It would appear as if the notes forming octaves upon the finger-board were bowed together but not all four strings at once, as has been sometimes supposed. To effect this there must have been a peculiar knack in using the bow. From the large openings on either side of the finger-board it is possible to trace, through the intermediate mediæval Rotta or Rote, a descent from the Græco-Roman Cythara or Lyre. There are two sound-holes in the belly, and the bridge, which is placed obliquely, has the right foot resting upon the belly, while the left foot, as in the tromba marina, passes through the left sound-hole to rest upon the back. The left foot then acts as a sound-post, and sets the whole instrument in vibration. Colonel Wynne-Finch's Crwth was found in the Island of Anglesey. It has the following inscription upon a label inside:-- MAID IN THE PARIS OF ANIRHENGEL BY RICHARD EVANS INSTRUMENTS MAKER IN THE YEAR 1742. But it is supposed to be older, and only to have been repaired or reconstructed by Richard Evans. It was restored very carefully by Mr. George Chanot before being shown at South Kensington in the Loan Collection of 1872. The BALALÄIKA is the Russian peasant's guitar. This example was drawn because of the ornament, but the common instrument is usually quite plain. It came from Moscow tuned [Music] but another in my possession, sent to me at the same time from St. Petersburg, was tuned [Music]. The Balaläika has three frets attached to the neck, for stopping the semitone, whole tone, and minor third on each string. The strings are of catgut. The quality of tone is very sympathetic, almost sad. The dimensions of the specimen drawn are--extreme height from the base, 30 inches; the finger-board, 13 inches; the width at base is 11-1/2 inches. The depth of the sound-chest, which is the half of a duodecagon, 5-3/4 inches. The corresponding measures of the simple peasant's instruments are--26-3/4, 13-3/4, 13, and 3-1/2 inches. The peculiar triangular shape of the Balaläika is of very primitive character, the curved form in lutes and guitars being an artistic development. In a delightfully realistic Russian bronze shown at the Health Exhibition, South Kensington, 1884, the performer simultaneously holds the neck of the instrument and stops the strings with his left hand, while he touches them, guitar fashion, with his right hand, the instrument being free from any other support whatever. [Illustration: XXV] PLATE XXV. VIOLIN, THE HELLIER STRADIVARIUS, AND TWO OLD BOWS NOTED FOR THE FLUTING.