A similar fate to that which attended M. Chanot’s attempt, followed the first experiments of _M. Savart_, who soon afterwards devised, and with his own hand executed, another example of new construction, on principles which he considered philosophic. Flatness of surface, and straightness of line, were by him also adopted, instead of the curve and flow, which give beauty and distinction to the instrument in ordinary use; while the cross-bar and sounding-post were altered in position, and the two holes or perforations on the face were cut in straight parallel lines, instead of the graceful _f_ form. A more perfect and equable vibration was supposed by M. Savart to result from these new arrangements, and success was claimed for the innovation; but an interval of what seemed more like failure, was observed to take place, until, abandoning his advocacy of an ugly, bluff, box-like pattern, and returning to the beautiful and classic proportions of Straduarius, M. Savart wisely entered into association with an intelligent practical man, _Vuillaume_, of Paris, a musical instrument-maker. Then—the long-studied and well-digested acoustic theories of the man of science being brought into operation, and tested in experience, by the skilful man of art, a brighter result was obtained—so much brighter, indeed, that there seems little reasonable doubt of its being possible, henceforward, to produce any required number of instruments, equal in primitive merit to those of the great Italian Constructors, and only awaiting the indispensable accession of _time_, for the consummation of their value; nor are we much disposed to charge Monsieur Fétis with madness, when, under a lively sense of what has been already achieved by Savart and Vuillaume, he points exultingly to Paris, as the Cremona of the nineteenth century! Into those deductions, drawn from his study of the phenomena of sound, which became to Savart the guiding principles towards the right construction of bowed instruments, it were too long here to enter;—but our English Makers would do well to look into those principles, as detailed in the French scientific journal, “L’Institut”—and to consider curiously the practical result, as shewn in the handywork of Vuillaume, whose instruments, to the number of more than two thousand, have gone forth into the world, to attest the value of the system that has guided his operations.