Moreover, beautiful works of art, like pianofortes, violins, and other musical instruments, ought not to be used as gymnastic implements. They are destined for _play_, not for _gymnastic_ appliances. The fingers and joints ought, therefore, first to be gymnastically exercised; _then_ play upon the instrument. The head and the fingers ought to go together; but how is this possible if the latter remain behind? The mind strives forward, the fingers keep it back. Why should this torture be inflicted? No; let the fingers first be properly trained; then head and fingers will go harmoniously together. Another great advantage attending the above exercises is, that so long as they last, the organs of hearing are spared. Many persons, who zealously and with endurance perform finger-exercises on musical instruments, injure their health, through the irritation of the auditory nerves, to such a degree, as either to be prevented, on medical authority, from continuing to practise, or otherwise to be subjected to serious consequences; whereas, if the exercises are preceded by the gymnastic movements given above, the hearing organs of the pupil will be greatly spared, and not injured in any way. The greatest technical art consists in controlling alike the fingers, the joints, and the nerves. Now, if the muscles and tendons are exercised and strengthened by proper physical work, the _nerves_ will be invigorated at the same time. This is a well-known fact, and for those engaged in musical pursuits, an advantage which it is impossible to overrate. The fingers then will not be fatigued as easily as before, and you learn at the same time by habit, to acquire complete control over the joints, the muscles, and nerves. Nor ought another advantage to be overlooked; viz., that in regard to artists and persons who play well, when these travel, or from any other cause are prevented from playing for some time on a musical instrument, they will be enabled, in the manner described above, to exercise efficiently for a short time daily their fingers and joints. Thus the fingers and joints will not get stiff, and you will always remain their master. However, to attain this end, the exercises on the stick ought not be performed carelessly, but _gymnastically_, and STRICTLY _according to the directions given above_. The same exercises are very useful for persons playing the violin, by promoting the proper bending of the _forefinger_ of the left hand. Generally speaking, the whole of the above exercises are equally fit for all persons playing the piano, the organ, the violin, the violoncello, and other instruments; and they will find, after having accustomed themselves to perform them vigorously and gymnastically for a short time daily, that they then come to the instrument with a strength and individuality of finger which will exceed their utmost expectations. CHAPTER XV.