"Hold the Bow betwixt the ends of your Thumb and two foremost fingers, near to the Nut. The Thumb and first finger fastened on the Stalk; and the second finger's end turned _in_ shorter, against the Hairs thereof; by which you may poize and keep up the point of the Bow. If the second finger have not strength enough, you may joyn the third finger in assistance to it; but in Playing Swift Division, two fingers and the Thumb is best.... When you see an even Number of Quavers or Semiquavers, as 2, 4, 6, 8, you must begin with your Bow forward; yea, though the Bow were imployed forward in the next Note before them. But if the number be odd, as 3, 5, 7 (which always happens by reason of some Prick-Note or odd Rest) the first of that odd number must be played with the Bow backward. This is the most proper motion of the Bow, though not absolutely without some exception; for sometimes the quickness of the Notes may force the contrary. Also quick Notes skipping from the Treble to the Bass, and so persued, are best express'd with contrary Bows." All of which is very clear and logical. The way he balances up the relative claims of a stiff or loose elbow is, however, distinctly amusing, as witness the following: "----you must stretch out your Arm streight, in which posture (playing long Notes) you will necessarily move your shoulder Joint; but if you stir that Joint in Quick Notes, it will cause the whole body to shake; which (by all means) must be avoyded; as also any other indecent Gesture. Quick Notes, therefore, must be expressed by moving some Joint near the Hand;[1] which is generally agreed upon to be the Wrist. The question then arising is about the menage of the Elbow Joint; concerning which there are two different opinions. Some will have it kept stiff; insomuch, that I have heard a judicious violist positively affirm, that if a Scholar can but attain to the playing of Quavers with his Wrist, keeping his Arm streight and stiff in the Elbow-Joint, he hath got the mastery of the Bow-Hand. Others contend that the motion of the Wrist must be strengthened and assisted by a compliance or yielding of the Elbow-Joint unto it; and they, to back their Argument, produce for instance a person famous for the excellency of his Bow-Hand using a free and loose Arm. To deliver my own opinion: I do much approve the streightness of the Arm, especially in Beginners, because it is a means to keep the Body upright, which is a commendable posture. I can also admit the stiffness of the Elbow, in smooth and Swift Division; for which it is most properly apt; but Cross and Skipping Divisions cannot (I think) be so well express'd without some consent or yielding of the Elbow-Joint unto the motion of the Wrist.... This motion or looseness of the Wrist I mention, is chiefly in _Demi-semiquavers_; for, in _Quavers_, and _Semiquavers_ too, we must allow so much stiffness to the wrist as may command the Bow _on_ and _off_ the String, at every Note, if occasion so require."