was a rest after each note. The second precaution is, that you first play with the point of the bow; and, when that becomes easy to you, that you use that part of it which is between the point and the middle; and, when you are likewise mistress of this part of the bow, that you practise in the same manner with the middle of the bow. And, above all, you must remember, in these studies, to begin the _allegros_ or flights sometimes with an up-bow, and sometimes with a _down-bow_, carefully avoiding the habit of constantly practising one way. “In order to acquire a greater facility of executing swift passages in a light and neat manner, it will be of great use if you accustom yourself to skip over a string between two quick notes in divisions. Of such divisions you may play extempore as many as you please, and in every key, which will be both useful and necessary. “With regard to the finger-board, or carriage of the left hand, I have one thing strongly to recommend to you, which will suffice for all, and that is the taking a violin part—either the _first_ or _second_ of a concerto, sonata, or song (any thing will serve the purpose)—and playing it upon the _half-shift_; that is, with the first finger upon G on the first string, and constantly keeping upon this shift, playing the whole piece without moving the hand from this situation, unless A on the fourth string be wanted, or D upon the first but, in that case, you should afterwards return again to the half-shift, without ever moving the hand down to the natural position. This practice should be continued till you can execute with facility upon the half-shift any violin part, not intended as a solo, at sight. After this, advance the hand on the finger-board to the whole-shift, with the first finger upon A on the first string, and accustom yourself to this position, till you can execute every thing upon the whole shift with as much ease as when the hand is in its natural situation; and when certain of this, advance to the _double-shift_, with the first finger upon B on the first string. When sure of that likewise, pass to the fourth position of the hand, making C with the first finger, upon the first string: and, indeed, this is a scale in which, when you are firm, you may be said to be mistress of the finger-board. This study is so necessary, that I most earnestly recommend it to your attention.