The author of this article gives a short survey of the instrument development – harmonium type in the period 1790 - 1860, placing it in the context of musical style change and musical instrumentarium and also in the context of social changes after the French revolution. The atmosphere, in which this instrument type emerges and its reception by the musicians of that time have been presented through harmonium builder activity of the Franciscan Peter Singer (1810-1882) from Salzburg. In the part of the text dealing with physharmonica of Peter Titz in Osijek, the author presents a comprehensive documentation about the instrument. As a restoration work supervisor the author carries ‘’The project of physharmonica restoration’’ and ‘’The protocol of technical take-over’’, documenting the restoration work of the instrument musical structure in this way, performed by the organist Marko Rastija from Zagreb and the housing restoration which was performed by the wood restorer Zoran Balaban from Osijek. Finally the author evaluates the physharmonica of Peter Titz in Osijek as a heritage of the international class by arguing that it is an only in its entirety and originality preserved example of that workshop and whose musical structure was restored by preserving its original substance and by applying methods and materials that are in consistence with time of instrument building. The preserved physharmonica from Osijek has a special heritage value because as an artifact, it represents a physical link between its Vienna builder, an inheritor of the notable workshop of Jacob Deutschmann, K and K Harmonium – the royal manufacturer Peter Titz and his inheritor, the most notable harmonium builder in the Austro-Hungarian Monarchy Teophil Kotykiewicz.