The characteristic feature I wish to call attention to in the heel shown above (Fig. 31) is the great size of the slide in proportion to the whole lower surface of the nut. It leaves such a very small margin compared with that of other makers. This will be found in nearly every genuine specimen. Unfortunately nuts wear out and become replaced with new ones, so that it is not always possible to obtain a bow that is original in all its parts. Dodd occasionally decorated the face of his bows with mother-of-pearl, as in the example shown in Fig. 31. He invariably stamped the name DODD in large, plain letters both on the side of the nut and on the stick. I have seen some that are stamped J. Dodd, but not many. Fig. 32 shows (actual size) a very early Dodd head, than which nothing, I think, could be more distressingly ugly. It is remarkable that such a caricature should have emanated from the same man who produced those shown in Plates III. and IV. Plate III. consists of photographs (actual size) of two violin bows, and one tenor bow, Plate IV. giving one tenor bow and one 'cello bow by this maker. It would be quite impossible to give representations of all Dodd's characteristics, as his work varies so very much. I have therefore chosen a few only of the best types. These are all exceptionally well finished. In the second and third is to be seen the tendency to arch in the neck of the bow so frequent in Dodds; in the others the sweep of the stick up to the head is perfect. His 'cello bows are his best work, and compare favourably with the greatest Continental makers. The one I have selected is of the finest period. The first of the two tenor bows (third on Plate III.) is the type of head most frequently seen, some have the head drawn backward at a very ungainly angle, and others, again, slope forwards, to an extent greater even than that of the 'cello bow in Plate IV. [Illustration: FIG. 32.] [Illustration: PLATE III.] [Illustration: PLATE IV.] Owing to the extreme elegance of Dodd's bows, and the beautiful workmanship of his finest specimens, he has been dubbed the "English Tourte," and amongst the majority of English amateurs the name of Dodd is held in the highest possible estimation. But as a matter of fact very few Dodd bows are worthy of this regard. His best bows, such as he sold for a pound or thirty shillings, are fine, although few of the violin bows are such as an artist would make much use of. The slenderness is frequently carried to excess, and the narrowness of the head prevents a sufficient "spread" being given to the hair in many cases, and a great number are much too short.