6.--The bridge is another very important agent in regulating an instrument. No general rule will serve for this matter. Some instruments require the bridge thick, others thin. Some a close grain and others the contrary. The bridge should be fitted as accurately as the post, and as though it grew from the belly, the feet touching equally all round.

7.--Tail pieces are better quite free from ornaments, which frequently cause the instrument to jar disagreeably.

8.--The strings are of great importance. They should be adjusted to be in perfect fifths. This is essential, otherwise it is impossible to play double notes correctly in tune. It may be done with a little trouble. When the instrument is in tune on the open notes, place the finger across the strings, for example, at B on the second string, and F on the first string. If the fifth is imperfect, tune one string a shade higher, and try again. If then perfect it requires a smaller string. If not, tune a shade lower than the perfect open fifth, if then right when tried as before, it requires a thicker string.[1]

[1] We have seen a little instrument advertised to accomplish this important matter without trouble.

THE PERFECT FIFTH'S GAUGE.--"This useful gauge is marked with such precision as to render all strings gauged by it in accordance with each other producing perfect fifths, enabling the performer to execute pa.s.sages of double notes with the greatest facility and correctness, at the same time effecting a considerable saving of time and expense by entirely superseding the old method of obtaining fifths by changing the strings." It is manufactured and sold by Mr. John Hart, 14, Prince's-street, Leicester-square, London.

ADDENDA.

LARCHE, ---- Brussels, 1847. Copyist of old makers. One of those who endeavoured to produce an old tone by the use of acid, and consequently spoiled the wood.

ALBANESI, ---- Cremona, 1737. Similar to Testore of Milan, but broad pattern. His instruments have a large tone, but poor varnish.

GOBIT, ---- Venice, 1716. Made similar instruments to Ruggerius, and used beautiful varnish.

GABRIELLI, ---- Florence, 1740. Made excellent Violoncellos, yellow varnish. Written labels.

ANTONIAZZI, GAETANO, Cremona, 1860. This maker sent a violin to the Exhibition of 1862, but is much behind his predecessors.

FALCO, ---- Cremona, 1752. Made well proportioned instruments.

HARRIS, CHARLES, London. An admirable workman. His instruments are among the finest of the English.

GAGLIANO, NICHOLAS, Naples, pupil of Stradiuarius. We have a note (omitted in its proper place) that this maker excelled in violoncellos, many of which are covered with fine rich varnish, seldom seen on instruments by the Gagliano family.

In our notice of Stradiuarius Violins at page 113 we should have said that William Howard, Esq., of Sheffield, possessed _two_ fine examples--one as described and the other of the beautiful red varnish, the latter formerly the property of the celebrated violinist Salomon, for whom Haydn wrote his twelve grand symphonies.

PEARCE, PRINTER, SHEFFIELD.