravity of the instrument, so that it balanced better on the thumb straps"
Entirely wrong ! The centre of gravity was NOT altered at all! - but the location of the thumb straps was changed so that they came on the other side of the centre of gravity than with the common english models(1844 patent style). The idea obviously being to get better total balance. This however may be achieved only with the instrument resting on the knee ( or a table...) since no strap for the wrist was suggested stabilizing the connection

5. S.C : "But hand rests never caught on generally"
THAT obviously IS true. The reasons are interesting but probably can only be speculated upon. William Wheatstone died soon after and maybe had not managed to inspire for realisation of the ideas which no doubt were splendid theoretically ( excluding the idea with patented "direct valves" which was naturally aborted likely since being terribly complicated production wise ) and the original layout described in the 1844 patent at this time (1860s) was a market success so "why change a winning concept" ?

Summing up: Looking back we can only regret that the ideas which William Wheatstone presented were not adopted and generalizwed for ALL concertinas. This would have been beneficial for generations of concertina fans. Maybe too late to change by now but individual players can make simple modifications of their instruments and the habits handling them to facilitate playing and gaining very much musically from improved tonal control. For most music it IS more
interesting playing fewer notes well - than a plentiful of nasty notes....