The small harp of the middle ages of Central and Western Europe, depicted in old sculptures and paintings, generally exhibits the front-bar of its frame somewhat bent outwardly, much as is the case with the Irish _clarseth_. Gradually the number of its strings was increased; and, likewise the strength of the frame for resisting the tension of the strings. The front-bar of our harp is straight, or a front-pillar. Until the seventeenth century only the diatonic series of intervals was properly obtainable on the instrument. The performer had, however, a method of producing occasionally a semitone by pressing the finger against the string towards the end, much in the same manner in which the Burmese produce chromatic intervals on the _soung_. Towards the end of the seventeenth century the Tyrolian harp makers adopted little plates with hooks, which could be moved so as to press upon the strings, and thereby shorten them, for the production of the semitones, more rapidly and unerringly than could be done by the fingers. A French harp of the period of Louis XVI. is illustrated (Fig. 51). It is carved and gilt in the style of Gouthière, and decorated with oak foliage and acorns; at the top of the pillar is a figure of a Cupid. Students who examine the old instruments above described will probably wish to know something about their quality of tone. “How do they sound? Might they still be made effective in our present state of the art?” are questions which naturally occur to the musical inquirer having such instruments brought before him. A few words bearing on these questions may therefore not be out of place here. [Illustration: FIG. 51.――HARP. French. About 1770. H. 63 in., W. 30 in. No. 4087-’57. Victoria and Albert Museum.] [Illustration: FIG. 52.――VIOLIN. Said to have belonged to James I. English. Early 17th century. L. 23¼ in., W. 8 in. No. 34-’69. Victoria and Albert Museum.] [Illustration: FIG. 53.――Angel playing a Viol, after an oil painting by Ambrogio da Predis. Late 15th century. National Gallery.]