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Do yourself a favour: go to the Fincock piano museum in Kent where you can see many old, and some very old, pianos. I feel certain there will not be one where the winding of a string goes over the capo bar.
Whilst there ask the way to the nearby "farm" where a Mr Richard Dain, a retired mechanical engineer, puts together pianos which have sound boards made of carbon fiber.
Also go to U-tube and look for an item named " A Pianos Pin by Ronan O'Hora". He is playing Mozart's Sonata K570 II Adagio. The videos shows pins throughout the ages AND at the end your type of pins (old) in situ with the CORRECT arrangement !!!!
I do hope you get it right as I'd like to hear how the instrument sounds.

I know one of the major restorers in this country - he's said it's unusual not to have the winding going round the pin but that is what Mr Wornum wanted.

The sounding length of the bottom iron wound G# (g#2 according to this website http://www.claviersbaroques.com/CBExpertHelmholtzNotation.htm ) is 70cm. The top iron wound one, g# (g#3), is 61.5cm. They are very high for wound strings - all cores are .8mm. That's why I initial thought to plain string at least the top group (I notice on Pleyel's Pianino he plain strings down to B (b2).

It may or may not be what Wornum wanted, but it seems to be what he got. Even now, piano makers make mistakes.

Well how about this - every string from bottom to top (F1 (FF) to F7 (f'''')) has the same length - 92.5 cms.

I remember an Érard grand with covered wire over the bridge (oversize bridge pins) and through the oversize agraffe with oversize holes I didn't check the interior configuration of the agraffe holes. Probably quite a broad curve.
I didn't know it's age and the covered strings were all black with oxidisation so I didn't know what metal they were covered with.
I only saw it briefly.

It was being tuned regularly and slightly above 440. . The tuner expressed no problems with it, this was in the days when we were tuning all kinds of weird and wonderful old pianos that had been tuned on contract for many generations.
This was in the 1960's and it was all original then with no broken strings. It was just the core wire on the tuning pins. Must have been well over 100 years old then.

I have access to an old Broadwood square, 1804, I think. I know the bass strings are spiral wound with a 1/4" or so step to the spiral. I am sure the strings are wound as they go over the bridges but I will check.

I remember something about continuing the winding past the termination points reduced inharmonicity, perhaps our experts could address this matter.

I have seen that winding "often" on instruments of a certain era - all wooden frames
Also on some square pianos (European ones)

I am not sure the winding go on the bridge too, more probably no.

I hadn't thought it unusual that the winding goes over the bridge:



but quite right, on my Pleyel it doesn't.

This picture from another thread that has covered strings going over the bridge. It's quite common in ancient pianos. I'm still wondering how successful continuous winding like this is in reducing inharmonicity. Any experts on covered string inharmonicity?

Are the strings original?

On mine they are. I'm having to replace from G#2 to G#3 as they are iron wound and sound tubby from rust.

Dave, It's my educated guess most of them are, other than those that obviously aren't. looking at the oversize bridge pins, it looks as though a plain core wire would go between them with barely any offset as you can see by the "replacement" wire.
The instrument looks to have been built to accept this idea. The bridge pins look as though they are smaller further up the bridge.

The Érard I saw with the covering on the strings in exactly this fashion had the usual 4-5 metal struts in the form of a rudimentary plate so, while I didn't check the date, it couldn't have been very early. It, too had oversize bridge pins and the covering on the wire as it went through the oversize agraffe. It seems to me that more than one manufacturer did this, either experimentally or In their early manufacturing years so it wasn't a local aberration.

I have a feeling I may have seen this piano before, it's not every day we see a knot just like that one in the middle of the speaking length of a covered string and in approximately the same location. The one I saw was a Viennese style piano.