Having been requested by the highest anatomical and artistic authorities in Germany to give publicity to this method and to explain it personally, I undertook, in 1864, at my own expense, from love of the art, a journey through many towns of the Continent, where, as already stated, I delivered, in the German language, a number of private and public lectures on the subject. And here I desire specially to crave the forgiveness of my kind German friends, if, in delivering those lectures, I did not at all times express myself in accents of the purest German, since I only commenced the study of that difficult language,—for the first time in my life,—six years ago, after I had attained the age of 52 years. The exposition of this method having met with cordial approval, I now offer the result of my labours to artists, musical students, and to all friends of music, as well as to all those who work much with their fingers, or who suffer from finger disease; also to anatomists, physiologists, surgeons, and gymnasts; indulging the hope that, if applied correctly and carefully, they will go far towards removing the evils to which I have alluded, and be of much practical usefulness and advantage. CHAPTER I. ANATOMY OF THE HAND. ON LIGAMENTS, TENDONS, &c. &c. The skeleton of the hand, consisting of 27 bones and moved by 40 muscles, most ingeniously combines firmness with pliant flexibility, is equally fit for rough work and the most subtle occupation, and corresponds in its well-balanced mechanism with that mental superiority through which man, amongst all creatures the poorest in means of defence, becomes the ruler of living and inanimate nature. The hand, fixed to the end of a long articulated column of bones, and, through its skin-covering, particularly in the cavity, endowed with high sensibility, raises itself to the importance of an organ of feeling, which, moveable in all directions, apprizes us of the extent of matter, and of its physical qualities.