Thus far we have only seen the manufacture of bow instruments cultivated by inspiration or by imitation; science was not brought to bear as an element in the construction of these instruments; but we have arrived at a period of transition in this respect, less perhaps, from the results obtained, than from the foundations which have been laid: and I will first advert to the several essays which have been made with the view of dispensing with certain portions of the instrument, considered as obstacles to the free production of vibration. The first essay of this kind was made in 1816 by François Chanot, the son of an instrument-maker of Mirecourt, afterwards an engineer in the navy. Convinced that the best means of producing vibration in all the various parts of the Violin was to preserve, as far as it was practicable, the fibres of the wood lengthwise, he concluded that the shoulders of the ordinary Violin, with their angles, were insuperable obstacles to a free and powerful quality of tone; he believed, also, that the hollowing out of the belly to give it the vaulted form was contrary to theoretical principles, and consequently a radical error. He was persuaded, moreover, that short fibres favoured the production of acute tones, and long fibres grave ones. Upon these principles he constructed a Violin, the belly of which was only slightly raised, the sound-holes nearly straight, and, in place of sloping the instrument after the ordinary form, he depressed the sides gradually, similar to the body of a Guitar. With a view of favouring as much as possible the vibration of the belly, he attached the strings to the lower part of it, instead of to the ordinary tail-piece. This done, Chanot submitted his Violin to the Academies of Sciences and Fine Arts of the French Institute, and a favourable report of the essay was published in the “Moniteur Universel” on the 22nd of August, 1817. The judgment pronounced by these institutions has not been confirmed by the opinion of artists. It is to be remarked, that what Chanot conceived to be a discovery was simply returning to the form of Viols of the middle ages; that the form had been adopted by able makers, and that there is still extant a Bass Viol of Gaspard di Salo, the angles of which are removed, in the possession of M. Frazzini at Milan; that another Bass of the same form, constructed by Pietro Guarnieri, belongs to M. Cappi at Mantua; and that M. de Rovetta of Bergamo, possesses an old Violin of the same form. The artists who made these essays discovered that the results did not answer their expectations. A retired officer of the Italian army, M. Galbussera, reproduced the pretended invention of Chanot in a Violin which he exhibited in the Palace of Brera at Milan in 1832. M. Antolini, of that city, a distinguished artist, criticised in a small pamphlet the false principle which led to this return to primitive forms.[A]