In the latter part of Franklin's life, Noah Webster, the lexicographer, also formed a scheme for the reform of the alphabet, and Franklin had the pleasure of writing to him, "Our Ideas are so nearly similar, that I make no doubt of our easily agreeing on the Plan." Several years later, Webster, in his _Dissertations on the English Language_, stated that Franklin had compiled a dictionary, based upon his own reformatory system, and procured the types for printing it, but, finding himself too old to prosecute his design, had offered both manuscript and types to him. "Whether this project, so deeply interesting to this country," Webster said, "will ever be effected; or whether it will be defeated by insolence and prejudice, remains for my countrymen to determine." Another thing upon which the ingenuity of Franklin was brought to bear, as the reader has already been told, was the Armonica. In his letter to Beccaria, extolling its merits, he describes it with a wealth of detail, not only thoroughly in keeping with his knack for mechanics, but showing that to music as to everything else, that won the favor of his intellect, he brought the ken of a man of science. The letter concludes with a dulcet compliment, which harmonizes well with its subject: "In honour of your musical language (the Italian), I have borrowed from it the name of this instrument, calling it the Armonica." In one of his papers, he drew up instructions for the proper use of the instrument which nothing but the most intimate familiarity with its operation could have rendered possible. Admiration has often been expended upon the acuteness with which Franklin, in a letter to Lord Kames, accounted for the pleasure afforded by the old Scotch tunes, as compared with the pleasure afforded by the difficult music of his day, which, he said, was of the same nature as that awakened by the feats of tumblers and rope-dancers. The reason was this. The old Scotch melodies were composed by the minstrels of former days, to be played on the harp, accompanied by the voice. The harp was strung with wire (which gives a sound of long continuance) and had no contrivance like that in the modern harpsichord, by which the sound of the preceding note could be stopped, the moment a succeeding note began. To avoid _actual_ discord, it was therefore necessary that the succeeding emphatic note should be a chord with the preceding, as their sounds must exist at the same time. Hence arose that beauty in those tones that had so long pleased, and would please forever, though men scarce knew why.