It is upon this Principle of Vibration then, or tremulous Motion, that the String of a Violin, being moved by the Bow, is to act: The String immediately communicates it's tremulous Motion to the Bridge, and the Bridge to the Belly of the Instrument, which Belly being made of a very elastic Wood, by it's Vibration and free Motion, acts upon the Air in the Manner abovementioned. As it is the great Elasticity of the Wood which is to cause the Tone, it ought to have as little Confinement in it's Vibrations as is possible; the Weight of the Strings must indeed press against it, otherwise they could not communicate their Motion to it. We should therefore be careful not to over-string the Instrument, since it so plainly contradicts the Principles of Pneumatics. It is easy to hear when an Instrument is over-strung; and sometimes an Octave in a Harpsichord, by it's additional Number of Strings, shall render the Tone of the Instrument so dead, that, though it gives a Sprightliness peculiar to an Octave, yet it sometimes hardly compensates for the Loss of Tone which it causes in the Unisons, by it's too great Pressure upon the Belly of the Instrument. And yet notwithstanding all this, what is more common than to see a Performer, with his Waistcoat unbuttoned, laying Strokes on a Violin, heavy enough to fell an Ox. The Truth is, managing the Bow is slight, and we must make Use of Art more than Strength in our Performance: moreover, it is an Art which cannot be wrote down upon Paper, nor explained in Words, but must be learned by the Example and Direction of some assiduous Master. However what has been said may serve to shew, from Philosophical Principles, the Error of leaning too hard upon the Instrument, which was the Thing intended to be done. * * * * * V. _That the farther you go South, the hotter is the Climate._