To borrow an illustration from the animal world; take the race-horse, the fleetest animal which we use in this country, whose great task requires that his muscle should be brought into the highest condition of strength and flexibility. Do you suppose that, in training and preparing him for the race,—a process often extending over a considerable period,—that he is, in the course of it, much galloped? By no means! Galloping forms the exception, and, during this long interval, walking, trotting, and cantering form his chief training paces; namely, four-fifths or seven-eighths of the time; galloping only one-fifth or one-eighth part! His skilful trainer knows that much rapid exertion, such as galloping long continued, weakens and wears out his muscle. So, also, in the hunting-field and on the road, it is “the pace that kills.” Even so with the player upon a musical instrument; _long continued_, rapid movements wear out the muscle and shake the nerves, while slow exercises, however vigorously executed, invigorate and strengthen both (see p. 75, note). The exercises for stringed instruments will be most satisfactorily performed before a looking-glass, and I may here add that a little work by the author, entitled “Gymnastic Exercises for the Violin and Violoncello,” having for its special object the exercise of the wrist of the right hand on the instrument, will be published in a short time. * * * * * And here I avail myself of this opportunity to raise a question for consideration regarding that part of the violin-bow which the right thumb presses. Let me ask, _first_, why should this little sharp projection be permitted to appear on every bow, to the prejudice of the placing firmly the thumb there, instead of being _rounded off_? and _secondly_, why should there not be placed, close to this point, especially for students, a small piece of round gutta percha—a gutta percha button—as a _stay_ to the thumb? Great facility would thus be afforded for holding firmly the bow. Any one may put a piece of gutta percha in the candle, and, when softened, stick it fast on the place indicated. Finally, I repeat that, in performing any of these gymnastic exercises, the principal condition to be adhered to is, that they should always be made in the morning, also immediately before playing; and that while great vigour is imparted to them by following out strictly the directions given, any over-exertion should be avoided. As to the claims of the author himself, they are limited to an earnest desire, that his “Gymnastics of the Fingers and Wrist,” founded as they are on anatomical and physiological principles, may find favour with the Public, and be instrumental in promoting the best interests of Art. THE END. JOHN CHILDS AND SON, PRINTERS. TESTIMONIALS.