rrect to have the thumb opposite the middle finger. David, in
his "Violin School," says that the thumb should be opposite the
_first_ finger. This is to my mind most extraordinary, and I can
hardly conceive it possible that so great a violinist and teacher
could have maintained such an unscientific method to be correct. The
loss of leverage resulting from the thumb being so far forward would
be almost certain to cause the elbow to rise and give, by the dead
weight of the arm, the pressure that should come from the sentient
elasticity of the first and second fingers. De Beriot says the thumb
should be between the second and third fingers, which is naturally
the best position. Papini, with greater perception of the fact of
anatomical difference in hands, says the thumb should be as near the
centre of the four fingers as possible.

In all questions of technique it is possible to determine the exact
best mode of procedure. But unless the hand be perfectly fitted
thereto, the rule should be relaxed, for insisting on positions that
are even slightly strained (though possibly, quite comfortable to a
differently constructed hand) can only do harm.

CHAPTER XVI.

THE FINGERS OF THE RIGHT HAND--DIFFERENCES OF OPINION
THEREON--SAUTILLE--THE LOOSE WRIST.

The functions of the right hand fingers are twofold. At times they
act in conjunction with each other and at others, in opposition. Some
writers say that the two outer fingers are the holding fingers, and
others contend that the two inner fingers are alone concerned in this
service. This difference of opinion is to me just as absurd as the
arguments anent the wrist and elbow of the old violists. As a matter
of fact both theories are right. The difference being that, in the
question of holding, the action of the outer fingers is passive while
that of the inner fingers is active. To go more into detail, in soft
passages the bow simply rests supported by the three points of
contact with the thumb, first and fourth fingers. The inner fingers
then taking little or no part in the matter. This action of the outer
fingers I say is passive as the bow is not actually _held_ but simply
rests on the thumb, the two outer fingers merely preventing it from
falling to one side or the other. Occasionally these two fingers will
act in concert or opposition, according to the requirements of
expression and phrasing. When playing loudly it becomes necessary
that a more decided purchase of