This explanation of the play or action of the instrument is rendered probable by the experiment of placing the sounding-post behind the foot of the bridge, on the side of the thicker strings. These, as well as the E string, then exhibit a greatly diminished power of sound, and the tone of the instrument is considerably damped. It was supposed, therefore, that M. Chanot’s new model, from the fact of its possessing in its texture a greater number of long arcs for producing deep tones, as well as of short ones for high tones, must produce, under a parity of size and principal dimensions, a more powerful effect than the violin of the usual construction, and must be better calculated for the performance of _sostenuto_ passages. This theory, founded on principles _apparently_ satisfactory, received such confirmation from direct experiment as was held, by the French Committee, to establish the superiority of the structure of the _new_ violin over all others. The ordeal resorted to was a hazardous one. Monsieur Boucher, the eminent player, was requested to bring to the sitting one of the best _Straduarius_ instruments: and, to counteract any effect unfavourable to impartiality of decision, that might arise from the notorious prepossession existing for these fine violins, M. Boucher stepped into an adjoining apartment, and there played alternately the same passages on both instruments. The whole committee, during three successive experiments, thought they were listening to the Straduarius, whilst M. Boucher was playing on the new violin, and, _vice versâ_, supposed he was playing on the new instrument, when it was otherwise. This repeated mistake—this double illusion—was considered by the Academy to decide the question in favour of M. Chanot’s violin, which, though made of new wood, partly of two years and partly of six months’ cut, sustained so perilous a competition in the manner described. Thus, the mystification of the “authorities” was complete—but not so the ulterior success of the innovation, for it found no favour among the musical profession, and soon became a thing of the past. It amounted, in fact, to little more than a return to the old discarded viol shape of the middle ages, with its flatness of face and back, and its less indented outline.