and internally is adapted to the octagonal shape of the wood; at its other extremity is a hole, through which is made to work the screw D, and two others countersunk and polished. The lever is fixed in the frame BC, of which the part C serves to keep the lever steady and true on its mortice. The frame is likewise made of steel, and is octagonal internally, and is attached to the back of the stick by screws. L is a piece of ivory which travels backwards and forwards on the wood, by means of the usual screw at the bottom; into the ivory is fixed the pusley HH. I is a piece of plate-brass with two holes in it at K K; upon this is bound the hair of the bow with very strong waxed silk, the brass being first heated and pitched; the hair doubles round the bottom, and is fastened on both sides. Through the holes in this plate passes a piece of Indian twist FFFFF, going over the pulley, and through the holes in the key E E, where it is tied fast, but not with a permanent knot (because liable at first to stretch).

The action of this mechanism will be obvious: where the screw D is in the position represented in the plate, the bow will not be sensibly different from a common one, and will be tightened or slackened in the same manner by the action of the nut G (the lever can be used or not as most convenient). In this state, though the lever increases the weight of the bow, yet it is more truly balanced in the hand, and has consequently less tendency to bear on the strings, independent of stress laid upon it, than a common bow has.

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Now let us suppose it to be adjusted in this state to the maximum of tightness chosen by the performer, and that it is let down by unscrewing the screw D, till reduced to the minimum with which a bow can be used; the lever in this case will assume the position M M. It is evident when

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when the violinist grasps the bow and lever in his hand, that he commands, during execution, all the degrees of tension in the bow, between the maximum and minimum which he has pitched upon.

It is maintained that if the tension of the hair is judiciously adapted to the kind of note required *, and, generally speaking, proportioned to the vehemence of `the bow, and the distance from the bridge at which the strings are bowed; that the tone and accentuation are decidedly improved, at least in the execution of music in a' cantabile style. It may not be superfluous to mention, that a bowed instrument would appear to bear a thicker string when struck with this species of bow than' with a common one.

The hair of which the bow is composed is of the usual breadth, but composed only of about 4 dozen of hairs, arranged very carefully in right lines, and separately selected for their goodness and strength before they are attached to the bow. It is surprising what a number of brittle hairs there are in a bundle of horse-hair of the best quality. Any one who will take the trouble, mayascertain with a microscope, that there never can be, under any possible circumstances, more than about 4 dozen of hairs in contact with the strings of a violin, that is to say, in a bow of the common breadth. Now it is extremely difficult to conceive of what use the rest can be; it is clear they can never operate upon the strings. To me they appear not only useless but pernicious, as presenting an unnecessary quantity of matter for the strings to vibrate against, thereby rendering their tones less full than they might be. Nevertheless, I shall

*This the bow in a manner effects of itself, naturally tightening in proportion to the stress laid upon it.

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not insist upon this point, but it will be found that at least it is much more easy to manage this small quantity of hair, and to get it all in the same degree of tension, when put on (a point of some importance), than two or three times as much; and that the volume of sound is to the full as great as that produced by a greater number of hairs.

This invention is submitted, with all deference, to the consideration of those who are more competent to judge of its merits than the contriver of it. It is not attempted to be denied that the lever bow is more difficult to use than a common one, and must at first necessarily embarrass a performer; but it will be kept in mind that when the lever is pressed home by the fingers, `the violinist has it much in the condition in which he is in the habit of using a bow; but disadvantages, as well as advantages, will result from all kinds of constructions whatever, it only remains for us to choose that kind of advantage or disadvantage which suits us best; if we choose to gain in one direction, we inust be content to lose in another.

Fig. 2 represents a new kind of head for a violin; BBBB is a plate of tempered steel screwed down between the finger-board and neck of the instrument. It is furnished with worms and wheels, on the principle of the double base, which are moved by means of the milled heads cccc, which tighten the strings when turned in the same direction with the pegs of a violin. In the elevation it will be observed that the stop for the hand is removed, for the curvature of the steel plate B X checks the index finger instead of it. The artist must not make fewer than 21 teeth in the wheels, nor must the worms be double or they will turn round. The studs are fixed by a washer and pin underneath the plate. The common

head