must be of the best, and the strings rough Roman, and
must be tested to see if they vibrate truly. This is done by
twanging, so that _two distinct outlines_ are shown; if any dimness
appear, or the lines wobble, as I may say, try again, for such are
false. Not always, though; for I _have_ known this rule (for it _is_
a rule) falsified, and a good string _appear_ untrue by test, and
_vice versa_.

Take the Rimer, 15, and work out the peg-holes nicely; then fit
ebony or rosewood pegs as you fancy, cutting off the superfluous
pieces which obtrude on the off-side of peg-box. Apply a little soap
and chalk to ensure close working when tuning.

Then on the nut, cut the narrow channels over which the strings have
to pass to the fingerboard. A nice discrimination must be observed
here as to the width from E to A to D to G. There can be no rule
laid down, because some players will have them nearer together than
others, and must, if for double stopping, they having narrow
fingers; and on the contrary, wider apart, if for broader ended
fingers. What I find a nice medium is seven-thirty-seconds of an
inch from the bottom of one slot to another. Take the compass and
divide to seven-thirty-seconds of an inch and press one point at G,
D, A, E, allowing a fair margin at both sides of the ebony, not
above, say one-eighth of an inch good. Then use either of the rat
tail files, 27, and carefully file to depths required, which must be
so as to allow a playing card to slip comfortably under the E string
when taut, a little more space for the other three being necessary,
especially the G. Rub a black lead pencil through the cuts, and work
them very smooth with a thin, round piece of steel, which makes all
the strings much easier to slide afterwards and minimises breakage.

The nut must then be filed and sandpapered nicely down to the cuts,
so as to leave only a shallow passage, as one too deep retards free
action of the string and somewhat of vibration, besides making the
fingering less satisfactory. The ends or sides must be made
beautifully even with the neck and rounded and papered off so that
not an atom of friction worries the player, who has often worry
enough in all conscience in the work of correct manipulation before
him, without the hindrance of bad work on his instrument.

Then we come to the bridge--with two feet, not more my friends; the
dear old fiddle has managed these three or four hundred years to
crawl along _very_ resp