“As an admirer of music, the elements of which I had begun to learn rather late, that is, in my nineteenth year, I noticed that the science of acoustics was more neglected than most other portions of physics. This excited in me the desire to make good the defect, and by new discovery to render some service to this part of science. In 1785 I had observed that a plate of glass or metal gave different sounds when it was struck at different places, but I could nowhere find any information regarding the corresponding modes of vibration. At this time there appeared in the journals some notices of an instrument made in Italy by the Abbé Mazzochi, consisting of bells, to which one or two violin-bows were applied. This suggested to me the idea of employing a violin-bow to examine the vibrations of different sonorous bodies. When I applied the bow to a round plate of glass fixed at its middle it gave different sounds, which, compared with each other, were (as regards the number of their vibrations) equal to the squares of 2, 3, 4, 5, etc.; but the nature of the motions to which these sounds corresponded, and the means of producing each of them at will, were yet unknown to me. The experiments on the electric figures formed on a plate of resin, discovered and published by Lichtenberg, in the memoirs of the Royal Society of Göttingen, made me presume that the different vibratory motions of a sonorous plate might also present different appearances, if a little sand or some other similar substance were spread over the surface. On employing this means, the first figure that presented itself to my eyes upon the circular plate already mentioned resembled a star with ten or twelve rays, and the very acute sound, in the series alluded to, was that which agreed with the square of the number of diametrical lines.” § 7. _Vibrations of Square Plates: Nodal Lines_ I will now illustrate the experiments of Chladni, commencing with a square plate of glass held by a suitable clamp at its centre. The plate might be held with the finger and thumb, if they could only reach far enough. Scattering fine sand over the plate, the middle point of one of its edges is damped by touching it with the finger-nail, and a bow is drawn across the edge of the plate, near one of its corners. The sand is tossed away from certain parts of the surface, and collects along two _nodal lines_ which divide the large square into four smaller ones, as in Fig. 64. This division of the plate corresponds to its deepest tone. [Illustration: FIG. 64.] [Illustration: FIG. 65.] [Illustration: FIG. 66.]