What he designed was a room six yards square, having on each side three galleries for spectators, each something more than three yards deep. These were to be one story from the ground, “both for advantage of sound, and also to avoid the moisture of the earth, which is very bad, both for instrument and strings;” and the building was to be “in a clear and very delightful dry place, both free from water, the overhanging of trees, and common noises.” The room was for the performers, and it was to be “one step higher on the floor than the galleries the better to convey the sound to the auditors:”—“being thus clear and free from company, all inconvenience of talking, crowding, sweating and blustering, &c. are taken away; the sound has its free and uninterrupted passage; the performers are no ways hindered; and the instruments will stand more steadily in tune, (for no lutes, viols, pedals, harpsicons, &c. will stand in tune at such a time; no, nor voices themselves;) For I have known,” says he, “an excellent voice, well prepared for a solemn performance, who has been put up in a crowd, that when he has been to perform his part, could hardly speak, and by no other cause but the very distemper received by that crowd and overheat.” The twelve galleries, though but little, would hold two hundred persons very well; and thus the uneasy and unhandsome accommodation, which has often happened to persons of quality, being crowded up, squeezed and sweated among persons of an inferior rank, might be avoided, “which thing alone, having such distinct reception for persons of different qualities, must needs be accounted a great conveniency.” But there was a scientific convenience included in the arrangement; for the lower walls were to be “wainscoted, hollow from the wall, and without any kind of carved, bossed, or rugged work, so that the sound might run glib and smooth all about, without the least interruption. And through that wainscot there must be several conveyances all out of the room—by grooves, or pipes to certain auditor's seats, where the hearer, as he sate, might at a small passage, or little hole, receive the pent-up sound, which let it be never so weak in the music-room, he, (though at the furthest end of the gallery) should hear as distinctly as any who were close by it.” The inlets into these pipes should be pretty large, a foot square at least, yet the larger the better, without all doubt, and so the conveyance to run proportionably narrower, till it came to the ear of the auditor, where it need not be above the wideness of one's finger end. “It cannot,” says he, “be easily imagined, what a wonderful advantage such a contrivance must needs be, for the exact and distinct hearing of music; without doubt far beyond all that ever has yet been used. For there is no instrument of touch, be it never so sweet, and touched with the most curious hand that can be, but in the very touch,