e a strip of old pine (in fact, cut from this belly
itself, when in the rough), eleven inches long, five-sixteenths of
an inch wide, one and one-eighth inches deep. I then roughly plane
this on the shooting board (the plane on its side as used for
shooting the plates of the belly).

In fig. 15 you will see that I place the bar at a slight angle,
lengthwise, and close to the soundhole; and you will also observe
the small squares of pine glued along the joint, so as to give
strength to that joint. And I must tell you to put these squares
_cross-wise_ with the grain, as I have seen joints in violins give
way, and the bits prove a mockery, as they were placed _with_ the
grain, or lengthwise--that is to say, they offered no resistance
when the collapse came, but quickly yielded and split as would have
done a layer of a turnip! Surely, men must be artists indeed, not to
forecast such a likelihood arising as this.

[Illustration: PLATE XV.]

Continuing _re_ Bar, I work away until I get it to fit absolutely to
the surface to which I have to glue it; when I slightly thin it in
width from the broad end to the narrow of the violin, as I study
every possible contingency; and, by not over-weighting the lesser
surface for vibration, I give it a freedom otherwise somewhat
retarded, even though infinitesimally. And you will wonder why I
place it so much nearer the broad end than the narrow--against the
laws laid down by the unctuous law-makers of no matter what
nationality? Well, it is because I look upon it as a vibrator and as
a _pendulum_; and surely you would never look for the true action of
a pendulum, had it a tendency either to one side or another? No, it
must work truly and have no bias whatsoever. So, I contend, must
this bar, as a pendulum work clean and truly, taking its centre from
the cuts in the soundhole, where begins concussion, and the surface
of the whole body, wood and air alike. Then why do people act
counter to this law, for such it is, and place short bars and long
bars, thick and thin, but ignoring this principle for which I so
strongly contend as of the greatest consequence? Let them continue
to do so, and go on producing tone so satisfactory to them--I
advocate an entirely different mode of treatment, as I produce a
purity of tone which is a matter of so much comment--and I leave it
to your investigation.

The cutting, shaping, and bringing the belly to the note D, by means
of this, is part of the work t