,transcriber's ,notes ,obvious typographical errors have been silently corrected4 ,variations in hyphenation have been standardised but all other spelling and punctuation remains unchanged4 ,italics are represented thus italic4 ,in preparation4 ,a ,hand-book of ,bodily ,exercises1 based upon ,a4 ,ravenstein's 8,volks-,turnbuch10 and edited by ,e4 ,g4 ,ravenstein1 ,f4,r4,g4,s41 c41 ,president of the ,german ,gymnastic ,society of ,london1 and ,john ,hulley1 ,director of the ,athletic ,club1 ,liverpool4 ,in one volume1 #hvo1 pp4 #djj1 and #gjj woodcuts4 ,this will be the most complete work on ,gymnastics and all descriptions of bodily exercises ever published in the ,english language4 ,,contents3 ,history of ,gymnastics--,constitution of ,gymnastic ,societies--,on the manner of conducting the ,exercises--,distribution into ,squads--,training of ,instructors--,gymnastic ,festivals and ,competitions--,sanitary ,rules--,exercises without apparatus--7free exercises1 walking1 running1 co-operative and facto-gymnastical exercises1 wrestling1 boxing1 c47--,exercises with portable apparatus 7wands1 dumb-bells1 clubs1 bars1 c47--,exercises at fixed apparatus 7rack1 parallel bars1 horse1 buck1 climbing and escalading1 leaping and vaulting1 swings1 c474 ,,london3 ,n4 ,,tr,,bner ,,co41 #fj1 ,,paternoster ,,row4 ,,jackson',s ,,gymnastics ,,for ,,the ,,fingers ,,and ,,wrist1 ,,being ,a ,,system ,,of ,,gymnastics1 ,,based ,,on ,,anatomical ,,principles1--,,for ,,developing ,,and ,,strengthening ,,the ,,muscles ,,of ,,the ,,hand2 ,,for ,,musical1 ,,mechanical1 ,,and ,,medical ,,purposes4 ,with thirty-seven ,diagrams4 ,,london3 ,n4 ,,tr,,bner ,,co41 #fj1 ,,paternoster ,,row4 #ahfe4 ,right of ,translation reserved4 ,the whole of the ,engravings contained in this work were executed for the author by ,berndt1 in ,berlin1 ,july1 #ahfd4 ,the apparatus referred to in this work may be had1 price #cs4 #f;d41 of ,messrs ,metzler ,co41 #cf to #ch1 ,great ,marlborough ,street1 ,w4 ,,john ,,childs ,,and ,,son1 ,,printers4 ,,preface4 ,the subject of this little work develops1 on anatomical and physiological principles1 a system of ,gymnastics for the ,fingers and ,wrist1 the object of which is--1 to lay a solid and scientific foundation for the acquisition of technical skill in the fingers and wrist1 as applied to the playing on musical instruments and to finger-work generally4 ,for a detailed account of the circumstances under which this system was discovered1 ,i refer to the ,introductory ,remarks1 wherein ,i have explained the process of reasoning and the series of experiments1 which enabled me to arrive at the results ,i have now the pleasure of submitting to the consideration of my countrymen2 more especially to all those among them who are engaged in musical pursuits1 or any other work requiring the constant use of the fingers4 ,i may simply state that both the scientific principles and the practical utility of this system of ,gymnastics--1 after having been subjected to the test of numerous experiments--1 have met with the approval of the highest anatomical1 musical1 and gymnastic authorities of ,germany2 at whose special solicitation ,i was induced to make these discoveries known by means of public and private lectures--1 delivered gratis in the ,german language in many ,german cities--1 during a journey undertaken at my own expense1 in the course of the summer of #ahfd4 ,i gladly avail myself of this opportunity to return my best thanks to ,professors ,hyrtl1 ,virchow1 ,hermann ,meyer1 and ,griesinger2 to ,drs ,richter1 ,c4 ,c4 ,carus1 ,j4 ,v4 ,carus1 ,berend1 and ,angerstein2 to ,professors ,moscheles1 ,kullak1 ,stern1 ,geyer1 ,kittl1 ,joachim1 and ,lauterbach2 to ,capellmeister ,taubert1 ,ferdinand ,hiller1 ,lachner1 ,strauss1 ,abenheim1 ,tglichsbeck1 and ,meyer2 to ,concertmeister ,f4 ,schubert1 ,carl ,baermann1 ,scholtz1 ,singer1 ,grn1 and many others whom space precludes me from mentioning here1--for the assistance they have given me1 and for the kind and favourable reception which they1 the press1 and the public generally1 gave to my lectures4 ,and ,i indulge the hope that this little work may meet with the same approval from the medical1 musical1 and gymnastic authorities in this country1 and be a means of practical utility among those for whom it is more particularly intended4 ,in all the gymnastic establishments throughout ,europe and the civilized world1 gymnastic exercises have been introduced for every part of the body except for the ,fingers1 notwithstanding that it is these important members of the human frame--with the mental organs--which chiefly distinguish ,man from the ,brute creation4 ,therefore ,i venture to dedicate to the public--1 8,gymnastics for the development of the ,muscles1 ,ligaments1 and ,joints of the ,fingers and ,hand0--1 specially adapted to ,musicians of all classes1 ,authors1 and all who are occupied much in writing1 ,artists and ,draughtsmen1 ,printers and ,compositors1 ,lithographers and ,engravers on steel and copper1 ,workers in ivory and wood1 ,watch-makers and fine ,mechanicians4 ,spinners and ,weavers1 for ,all female handiwork1 for ,surgical and anatomical processes1 for the treatment of rheumatism1 contortions1 and other diseases of the ,fingers and ,hand1--and for ,all those who require a flexible ,hand1 or who earn their bread with their ,fingers4 ,,edwin ,w4 ,,jackson4 ,september1 #ahfe4 ,,contents4 ,,page ,,preface4 ,,introductory ,,remarks ,,on ,,the ,,origin ,,of ,,this ,,system ,,of ,,gymnastics ,,for ,,the ,,fingers ,,and ,,wrist #a ,,chap4 ,i4 ,,anatomy ,,of ,,the ,,hand4 ,,on ,,ligaments1 ,,tendons1 ,,etc4 #af ,,ii4 ,,the ,,muscles ,,of ,,the ,,hand ,,and ,,of ,,the ,,fingers #bb ,,iii4 ,,effects ,,of ,,this ,,gymnastic ,,treatment ,,on ,,the ,,muscles1 ,,ligaments1 ,,and ,,joints ,,of ,,the ,,fingers ,,and ,,the ,,hand #bi ,,iv4 ,,neglect ,,hitherto ,,of ,,the ,,hand ,,and ,,fingers #ce ,v4 ,,the ,,finger-,,joints ,,are ,,the ,,least ,,exercised1 ,,and ,,the ,,weakest #ci ,,vi4 ,,the ,,principal ,,difficulty ,,does ,,not ,,consist ,,in ,,the ,,reading ,,of ,,music1 ,,but ,,in ,,the ,,weakness ,,of ,,the ,,fingers #da ,,vii4 ,,music ,,is ,,the ,,art ,,which ,,makes ,,the ,,highest ,,demands ,,on ,,the ,,muscles ,,of ,,the ,,fingers4 ,,moving ,,the ,,fingers ,,up ,,and ,,down ,,insufficient #dd ,,viii4 ,,artists ,,and ,,teachers ,,of ,,music #df ,,ix4 ,,free ,,gymnastic ,,exercises ,,for ,,the ,,fingers ,,and ,,thumb #di ,x4 ,,free ,,gymnastic ,,exercises ,,for ,,the ,,thumb #ee ,,xi4 ,,free ,,gymnastic ,,exercises ,,for ,,the ,,wrist #eh ,,xii4 ,,mechanical ,,finger-,,exercises #fc ,,xiii4 ,,mechanical ,,finger-,,exercises 7,,continued7 #gj ,,xiv4 ,,mechanical ,,finger-,,exercises 7,,continued7 #hj ,,xv4 ,,board ,,for ,,stretching ,,the ,,muscles1 ,,especially ,,those ,,of ,,the ,,thumb ,,and ,,the ,,little ,,finger #hd ,,xvi4 ,,on ,,stringed ,,instruments ,,in ,,particular4 ,,the ,,wrist ,,of ,,the ,,right ,,hand #hf ,,xvii4 ,,continuation #hi ,,xviii4 ,,continuation4 ,,staccato #ib ,,xix4 ,,concluding ,,remarks #ie ,,introductory ,,remarks ,,on ,,the ,,origin ,,of ,,this ,,system ,,of ,,gymnastics ,,for ,,the ,,fingers ,,and ,,wrist4 ,if any one should desire to know how and in what manner ,i1 as a private individual1 came to hit upon these discoveries1 ,i answer simply3 ,six years ago ,i took my family1 principally consisting of daughters1 to ,germany1 to have them educated there1 and especially to obtain for them good instruction in music4 ,i soon found that the method of teaching the pianoforte then in general use was very fatiguing and trying to the nerves2 at the same time1 as ,germany stands at the head of the musical world1 that method1 as a matter of course1 must be considered the best which we at present know4 ,in order to investigate that system more minutely1 ,i visited several musical schools and conservatories for music in ,germany1 inquiring what was the very best method known for strengthening the fingers and wrist1 for bringing them into order and preparing them to play the pianoforte8 ,the answer ,i everywhere received was as follows3 8,the chief difficulties and impediments to be overcome in teaching the piano1 the violin1 and almost all other musical instruments1 are muscular1 and lie in the joints of the fingers and wrists2 and the very best method of rendering them strong and flexible is frequently and perseveringly to move the fingers up and down on the instrument1 preserving the hand in the same position4 ,this movement1 together with the usual finger-exercises1 if continued for five or six years1 and diligently carried out1 is usually sufficient to render the joints and muscles of the fingers agile and flexible1 and to bring the fingers generally into order40 ,i inquired further1 8,are those exercises not very fatiguing80 to which ,i was answered1 8,they certainly are very trying to the muscles and nerves20 and whether 8the health of the students1 male and female1 did not suffer thereby80 to which the reply was1 that it did1 and that1 indeed1 it was sometimes necessary for them to discontinue playing for some months2 but then they added1 8,it must be remembered that learning to play the piano was in itself at all times attended with very considerable difficulties40 ,i observed that this result was really lamentable2 and inquired whether there did not exist any other method for obtaining the same end and becoming proficient on the piano8 ,to this ,i received a negative answer1 and was again told1 8,after all possible experiments1 it is the opinion of all artists and teachers at the present time1 in all cities in ,europe1 that the method alluded to is the most effective of any we know for imparting quickness and flexibility to the joints of the fingers and wrist40 ,now on observing that my daughters suffered in the same manner1 ,i said to myself1 8,there must surely be something wrong here40 ,and here ,i would mention the fact that when ,i was #ab or #ac years of age ,i learnt the violin1 and afterwards for upwards of #ce years discontinued it4 ,but later in life1 desiring to accompany my children1 ,i was induced to take up the violin again4 ,i then found that1 although ,i was in all other respects exceedingly strong and healthy and capable of all athletic exercises1 my fingers and hand in a few minutes became painfully fatigued4 ,the same result followed whenever ,i took the violin in hand1--in fact1 ,i found that my fingers were the only weak parts of my body4 ,this happened a few years ago1 about the same time when the above-mentioned inquiries took place1 exciting in me great surprise and an earnest desire to search into the cause4 ,i thought to myself1 8,there must underlie some unknown hidden cause to account for this phenomenon4 ,i will thoroughly probe the matter40 ,for this purpose ,i now put myself in the way of those individually who earn their bread by the sweat of their brow1 viz41 the smith1 the joiner1 the bricklayer1 the labourer1 the peasant1 the gardener1 the wood-cutter1 the miner1 c4 c4 ,i found that all these persons work with their arms1 and thereby acquire muscle like steel and arms like giants2 but that none of them work with their fingers4 ,after this ,i visited boys' and girls' schools1 and also observed them in their families2 and there ,i found again that nearly all of them in their work made no use of the fingers4 ,the same observation ,i made with the educated classes1 of every age and sex4 ,this discovered to me the fact that the muscles of the fingers are extremely little exercised in the ordinary occupations of life2 and must1 therefore1 on physiological ground1 be weak2 a fact of much importance4 ,i then repaired to the most renowned gymnastic establishments of the ,continent1 and begged to be shown all the varied gymnastic exercises practised on the body1 from the crown of the head to the sole of the foot1 and when all these various movements had been exhibited before me1 ,i inquired 8,but where are your gymnastic exercises for the fingers80 8,we have none40 8,why80 8,we never thought of it40 8,but they require them surely as much or more than all60 8,it has never occurred to us2 we did not know the fingers required gymnastics1 and they have been entirely overlooked40 ,this disclosed to me another great fact2 namely1 that the fingers are the only active members of the human body to which a properly constituted system of gymnastic exercises has ,,not been applied4 ,i thereupon visited houses and institutions where men do work with their fingers1 viz41 where carvers in wood and ivory1 in steel1 copper1 and stone1 painters and draughtsmen1 watchmakers and fine mechanists1 spinners and weavers1 printers and compositors1 c41 drive their trade1 and after that1 people who are in the habit of writing much1 and even the whole day1 such as authors1 copyists1 clerks1 stenographers1 lithographers1 as well as sempstresses and workwomen2--in short1 all those who have much finger-work1 or earn their living by their fingers4 ,and here ,i observed all kinds of finger diseases1 such as stiffness of the joints and limbs1 writers' cramp1 hands and forearms debilitated in the highest degree1 paralyzed limbs1 nervous weakness1 c4 ,then ,i said to myself1 8,a light begins to dawn upon me4 ,i find1 first1 that the fingers are the least exercised1 in the ordinary occupations of life1 of all the active members of the body2 secondly1 that they are on that account relatively and physiologically the weakest2 and1 thirdly1 that they are also the only active members which are not gymnastically trained and treated4 ,i must consider the matter now ,,anatomically1 ,,physiologically1 and ,,gymnastically40 ,and ,i forthwith began to make all sorts of artistic and mechanical experiments1 for the purpose of gymnastically exercising1 stretching1 and developing the muscles1 the ligaments1 and joints of the fingers and hands in all directions1 so as to strengthen and prepare them for playing the piano and the violin1 as well as other instruments1 and for all kinds of finger-work and handicraft4 ,in doing so ,i studied the physiology of the muscles and ligaments1 and directed especial attention to the transverse metacarpal ligament4 ,in comparing this anatomy with the difficulties experienced1 ,i sought to discover a means more particularly of stretching the ligaments or bands which run transversely across the hands and knuckles4 ,this ,i succeeded in effecting1 and then ,i discovered1 to my astonishment1 that the moment ,i had applied my gymnastic movements to these stout and very obstinate elastic bands1 the muscles became instantaneously looser1 and moved with greatly increased freedom and agility4 ,in a word1 the muscles were set free4 ,at the same time ,i tried on myself various simple1 natural1 free movements with the joints of the fingers1 in order to examine them practically and physiologically1 and thus to found a system on solid principles4 ,and ,i may here be permitted to state as the result1 in my own case1 that though at that time #ed years of age1 after ,i had diligently practised the course of gymnastic exercises herein described1 a comparatively short time1 every day1 my fingers and wrists became so strong and flexible that ,i was able to play1 and can now play upon the violin many hours daily in succession without fatigue4 ,i caused the same to be tried by many other persons also1 of different ages4 ,then ,i found1 to my surprise1 in each case that1 in the absence of proper gymnastic exercises1 these most important parts of the human frame1 owing to their being so unpractised in the ordinary occupations of life1 and being consequently so weak1 are not equal to the least work or exertion beyond the usual movements of daily life1 and that whenever anything beyond the ordinary routine is required of them1 they are found to be utterly incapable of fulfilling the task4 ,then ,i said to myself1 8,i now see as clear as sunlight whence arise the extraordinary difficulties of learning to play the piano and violin4 ,they arise from the very fact that an art the most difficult1 from a muscular point of view1 which we know of1 has to be performed with the least practised and1 proportionately1 the weakest of muscles4 ,the impediments and difficulties in almost all cases can be referred to the muscles2 and it is this weakness which must be overcome40 ,upon this ,i repaired to anatomical1 chirurgical1 and medical institutions1 in order to study still further the anatomy of the hand1 the fingers1 and the arm4 ,i found that the muscles1 the ligaments1 and the tendons of the fingers and hands consist of elastic masses1 intersecting the hand1 and running ,,transversely as well as ,,longitudinally2 and ,i especially discovered1 after a number of experiments1 that the ,,transverse ,,ligaments1 unless they be exercised1 remain quiet and stiff1 and impede to a certain extent the movements and activity of the muscles1 when the latter are more than ordinarily exerted2 that in order practically to exercise and stretch them1 and particularly the ,,transverse ligaments and tendons1 and to render them strong and supple1 it is necessary not only to move the fingers up and down1 but laterally also2 that1 in short1 both muscles and ligaments ought to be practised gymnastically2 and that the fatigue and the danger to health1 the nervous weakness and the disgust often observed in musical students1 arise from the following causes3 ,firstly1 that the muscles1 tendons1 and ligaments of the hand and fingers are1 proportionately1 the least practised1 and1 consequently1 as stated before1 the weakest2 ,secondly1 that they have never been gymnastically trained or treated2 ,thirdly1 that the methods now in use for strengthening those weak muscles and rendering them flexible are insufficient and erroneous2 ,fourthly1 that the transverse ligaments have never been stretched2 thus on these several grounds hampering the learning of music with unnatural difficulties1 and with exertions of the muscular and nervous system injurious to health2 ,fifthly1 that so soon as the muscles are properly and gymnastically exercised1 and the ligaments and tendons stretched1 the fingers set at liberty move glibly and freely over the instrument2 and1 ,sixthly1 that all this is readily accounted for on the simplest1 though till now unexplained1 anatomical and physiological grounds4 ,and as regards the different persons and classes already mentioned1 who earn their living with their fingers1 it would have been easy to prevent the various diseases of the same to which they are exposed1 if the joints of their fingers and hands had previously been daily practised1 strengthened1 and prepared by transversal and longitudinal gymnastic exercises4 ,and more than this1 those sad infirmities might1 in most cases1 either have been entirely cured or at any rate alleviated by the above muscular treatment4 ,besides1 a continuance of the same diseases would be easily obviated1 if such treatment were resorted to4 ,then ,i asked myself1 8,is any one to blame that the facts just mentioned have not been previously known and acted upon80 ,no one4 ,it certainly is not the fault of the artist and teacher1 because their task1 so great in itself1 did not necessarily lead them to direct their attention to this speciality of gymnastics4 ,nor could anatomists and physicians1 nor other learned men1 in treating problems more nearly1 and perhaps more important in themselves1 be expected to have thought of it4 ,as we are frequently indebted to chance for the most important discoveries1 so it has been with this one4 ,for my part1 ,i lay claim to very little4 ,the idea had taken hold of me that a hiatus and a want in the method of learning and practising music1 also in finger-work of various kinds1 existed1 and ,i set to work to fill up the former and to satisfy the latter4 ,for several years ,i have indefatigably pursued this work in ,germany1 and after multifarious trials1 experiments1 and exercises1 ,i have happily achieved the following simple system of gymnastics1 whose aim and object1 as regards music1 after full and complete proof1 are2 by strengthening the muscles and stretching the ligaments through careful training1 to impart to them flexibility and agility1 to shorten considerably the time of study1 and facilitate the work of both teachers and students2 whilst as regards all classes generally who work with their fingers1 it is calculated to a great extent to render their work more easy1 and in case of disease of the fingers and hands1 to prevent it1 to cure it1 or at the least to diminish its injurious consequences4 ,having been requested by the highest anatomical and artistic authorities in ,germany to give publicity to this method and to explain it personally1 ,i undertook1 in #ahfd1 at my own expense1 from love of the art1 a journey through many towns of the ,continent1 where1 as already stated1 ,i delivered1 in the ,german language1 a number of private and public lectures on the subject4 ,and here ,i desire specially to crave the forgiveness of my kind ,german friends1 if1 in delivering those lectures1 ,i did not at all times express myself in accents of the purest ,german1 since ,i only commenced the study of that difficult language1--for the first time in my life1--six years ago1 after ,i had attained the age of #eb years4 ,the exposition of this method having met with cordial approval1 ,i now offer the result of my labours to artists1 musical students1 and to all friends of music1 as well as to all those who work much with their fingers1 or who suffer from finger disease2 also to anatomists1 physiologists1 surgeons1 and gymnasts2 indulging the hope that1 if applied correctly and carefully1 they will go far towards removing the evils to which ,i have alluded1 and be of much practical usefulness and advantage4 ,,chapter ,i4 ,,anatomy ,,of ,,the ,,hand4 ,,on ,,ligaments1 ,,tendons1 c4 c4 ,the skeleton of the hand1 consisting of #bg bones and moved by #dj muscles1 most ingeniously combines firmness with pliant flexibility1 is equally fit for rough work and the most subtle occupation1 and corresponds in its well-balanced mechanism with that mental superiority through which man1 amongst all creatures the poorest in means of defence1 becomes the ruler of living and inanimate nature4 ,the hand1 fixed to the end of a long articulated column of bones1 and1 through its skin-covering1 particularly in the cavity1 endowed with high sensibility1 raises itself to the importance of an organ of feeling1 which1 moveable in all directions1 apprizes us of the extent of matter1 and of its physical qualities4 ,the most ancient forms of measurement have1 therefore1 been taken from the length of the several subdivisions of the hand4 ,the capability of the hand of assuming the hollow shape of a spoon1 and of being stretched like a shovel1 determines its use for gathering and for turning up matter4 ,the curvature of the fingers forms a strong and broad hook1 which renders excellent service in climbing2 and the thumb1 whose position enables it to be placed opposite all the other fingers1 acts in conjunction with the latter like a pair of pincers1 capable of seizing and feeling smaller objects4 ,the thumb being easily moveable and strong at the same time1 is a privilege of the human hand4 ,it powerfully opposes itself against the other fingers into the fist1 for the seizing and holding of heavy objects4 ,in doing this the thumb indeed performs almost as much as the remaining fingers taken together2 it represents one half of a pair of pincers1 wherefore ,albin has called it ,manus parva4 ,the unequal length of the fingers is well adapted for the taking hold of spherical forms1 and the fingers being bent towards the hollow of the hand and held together1 encloses an empty space1 which is shut by the thumb serving as a lid4 ,the wrist of the hand1 having a circular shape1 and being composed of several bones1 is much less exposed to the danger of being broken1 than if one single curved bone were to take its place4 ,its cavity1 which by strong transversal ligaments is transformed into a ring1 protects the bending tendons of the fingers from pressure and friction4 ,the firm connection between the middle hand and the wrist renders possible the actions of stemming and hurling with the hands1 and the longitudinal curve of the separate bones of the middle hand1 as well as their lying one at the side of the other1 and convexly towards the back of the hand1 facilitates the forming of the cavity of the hand4 ,the great moveability of the fingers1 and the many possible combinations of their relative positions1 have made them the instruments of language by signs4 ,the deep slits separating them allow of folding the hands1 in order to press with double force1 and the bending of the two last finger-joints1 which can only take place at an angle1 imparts to the clenched fist a force which once usurped the place of right4 ,how necessary the joint action of both hands is for certain performances is proved by the old proverb3 ,manus manum lavat4 ,in short1 all the thousandfold occupations of the hand which necessity commands and the mind develops1 and which are an exclusive prerogative of man1 become practicable through the wonderful structure of this instrument4#a ,as regards the system of the gymnastic training of the fingers in particular1 which ,i am now placing before the public1 it is founded on an important fact1 namely1 the action of the ,,ligaments ,,and ,,tendons4 ,it has been acknowledged at all times1 that if a muscle is to be made both stronger and quicker in its movements1 it should be exercised2 that the ligaments and tendons play1 in these exercises1 an indispensable part1 has hitherto 7to use the words of a celebrated ,german physiologist71 hardly been sufficiently acknowledged or explained4 ,it is further known1 that the principal method now in use of strengthening and rendering flexible the joints and muscles of the fingers in playing the piano1 consists in alternately raising and dropping the fingers1 and that this method requires very great exertion1 and consumes very much time4 ,now1 ,i have found1 by means of many different experiments and exercises1 which ,i have made with the hand and the fingers1 that the tight ligaments and skin-folds1 intersecting the hand transversely1 unless they be exercised1 and if they be allowed to remain firm1 for this very reason1 impede the movements of the muscles whenever they are more than ordinarily exerted2 while1 on the contrary1 the stretching of the transversal ligaments produces a remarkable influence on the moveability of the fingers and the hand1 facilitates the work of the muscles1 and imparts to them freedom1 steadiness1 and precision4 ,by placing the cylinders to be used for this purpose between the fingers for only a very short time1 and thereby exercising the ligaments of the hand1 both transversely and longitudinally1 the movement of the fingers is at once rendered much easier and quicker4 ,this result can only be explained by the fact that the ligaments and folds of the hand1 having been stretched by the cylinders1 have become loosened1 and1 therefore1 as ,i said before1 impede less the muscles in their fatiguing work4 ,if1 on the other hand1 all the muscles1 ligaments1 and tendons are put into motion in both directions1 longitudinally and transversely1 they soon become strong and flexible4 ,,footnotes3 #a ,joseph ,hyrtl3 ,lehrbuch der ,anatomie4 #dte ,auflage4 ,wien1 #ahee4 ,erasmus ,wilson1 ,f4,r4,s41 ,system of ,human ,anatomy4 #hth ,edition4 ,london1 #ahfb4 ,,chapter ,,ii4 ,,the ,,muscles ,,of ,,the ,,hand ,,and ,,of ,,the ,,fingers4 ,leaving aside the vessels and nerves unconnected with our subject1 we may describe the hand as being composed of three classes of organs1 #a4 bones with joints1 #b4 ligaments1 #c4 muscles4 #a4 ,,bones ,,with ,,joints4 ,the hand is subdivided into five separate limbs 7fingers71 lying one at the side of the other1 and being1 at the lower end1 firmly joined together into one whole4 ,each of these five limbs 7fingers7 is composed of a row of bones1 having the nature of long bones4 ,the first of these bones1 next to the lower arm1 is called the metacarpal or middle-hand bone 7,fig4 #a a72 the others are called finger-joints4 ,the thumb has only two finger-joints1 the other fingers three each4 ,the fourth and fifth fingers are the weakest of all4 ,illustration3 ,fig4 #a4 ,the union of the five fingers into one whole is effected by means of the extremities of the middle-hand bones1 commonly known as knuckles1 which are turned towards the forearm1 being connected with one another by very tight transversal ligaments 7,fig #b aa and ,fig4 #c bb71 and being thus connected1 are again fixed to a row of four roundish bones1 joined to one another in the same manner 7,fig4 #a b74 ,thus1 the five middle-hand bones and the four bones of the upper wrist form one firm structure4 ,in this structure the middle-hand bone of the thumb and of the little finger can be more easily moved than the others4 ,illustration3 ,fig4 #b4 ,on account of this moveability of the two extreme middle-hand bones1 it is possible to move the two edges of the hand close to one another1 whereby the cavity of the hand assumes the shape of a groove4 ,the structure here described 7the hand1 in the narrower sense of the word7 is joined to the lower arm by means of three muscles1 the posterior row of the bones of the wrist 7,fig4 #a c74 ,the movement between these bones and the hand is hardly anything but a hinge-movement2 that between them and the lower arm1 however1 is a movement in almost all directions4 ,the bending and stretching of the hand is1 therefore1 produced with the participation of both joints1 the side movement of the hand1 however1 almost exclusively by the joint situated between the posterior row of the bones of the wrist and the lower arm4#b #b4 ,,ligaments4 ,all the finger-joints are provided with capsules1 which are woven out of strong transversal fibres 7,fig4 #c aa74 ,the bones of the wrist are connected between themselves and with the bones of the middle-hand by tight transversal and longitudinal ligaments1 as seen in ,fig4 #b aa1 bb4 ,lastly1 the two ends of the middle-hand bones1 or knuckles1 are connected with one another and with the first joints of the fingers by a separate strong1 transversal ligament 7,fig4 #b aa1 ,fig4 #c bb74 #c4 ,,the ,,muscles ,,of ,,the ,,hand consist #a4 ,of muscles 7four in number7 rising from the lower arm and bending the wrist up and down1 right and left 7,fig4 #c c1 d1 e74 #b4 ,of muscles of the fingers4 ,these are subdivided into-- a4 ,extensors of the fingers1 being situated in the back part of the hand and rising from the bones of the lower arm 7,fig4 #d a74 b4 ,benders of the fingers4 ,two muscles1 the one for the second joints of the fingers 7,fig4 #c d71 the other for the first joints of the fingers and the joints of the nails 7,fig4 #c e7 also rising from the bones of the lower arm4 ,illustration3 ,fig4 #c4 c4 ,contractors of the fingers1 rising from the hand itself1 between the bones of the middle-hand 7,fig4 #d b71 and extending as far as the first finger-joint 7,fig4 #d b74 d4 ,two muscles1 also rising from the cavity of the hand1 and moving the little finger towards the thumb 7,fig4 #c g74 ,lumbricales1 or ,flexores primi ,internodii ,digitorum1 are situated in the hollow of the hand1 and pass to their tendinous implantations with the interossei at the first joint of each finger1 externally and laterally1 next the thumb 7,fig4 #d a1 b74 ,these perform those minute motions of the fingers when the second and third internodes are curvated by the muscles1 and therefore are used in playing musical instruments1 whence they are named ,musculi ,fidicinales1 or fiddle-muscles4#c ,,footnotes3 #b ,luther ,holden1 ,manual of ,anatomy 7,london1 #ahfa71 ,lecturer on ,anatomy in ,bartholomew's ,hospital4 ,hermann ,meyer3 ,lehrbuch der ,physiologischen ,anatomie4 ,leipzig1 #ahef4 #c ,william ,cowper1 ,myotomia reformata4 ,london1 #agbd4 ,richard ,quain1 ,professor of ,clinical ,surgery1 ,surgeon ,extraordinary to the ,queen4 ,,chapter ,,iii4 ,,effects ,,of ,,this ,,gymnastic ,,treatment ,,on ,,the ,,muscles1 ,,ligaments1 ,,and ,,joints ,,of ,,the ,,fingers ,,and ,,the ,,hand4#d ,after the explanations just given1 it may readily be conceived what effects the cylinders placed between the fingers and the gymnastic staff must produce on the joints and ligaments of the hand4 #a4 ,the ligaments connecting the bones of the middle-hand amongst themselves and with the fingers 7,fig4 #b aa7 are extended and stretched 7,fig4 #c bb71 and thus those joints1 so important in playing on musical instruments1 are rendered more moveable4 #b4 ,the connecting links between the bones of the middle-hand and the bones of the wrist are loosened 7,fig4 #b bb74 #c4 ,almost all the ligaments of the cavity of the hand are made flexible4 #d4 ,at the same time1 all the muscles of the hand1 and particularly the muscles situated between the bones 7,fig4 #d b71 generally so little practised1 are stirred into activity by the cylinders1 the stick1 the staff1 and the free exercises4 ,from the diagrams 7,fig4 #b and #c7 it may be plainly seen1 what was mentioned before1 viz41 that the movement of the middle-hand and of the bones of the wrist in general1 unless specially practised1 is very inconsiderable2 while through the cylinder gymnastics prescribed in this work1 that limited movement of the bones is rendered more easy4 ,it may also be seen from the diagrams that1 if both the great and the small tight transversal ligaments remain still and firm1 they impede and render more difficult the free movement of the fingers in every direction2 and these ligaments will always remain stiff and tight1 unless they be specially trained4 ,illustration3 ,fig4 #d4 ,for this reason the cylinder exercise1 just mentioned1 is particularly intended to loosen the impeding transversal ligaments1 as well as to exercise and strengthen all the muscles of the hand and fingers4 ,to convince yourself that this opinion is correct1 extend your fingers for two minutes only with the cylinders alluded to1 and you will find that the fingers instantaneously move much more easily1 and that the muscles1 liberated from their tight1 stiff neighbours1 act with much greater freedom4 ,in the same manner as with the cylinders1 the greatest advantage may be experienced from the use of the gymnastic staff or stick4 ,the principle on which these movements are founded is1 that by them almost all the muscles of the hand and the fingers1 the smallest as well as the largest1 which in playing musical instruments and all the other occupations of the fingers bear the chief part1 are stirred into action4 ,at the same time1 the extraordinary effect of the free exercises on the large finger-joints and on the ligaments and tendons is increased4 ,and further--every portion of the hand and fingers1 ligaments1 tendons1 joints1 and particularly the muscles1 are well practised1 strengthened1 and rendered flexible1 by the fingers being stretched and extended on1 pressed and exercised against1 a solid body4 ,finally1 while imparting to the muscles of the fingers and hand far greater strength and ease than the continued quick movement on the musical instrument is calculated to affect1 all these exercises affect the nerves in a lesser degree1 and prepare the fingers for all kinds of work4 ,these results1 observed and tested by me countless times1 are of the greatest importance to all those who work with their fingers1 but more particularly to those engaged in musical pursuits1 who1 instead of being overwhelmed with fatiguing work as before1 will find that by these exercises their studies are facilitated and divested of much of their previous trouble and vexation4 ,,the ,,wrist4 ,this joint1 which for players on the piano and other instruments is of such great importance 7,fig4 #b c71 should also be exercised gymnastically2 since1 by means of the gymnastic exercises here recommended1 strength and flexibility will be gained in a very short time1 and a great deal of trouble saved4 ,nor ought it to be overlooked that for all those who work with their fingers1 a flexible1 pliant wrist is a great help1 and that by it all the joints of the hand are made to act harmoniously together4 ,,footnotes3 #d ,anatomists and physicians of great eminence have observed to me1 8,your anatomical researches have solved some important questions long held in dispute by physiologists1 and are of great practical value40 ,,chapter ,,iv4 ,,neglect ,,hitherto ,,of ,,the ,,hand ,,and ,,fingers4 ,many books have been written on gymnastics1 but ,i am not acquainted with one which treats of the gymnastical exercise of the fingers4 ,why these important members of the human body should until now have been so much overlooked and neglected1 it is difficult to understand4 ,for1 as ,professor ,richter in ,dresden says1 8,next to the more powerful development of the brain1 it is almost exclusively the structure and skill of the fingers and hand which raises man above the brute1 and has made him ruler of the earth40 ,in order1 therefore1 to heighten the capacities of the human hand1 the joints of the hand and fingers should1 from early youth1 be exercised gymnastically1 as much and in as many various ways as possible1 partly by free exercises1 partly by means of mechanical appliances4 ,gymnastics1 according to anatomists and physicians1 is the stretching1 extending1 pressing1 and training of the muscles1 the ligaments1 and the limbs of the body4#e ,flexibility1 agility1 and strength can be acquired only by means of a regular exercise of the muscles of the body4 ,strength and power impart agility and quickness4 ,this every physician and every sensible man knows4 ,a soldier only becomes fit for his work after the muscles of his body have been gymnastically attended to and developed4 ,any man1 having to perform hard physical labour1 must exercise his muscles gymnastically1 and every one ought to exercise those particular limbs the use of which is most necessary for his profession4 ,and more than any one else1 the teachers of music have to experience the consequences of a want of skill and strength in the hands of many learners1 and they know how greatly a systematic educational training of the fingers and hands for the execution of the more delicate movements is needed at all times4 ,nevertheless1 there are many arts besides music for which the hand ought to be also trained from early youth1 in order to be able permanently to accomplish1 in later years1 what is excellent1 e4 g41 many kinds of handicraft1 machine-work1 needle-work1 anatomy1 and surgery1 writing and drawing1 and all fine manipulations4 ,an untrained hand will either remain clumsy in these branches of work1 or it will soon fail through over-exertion1 which causes a peculiar kind of paralysis1 connected with cramp1 and well known to writers 7the so-called writers' cramp71 but which also affects musicians1 artists1 shoemakers1 tailors1 sempstresses1 and other working people4 ,certain it is1 that if this matter had been inquired into before1 and public attention directed to it1 a great deal of trouble and vexation in learning music might have been saved2 the labour of many working people of all classes1 who chiefly have to use their fingers1 have been greatly facilitated2 and1 moreover1 many diseases of the joints of the fingers and hand might have have been prevented4 ,,footnotes3 #e ,the following quotations from the works of some of the leading authorities may be of interest to the reader3-- 8,methodical gymnastic exercises of the hands and fingers afford the very best means of overcoming the technical difficulties40--,schmidt's 8,annals of ,medicine40 8,technical difficulties will most safely and quickly be conquered by proper gymnastic exercises of the hand and fingers40--,dr ,dietz1 ,member of the ,royal ,council of ,medicine4 8,to obtain technical skill and muscular steadiness1 a gymnastic education is the best means40--,p4 ,m4 ,link4 ,the gymnast exercises his limbs through preparatory exercises2 how1 therefore1 is it possible for the player of the piano and violin to dispense with this gymnastic preparation of the joints of the hand and fingers80--,prof4 ,rector v4 ,schmidt1 ,president of the ,royal ,gymnasium4 8,la souplesse et l'tendue des poignets dpendent du dveloppement gymnastique des forces4 ,la gymnastique dveloppe l'aisance et la grce40--,dr ,m4 ,bally4 8,for so great an art as piano or violin playing1 the muscles of the fingers are weak2 they ought to be prepared by proper gymnastic exercises40--,ferguson4 ,,chapter ,v4 ,,the ,,finger-,,joints ,,are ,,the ,,least ,,exercised1 ,,and ,,the ,,weakest4 ,to become a skilful musician is no small matter4 ,there is no art which demands more labour1 patience1 and especially more time1 than1 for instance1 piano or violin playing2 and at least half of that time is for years required for the particular purpose of strengthening the muscles of the fingers1 and rendering them flexible4 ,and why so many years8 ,because the muscles1 the ligaments1 and the tendons of the finger-joints and wrists have not previously been gymnastically exercised and trained4 ,to prove in a practical manner that it is particularly important to prepare the muscles and ligaments of the fingers and hand1 ,i will cite a fact which may appear startling1 but which1 nevertheless1 is true1 viz41 that the muscles and tendons of the fingers1 in spite of their great importance1 are1 proportionately speaking1 the least of all practised in daily life4 ,take all sorts of people from amongst the labouring classes1 such as the smith1 the joiner1 the gardener1 the bricklayer1 the stone-mason1 the husbandman1 the day-labourer1 c41 c4 ,they are at work the whole day1 and acquire arms like steel and muscle like giants2 but they very rarely use the fingers1 which1 therefore1 remain unexercised4 ,and it is the same with the educated classes1 without difference of age or sex4 ,this is the reason why the learning of piano and violin playing is attended with such great difficulties1 and why the muscles and ligaments of the hand ought to be trained by proper gymnastic exercises4 ,for their weakness arises1 for physiological reasons1 from the very fact of their inactivity4 ,this fact ,i will satisfactorily prove in the sequel1 for it forms the basis and key of my discoveries4 ,,chapter ,,vi4 ,,the ,,principal ,,difficulty ,,does ,,not ,,consist ,,in ,,the ,,reading ,,of ,,music1 ,,but ,,in ,,the ,,weakness ,,of ,,the ,,fingers4 ,in the opinion of many1 the chief difficulty to be overcome in studying music consists in learning to read it4 ,but this is by no means the case4 ,the reading of music is learned in the same manner as a child learns to read letters4 ,the first difficulties having been mastered1 the task is easy2 as with a printed book1 so with music4 ,consequently the paramount difficulty is not in the notes1 but in the weakness and awkwardness of the fingers and wrists4 ,from this1 again1 it may be plainly seen how necessary it is to train the fingers before commencing the work of the head4 ,in short1 what is wanted is a regular gymnastic training for the muscles of the fingers1 the joints1 and the wrists2 and it will be found that the following exercises1 being as desirable as they are applicable for every age1 will strengthen and render them flexible in a most surprising manner1 will materially shorten the time of study1 and save much labour2 nevertheless1 on that account the ordinary finger-practice1 scales1 and studies should of course ,,not be omitted4 ,suppose a boy from #aj to #ad years old1 who is strong and healthy by means of gymnastics and other exercises1 set to learn the piano or violin4 ,his body is strong with gymnastic exercises1 but his wrists and fingers are weak and awkward4 ,how is he1 with the method now in use1 to succeed in playing an instrument well1 without very long and wearying work8 ,no wonder that the painful exertion almost makes him despair1 and that finally he gives up the thing altogether4 ,but if1 on the contrary1 his fingers and joints have been gymnastically trained and exercised beforehand1 he will get on easily and quickly1 and continue his studies with pleasure4 ,many presidents and teachers of the most celebrated gymnastic institutions have1 therefore1 come to the determination to introduce into their establishments these exercises in addition to the other branches of gymnastic training4 ,their practical utility for all those who work with their fingers1 for anatomists1 surgeons1 sculptors1 watchmakers1 and many others1 is as evident as their salutary effect2--from a medical point of view1 in curvature and paralysis of the hand and forearm1 in weakness of the muscles and nerves1 writers' cramp1 and similar complaints1--is undeniable4 ,,chapter ,,vii4 ,,music ,,is ,,the ,,art ,,which ,,makes ,,the ,,highest ,,demands ,,on ,,the ,,muscles ,,of ,,the ,,fingers4 ,,moving ,,the ,,fingers ,,up ,,and ,,down ,,insufficient4 ,these exercises for persons engaged in musical pursuits can1 least of all1 be dispensed with1 because music is the art which makes the highest demands on the muscles of the fingers and wrists4 ,eminent physiologists say1 8,gymnastic exercises for the fingers and joints ought to have been commenced #aej years ago2 they form the real foundation of practical art40 ,it is1 indeed1 incredible that so great an art as piano and violin playing should have arrived at so high a stage of perfection without a previous training of the muscles4 ,as a matter of course1 this is only to be ascribed to the unremitting exertions and the indefatigable zeal of the teachers1 and to the unwearying industry of the pupils4 ,and how much easier might this have been attained6 ,the muscles1 ligaments1 and tendons consist of soft elastic matter1 and1 as has been stated1 run partly longitudinally1 partly transversely4 ,this is a point to be borne in mind4 ,it is1 therefore1 one-sided and erroneous to believe that the best means of strengthening the muscles consists in simply raising and dropping the fingers4 ,all one-sided practice is hurtful2 and an exercise of the fingers limited to an upward and downward movement1 occasions much severe work4 ,if1 on the other hand1 the muscles be moved according to physiological principles1 in all directions1 both laterally and up and down1 and trained gymnastically1 they will become within a very short time strong and flexible4 ,,chapter ,,viii4 ,,artists ,,and ,,teachers ,,of ,,music4 ,if any one should say that he has diligently studied the piano and violin after the method used at present1 and in course of time has learned and taught it with the greatest success1 without having found it necessary to trouble himself about any other system1 my reply is1 that music is one of the most beautiful1 and with respect to muscular work1 the most difficult of arts1 and that all the arts and sciences1 music not excepted1 have made enormous strides in advance during the present century4 ,but exactly because music has become a universal boon for all classes of the civilized world1 one ought to be so much the less disposed to shut out new ideas respecting it1 from whatever side they may come4 ,the representatives of this art1 professional musicians and teachers of music1 are generally the most active and often the most educated men1 who devote their lives to the art1 and promote it in a way which is hardly acknowledged sufficiently by the musical world4 ,the most highly honoured1 however1 are those who have made the greatest progress in theory and in practice1 or who have readily and generously acknowledged such progress1 from whatever direction it might come4 ,it is1 therefore1 the duty of all to assist teachers of music and proficients1 as much as possible1 in promoting this beautiful accomplishment2 for this reason1 encouraged by persons of the highest distinction1 and moved by the love of the art and of mankind1 ,i venture to make known my 8,gymnastics of the ,fingers and ,wrist10 and to offer to all who work with their fingers in general1 and to musicians in particular1 a means which1 based on physiological principles1 leads most surely to the attainment of artistic execution1 and which is in itself so simple1 that any child may use it2 a means1 too1 which will effect a great saving of time and facilitate the work of both teachers and students4 ,i have only to add that1 as a matter of course1 these exercises1 in order to have the desired effect1 should be performed gymnastically and regularly1 according to the directions given1 and not otherwise2 whilst1 on the other hand1 they ought not to be carried to excess1 nor are they intended to supersede the usual finger-exercises1 scales1 and studies4 ,,chapter ,,ix4 ,,free ,,gymnastic ,,exercises ,,for ,,the ,,fingers ,,and ,,thumb4 ,first movement4 ,illustration3 ,fig4 #e4 ,illustration3 ,fig4 #f4 ,stretch the fingers as much as possible one from the other1 let them fall on the large muscle of the thumb 7thumb-ball71 and press them firmly on it2 remain for a moment in this position1 and bring the thumb against the forefinger1 #dj times up and down4 ,you will find that this exercise1 as well as several others1 if vigorously continued for three minutes only1 is very fatiguing2 a clear proof that the muscles of the fingers1 although they may be quite fit for ordinary daily occupations1 are1 nevertheless1 very weak and incapable when anything more is demanded from them1 and without proper gymnastical training1 they must remain so4 ,second movement4 ,illustration3 ,fig4 #g4 ,illustration3 ,fig4 #h4 ,stretch the fingers as before1 but let the finger-ends fall against the middle of the cavity of the hand1 instead of against the great muscle of the thumb1 and press them firmly4 ,to be repeated #dj times4 ,third movement4 ,the following exercise 7#i and #aj7 is intended particularly for the small joints of the fingers4 ,it is effective1 but difficult4 ,illustration3 ,fig4 #i4 ,illustration3 ,fig4 #aj4 ,do not stretch the fingers away from one another1 but hold them firmly and close together1 as this produces the effect particularly desired4 ,bend the two first finger-joints of the four fingers closely together2 move them vigorously up and down1 and press them on firmly1 without1 however1 moving the large joints4 ,repeat this movement until you are tired1 which will not be long1 thus affording another practical proof how weak the untrained finger-joints are4 ,this is also an excellent exercise for the thumb1 provided it is made slowly and vigorously4 ,it may also be made with outstretched fingers4 ,i again repeat that no one who has not already tried the above or similar exercises of the fingers1 will be able vigorously to continue them for even so short a time as three minutes without experiencing painful fatigue4 ,and why8 ,because1 as ,i have demonstrated before1 the joints of the fingers and wrists are1 in the ordinary occupations of life1 the least of all exercised1 and consequently the weakest1 in comparison with what they have afterwards to perform4 ,after this experience people will1 in future1 hardly venture to teach and to continue the exercise of an art like music 7which1 from a muscular point of view1 is the most difficult of all71 with muscles the weakest and least trained1 without having previously prepared them by proper gymnastic exercises4 ,fourth movement4 ,illustration3 ,fig4 #aa4 ,illustration3 ,fig4 #ab4 ,the last free exercise for the finger-joints1 which ,i will recommend here 7#aa and #ab71 consists in moving all the fingers and the thumb simultaneously together1 that is to say1 in stretching them far away from one another1 like claws1 and making all sorts of eccentric movements in whatever direction you please1 and as long as you like or are able1 but always vigorously4 ,,chapter ,x4 ,,free ,,gymnastic ,,exercises ,,for ,,the ,,thumb4 ,although it is not easy to prescribe complete gymnastic exercises for the thumb1 the following1 if made vigorously1 will1 nevertheless1 be found very effective4 ,first movement4 ,illustration3 ,fig4 #ac4 ,illustration3 ,fig4 #ad4 ,stretch the fingers as far as possible away from one another1 then press the hand firmly together1 the thumb being held fast in the cavity of the hand2 continue for a moment in this position1 and then repeat the same movement1 alternately opening and closing the hand4 ,second movement4 ,illustration3 ,fig4 #ae4 ,hold the fingers close together1 stretch out the thumb1 and then perform with the latter a circular movement inside the hand1 first #bj times to the right1 then #bj times to the left3 to be repeated again and again4 ,third movement4 ,illustration3 ,fig4 #af4 ,take hold of the thumb of the one hand with the fingers of the other1 or with the whole hand1 and shake it or bend it to its root1 without1 however1 overdoing either4 ,in short1 perform every day some exercise with the thumb1 whereby it will be sufficiently brought into exercise4 ,,chapter ,,xi4 ,,free ,,gymnastic ,,exercises ,,for ,,the ,,wrist4#f ,first movement4 ,illustration3 ,fig4 #ag4 ,illustration3 ,fig4 #ah4 ,move the wrist1 without moving the arm or elbow1 vigorously up and down in a perpendicular direction1 from #bj to #dj times1 first slowly1 then more quickly2 finally1 as quick as possible4 ,in doing so1 let the elbows rest close to the body1 so as to bring both hands and wrists into the proper position4 ,as soon as you are tired1 leave off4 ,second movement4 ,illustration3 ,fig4 #ai4 ,illustration3 ,fig4 #bj4 ,move the hand horizontally or vertically without moving the arm4 ,to understand the practical utility of this exercise 7#ai1 #bj71 it ought to be borne in mind that the entire action of the wrist is effected by two principal joints1 one of which1 the smaller of the two1 lies at the root of the hand1 and is called the 8joint of the hand10 by means of which it becomes possible to move the hand1 independently of the arm1 at its root4 ,the other joint1 the larger of the two1 rises from the elbow1 and is called the rotatory joint of the forearm4 ,holding1 then1 all the five fingers close together1 move the smaller joint perpendicularly or horizontally1 as you please1 without in any way moving the arm1 and at the same time holding the elbow close to the body4 ,third movement4 ,illustration3 ,fig4 #ba4 ,illustration3 ,fig4 #bb4 ,move the wrist in a slanting direction right and left1 as above1 first slowly1 then quicker and quicker4 ,hold the elbows as before4 ,by this movement1 both the joints mentioned above will be put into action1 #ba1 #bb4 ,illustration3 ,fourth movement4 ,fig #bc4 ,the young violinist1 who generally finds the sideways movement of the wrist of the right hand so difficult1 will derive great advantage from all these wrist exercises4 ,holding your arm quite still1 move the free hand or fist vigorously round in a circle1 #bj times to the right1 and #bj times to the left1 first slowly1 then more quickly4 ,by this exercise all the muscles of the hand and the arm will be put into motion1 and though the most difficult of all1 this is at the same time one of the most important exercises4 ,all these several free movements of the hand and fingers may be repeated many times1 with advantage2 still by simply performing them1 short though they be1 daily and regularly1 the prescribed time only1 the desired end of strengthening the muscles of the fingers and wrists1 and rendering them vigorous and flexible1 will be surely attained4 ,i could mention some other free exercises of the fingers2 but since they are neither so practical nor so effective as those ,i have already described1 ,i prefer to omit them4 ,,footnotes3 #f ,one or two of these exercises may possibly have been mentioned in some former work4 ,,chapter ,,xii4 ,,mechanical ,,finger-,,exercises4 ,first movement4 ,illustration3 ,fig4 #bd4 ,illustration3 ,fig4 #be4 ,take for each hand three cylinders1 three quarters of an inch long1 and from half to one inch in diameter1 according to the size of the fingers2 place them between the upper ends of the fingers1 and while gradually and conveniently extending the muscles1 by bending the fingers1 move the latter as shown by the above figures1 #bd and #be4 ,second movement4 ,illustration3 ,fig4 #bf4 ,illustration3 ,fig4 #bg4 ,move the cylinders further down1 to the roots of the fingers1 and perform the exercises according to ,figs4 #bf and #bg4 ,in doing this1 put a small round piece of wood between the thumb and the forefinger1 at a distance sufficient to extend the former as much as possible4 ,leaving the other fingers as before1 put a large cylinder between the thumb and forefinger 7#bh and #bi71 so as to entirely fill up the intervening space4 ,in doing this1 be careful to extend the thumb as much as possible4 ,in case the tension of the fingers is small1 take smaller cylinders3 or if the latter should be too hard for tender hands1 cover them with some soft substance1 such as velvet1 or the like4 ,illustration3 ,third movement4 ,fig4 #bh4 ,fig4 #bi4 99 99 99 99 99 ,perform all these exercises vigorously1 and1 if possible1 just before practising the musical instrument1 twice or three times daily1 each time for a few minutes1 especially in the morning1 on getting up4 ,as a matter of course1 after eight or #aj hours rest1 the muscles of the fingers and wrist1 like those of the rest of the body1 are somewhat stiff1 and ought to be prepared by proper gymnastic exercises1 before beginning to play4 ,besides1 provided over-exertion be avoided1 there is not1 according to the best medical authorities1 the least danger to be apprehended1 from these exercises1 for the joints and muscles of even the very smallest hands4 ,if players of the piano and the violin should object that1 in the act of playing1 the fingers need not be as much extended as prescribed here1 or assert that the finger-exercises1 scales1 and tudes as at present used are perfectly sufficient1 and that nothing more is wanted1 ,i can only repeat1 that the fingers must be prepared in order to render them strong and flexible2 that1 for this purpose1 it is necessary to exercise them gymnastically1 and that1 as ,i have explained before1 these preparatory exercises will save much time and trouble1 and facilitate the work of both teachers and pupils2 further--that1 by the diligent practice of these gymnastics1 the fingers become elastic and independent of each other2 you acquire thereby complete control over them1 and when you have done this1 you can move them and do with them as you will4 ,,another ,,most ,,effective mode of stretching and loosening the tendons and ligaments which encompass the large middle-hand bones1 or 8knuckles10 may be performed as follows3 ,place the forefinger of each hand1 up to the middle joint1 firmly on the table1 and in that position press it up and down with a certain degree of force1 for a few seconds2 then withdraw it1 and apply the next finger in a precisely similar manner2 then the two other fingers in succession1 each finger remaining on the table alone1 unaccompanied by any other4 ,afterwards apply the #bnd and #dth together1 exactly in the same way1 for a few seconds2 then the #crd and #eth2 lastly the thumb4 ,the pupil may do this many times a day with great advantage2 for by this process the ligaments and tendons of the knuckles are stretched and loosened1 and the muscles are set free4 ,of course always with due moderation4 ,,another ,,very ,,important exercise1 bearing chiefly on the tendons and ligaments of the large metacarpal joints or knuckles1 is the following3 ,with the thumb and forefinger of the one hand take hold of one finger of the other hand1 and shake it up and down1 for one minute1 to its root4 ,then take the other fingers in succession in like manner4 ,to be applied equally to both hands1 and to be done1 especially with the #dth and #eth fingers separately1 as often as leisure permits4 99 99 99 99 99 ,to this category belongs also ,,another ,,exercise of the metacarpal joints or knuckles4 ,into the palm of one outstretched hand place the closed fingers or fist of the other3 then open and close the latter as fast and as long a time as is agreeable1 always continuing to press upon the palm4 ,change hands and repeat4 ,ever remember that the difficulties of bringing the fingers into order lie1 physiologically1 almost all in the middle-hand bones or knuckles2 and as the five preceding exercises1--and especially the three last1--act in a very efficient and special manner upon the ligaments1 tendons1 and muscles of these and the other joints of the fingers1 they cannot be made too often4 ,,chapter ,,xiii4 ,,mechanical ,,finger-,,exercises 7,,continued74 ,it is not sufficient to play the ordinary finger-exercises and scales4 ,as has been shown in the opening chapters1 and in the anatomical representations of the hand1 all the fingers are not equally strong2 for instance1 the #dth and #eth fingers are1 by nature1 much weaker than the others1 and it is necessary to remedy this inequality4 ,each finger ought1 therefore1 to have gymnastic exercises for itself1 and they ought to be performed on some solid body1 which can be firmly grasped4 ,for this purpose take a round staff1 from #ab to #ah inches long1 and half to three quarters of an inch thick1 on which1 at a proper distance from one another1 round indentations are made1 and into which the fingers are to be placed after the manner illustrated in the adjoining and following figures4 ,illustration3 ,the staff ,directions4 ,place the thumb of each hand on one side1 and the four fingers very firmly fixed on the other side of the staff2 raise one finger as high as possible1 and let it fall down vigorously1 like a hammer1 #bj times in succession1 while the three remaining fingers1 stretched out from one another1 like claws1 remain immoveable4 ,in the same way exercise the other fingers2 firmly1 slowly1 vigorously1 and immediately after the cylinder exercises just described4 ,repeat this three times daily1 each time for five minutes1 altogether for #ae minutes a day1 but the oftener it be done the better4 ,those playing the piano need not confine themselves to one particular exercise1 but may make use of all the figures at pleasure4 ,illustration3 ,fig4 #cb4 ,fig4 #ca4 ,illustration3 ,fig4 #cc4 ,the fingers of the left hand may also be trained for violin playing1 as seen in ,fig4 #ce4 ,illustration3 ,fig4 #ce4 ,further upon the same4 ,after the cylinders1 by far the most effective of all means for imparting1 gymnastically1 strength and flexibility to the fingers1 together with evenness of vigour1 individuality1 and independence1 is1 daily1 in the room1 or while walking1 to take the above-named staff1 or1 indeed1 a smooth round stick of #ah inches long1 and half to three quarters of an inch thick1 or an ordinary walking-stick1 and to perform on it as follows--,with the four fingers of one or both hands firmly pressed and stretched upon it1 raise one finger as high as possible1 and1 as above stated1 let it fall down upon it vigorously1 like a hammer1 while the other fingers remain firmly pressed on the stick1 #bj to #cj times in succession1 then in couplets with the #eth and #dth fingers1 then with the #dth and #crd1 then with the #crd and #bnd1 #bj times each1 the two fingers1 in all cases1 as stated1 lifted as high as possible1 and the others remaining1 stretched at even distances1 firm upon the staff2 finally1 with the four fingers of each hand1 #ab times ascending1 and #ab times descending1 but always ,,slowly1 energetically1 with firm pressure1 8and in time40 ,you may occasionally practise a little faster1 but it must be the exception4 ,slow moving1 pressing1 and stretching should from the chief gymnastic rule4#g ,in a similar manner you may practise1 slowly and with energy1 with one or with both hands1 all sorts of difficult1 muscular movements and passages upon the staff1 for example3-- ,first series4 ,in couplets #bj to #cj times each in succession1 with the #bnd and #dth fingers1 alternating1 afterwards1 with the #dth and #bnd2 then with the #crd and #eth fingers1 alternating with the #eth and #crd2 in each case the two fingers stretched wide apart1 and the other fingers pressed upon the staff4 ,second series4 ,in couplets #bj to #cj times each in succession1 with the #bnd and #crd fingers1 first close together1 then wide apart1 afterwards alternating in the same way1 with the #crd and #bnd4 ,with the #crd and #dth fingers first close together1 then wide apart1 afterwards alternating1 in the same way1 with the #dth and #crd4 ,with the #dth and #eth fingers1 first close together1 then wide apart1 afterwards alternating in the same way1 with the #eth and #dth4 ,in each case slowly1 the two fingers lifted as high as is convenient1 #bj to #cj times in succession1 and the other fingers remaining firmly fixed upon the staff4 ,lastly1 all the four fingers together1 in each of these varied and different directions4 ,the number of times of each movement1 and the duration of time1 also whether all should be made at the same hour1 or otherwise1 is left to the discretion of the teacher and pupil4 ,i would recommend1 at first1 the selection of three or four modes or exercises for persistent practice1 to last over a given period of time1 then to change to others4 ,but the regular exercise of the whole or part of them1 daily1 will1 in a comparatively short time1 most surely impart immense strength to1 and render flexible1 the muscles and joints of the fingers2 will enable you1 if the directions be duly followed1 to effect for yourself perfectly equal and even fingering1 and render the fingers entirely independent one of another4 ,but let all be done with due moderation1 and not driven to excess4 ,this gymnastic staff1 or walking-stick exercise1 however simple it may appear1 should1 on no account1 any single day be omitted4 ,it produces a most surprising effect if carefully and vigorously made2 an effect which will be the more remarkable in proportion as the fingers are pressed and stretched far away from one another4 ,by this means all the various muscles1 and even the tendons1 joints1 and ligaments are put into motion1 and both fingers and nerves are rendered strong and firm4 ,besides1 no time need be lost2 as in performing these exercises you may converse or engage in other occupations4#h ,in this manner1 also1 the #dth finger may have a special training1 and become equally strong with the others4 ,this finger is1 on physiological grounds1 the weakest of all1 and after a number of vain attempts at remedying its well-known weakness1 some physiologists of note in ,germany1 have gone so far as to suggest the idea whether it would not be well to cut the ligament joining the two fingers1 in order to set the #dth finger free4 ,but it is unnecessary to have recourse to such rude and unnatural measures2 the natural weakness of the #dth finger may be effectually remedied1 and may be entirely overcome1 by the above exercises4 ,the same exercises1 if performed strictly according to the directions given above1 are extremely useful for all the fingers1 which they will render both strong and flexible4 ,these exercises may be partially performed on musical instruments2 but they are far more effective if made gymnastically1 as directed1 because the fingers1 in having a resting point1 or lever1 and having something firm to grasp1 are enabled to perform them gymnastically4 ,,footnotes3 #g ,the late ,mr ,clementi was celebrated for the perfect evenness and beauty of his touch in playing rapid passages on the piano4 ,the means by which he attained this execution he was unwilling to disclose4 ,it is now known that he effected it by playing his scales ,,very ,,slowly1 and with great pressure of each individual finger 7see page #if74 #h ,the celebrated violinist1 ,bernard ,molique1 told me lately1 in ,london1 that when he was called on to play difficult solo pieces in public1 he very often played them previously over upon a stick4 ,,chapter ,,xiv4 ,,mechanical ,,finger-,,exercises 7,,continued74 ,moreover1 beautiful works of art1 like pianofortes1 violins1 and other musical instruments1 ought not to be used as gymnastic implements4 ,they are destined for play1 not for gymnastic appliances4 ,the fingers and joints ought1 therefore1 first to be gymnastically exercised2 then play upon the instrument4 ,the head and the fingers ought to go together2 but how is this possible if the latter remain behind8 ,the mind strives forward1 the fingers keep it back4 ,why should this torture be inflicted8 ,no2 let the fingers first be properly trained2 then head and fingers will go harmoniously together4 ,another great advantage attending the above exercises is1 that so long as they last1 the organs of hearing are spared4 ,many persons1 who zealously and with endurance perform finger-exercises on musical instruments1 injure their health1 through the irritation of the auditory nerves1 to such a degree1 as either to be prevented1 on medical authority1 from continuing to practise1 or otherwise to be subjected to serious consequences2 whereas1 if the exercises are preceded by the gymnastic movements given above1 the hearing organs of the pupil will be greatly spared1 and not injured in any way4 ,the greatest technical art consists in controlling alike the fingers1 the joints1 and the nerves4 ,now1 if the muscles and tendons are exercised and strengthened by proper physical work1 the nerves will be invigorated at the same time4 ,this is a well-known fact1 and for those engaged in musical pursuits1 an advantage which it is impossible to overrate4 ,the fingers then will not be fatigued as easily as before1 and you learn at the same time by habit1 to acquire complete control over the joints1 the muscles1 and nerves4 ,nor ought another advantage to be overlooked2 viz41 that in regard to artists and persons who play well1 when these travel1 or from any other cause are prevented from playing for some time on a musical instrument1 they will be enabled1 in the manner described above1 to exercise efficiently for a short time daily their fingers and joints4 ,thus the fingers and joints will not get stiff1 and you will always remain their master4 ,however1 to attain this end1 the exercises on the stick ought not be performed carelessly1 but gymnastically1 and ,,strictly according to the directions given above4 ,the same exercises are very useful for persons playing the violin1 by promoting the proper bending of the forefinger of the left hand4 ,generally speaking1 the whole of the above exercises are equally fit for all persons playing the piano1 the organ1 the violin1 the violoncello1 and other instruments2 and they will find1 after having accustomed themselves to perform them vigorously and gymnastically for a short time daily1 that they then come to the instrument with a strength and individuality of finger which will exceed their utmost expectations4 ,,chapter ,,xv4 ,,board ,,for ,,stretching ,,the ,,muscles1 ,,especially ,,those ,,of ,,the ,,thumb ,,and ,,the ,,little ,,finger4 ,take a board1 about #bb inches long1 four to five inches wide1 and three quarters of an inch thick1 and mark out on it four or five grooves1 about half an inch deep4 ,to fix this board on the table1 have a little ledge glued on to one of its sides1 as in ,fig4 #cf and #cg4 ,place the outstretched hand on the board2 stretch the thumb and the little finger as far as possible away from one another1 into one of the grooves1 place the other fingers into one of the other grooves1 and set them in motion1 while holding the thumb and little finger firmly in their places4 ,illustration3 ,fig4 #cf4 ,fig4 #cg4 ,,chapter ,,xvi4 ,,on ,,stringed ,,instruments ,,in ,,particular4 ,,the ,,wrist ,,of ,,the ,,right ,,hand4 ,the following mechanical gymnastic exercises refer to the wrist of the right hand1 and are intended for players on stringed instruments4 ,their chief purpose is to render the wrist of the right hand and the forearm strong and flexible4 ,this all students find very difficult2 it will soon be evident for what reason4 ,it is a fact acknowledged by the most celebrated musicians1 that the principal bowing difficulties in playing the violin arise from the wrist4 ,this is chiefly owing to the circumstance that1 in playing the violin1 the movement sideways of the wrist is a peculiar one1 being1 in fact1 totally different from any other movements taking place in the ordinary occupations of life4 ,if1 therefore1 it be desired to diminish the painful work1 as customary at present1 it is indispensable to prepare the wrist and arm by exercises like those we are about to describe4 ,take three times daily1 and particularly early in the morning1 a stick or cane exceeding the length of a violin bow by #h-aj inches1 holding it in your right hand the same as a bow2 lay it on the left hand1--which is to be raised to the same height as if playing the violin or violoncello1--and move it vigorously up and down as follows3 #a4 ,the entire length1 #cj times2 #b4 ,the middle length2 with the forearm and wrist only1 without moving the upper arm1 #cj-dj times2 #c4 ,at the nutt2 with the wrist alone1--and especially up-stroke1--with energy2 without in the least moving the arm1 #cj-dj times2 #d4 ,at the extreme head-end2 with the wrist alone1 and with pressure2 without in the least moving the arm1 #cj-dj times4 ,move the cane alternately up and down1 pressing it with the thumb and forefinger1 and look at the direction of the wrist and the stick or cane4 ,with this gymnastic cane you may exercise gymnastically1 at pleasure1 up and down strokes1 triplets1 and all sorts of bow-movements4 ,the effect you will find surprising4 ,these exercises are particularly useful for the student4 ,as a matter of course1 they can also be partially made with the bow1 but not with the same effect4 ,,chapter ,,xvii4 7,,continued74 ,there is another very effective gymnastic exercise for strengthening and rendering flexible the wrist of the right hand4 ,a movement resembling it has already been described above1 but to prevent any misconception1 ,i think it well to give explicit directions respecting it here4 ,take hold with your right hand of the extreme end of a long and rather heavy ,alpenstock1 and while continually keeping the hand in the same place1 move it upon the upheld left hand vigorously up and down3 #a4 ,with the whole arm1 #cj times2 #b4 ,the middle length1 #be times2 #c4 ,as near as possible to the lower end1 with the wrist alone1 without in any way moving the arm1 #cj times2 #d4 ,as near as possible to the upper end1 with the wrist alone1 and especially up-stroke1 without in any way moving the arm1 #cj times4 ,this exercise1 on anatomical grounds1 produces a considerable effect on the muscles and sinews of the wrist and the forearm1 in imparting to them the wished-for strength and flexibility4 ,besides1 it is a well-known fact that1 having handled a heavy object1 it is more easy skilfully to handle a lighter one4 ,if it should be objected that the last-mentioned gymnastic exercises1 being of rather a rough kind1 might spoil the elegant stroke1 my answer is1 that those so-called rough exercises only last a very short time daily1 and are undertaken for the special purpose of rendering the arm and wrist strong1 easy1 even1 and flexible4 ,indeed1 if these right-hand exercises are made carefully and according to the directions given1 a short time every day1 they will strengthen the wrist of the right hand and render it pliant and flexible to such a degree1 as to enable persons1 in a comparatively short time1 to play with the wrist almost as vigorously as with the arm4 ,there is1 moreover1 another advantage attending these exercises1 viz41 that1 if continued for some weeks only1 and for a few minutes daily1 they will soon give the proper position to the student's arm1 which1 consequently1 will not be required to be tied to the body1 as was often done in former times4 ,,chapter ,,xviii4 ,,continuation4 ,,staccato4 ,a famous ,german chamber violinist once remarked to me1 8,i find that staccato playing is the best exercise for bowing1 but ,i can't say why40 ,the reason1 however1 lies in the fact that1 by frequently playing with the end of the bow1 or with the staccato-stroke1 the muscles of the wrist are put in motion1 thus undergoing a gymnastic training by which strength and flexibility are acquired4 ,it is impossible to perform the staccato-stroke well1 unless the muscles of the wrist have become strong and agile2 and the reason why the student finds this stroke in most cases so difficult is1 that the wrist has not been specially trained and prepared1 in consequence of which it remains weak and stiff4 ,it ought to be remembered that in almost all kinds of handiwork in daily life1 the whole arm is active and in motion1 and very rarely the wrist alone4 ,with musical instruments1 on the contrary1 and particularly in playing the violin1 it is necessary always to use the wrist1 and it is impossible to play well unless the wrist has been rendered strong and elastic4 ,it is1 therefore1 absolutely indispensable that proper gymnastic exercises should be made with the wrist1 in order to prepare it4 ,the wrist1 indeed1 ought to be accustomed1 in other words1 to move of itself1 and the student ought1 as often as possible1 to perform all kinds of movements calculated to impart to it pliancy and strength4 ,it will then soon become free and easy1 and the student will1 in course of time1 acquire the strongest1 most elegant1 and artistic stroke4 ,no single one of these practical gymnastic exercises ought to be despised on account of its simplicity4 ,only try them1 and they will be found very effective4 ,all sensible artists and teachers will do homage to every improvement1 and consider it their duty to welcome any assistance calculated to diminish and render lighter the arduous toil1 and shorten the valuable time required for becoming a proficient in music4 ,,chapter ,,xix4 ,,concluding ,,remarks4 ,i will only add in conclusion1 that it would be well not to continue too long with the same gymnastic exercise1 but to allow the muscles and joints some change1 which will be found both agreeable and advantageous4 ,if1 therefore1 the student be tired of one exercise1 he should begin another4 ,besides1 if the fingers are fatigued and hot by playing1 and the nerves irritated1 an exercise of some of the different free or mechanical gymnastic appliances will refresh the muscles1 by imparting to them a new and an easier movement4 ,and be it remembered1 8these exercises are not irksome1 but recreative40 ,it may also be recommended in such cases1 to dip the points of the fingers for half a minute into half a glassful of cold water1 and let them get dry of themselves1 thus cooling by evaporation2 or still better1 wash the hands with soap and water4 ,to sum up3 ,no student ought to begin to learn or to play the piano1 violin1 or other musical instrument1 or even to engage in any work or occupation requiring a strong and flexible hand1 before having set the joints of his fingers and hands in order1 by means of preparatory gymnastic exercises2 and he ought to continue the same from day to day4 ,let it ever be borne in mind that much rapid playing affects injuriously the muscles and nerves2 while1 on the other hand1 slow exercises and studies invigorate them4 ,to borrow an illustration from the animal world2 take the race-horse1 the fleetest animal which we use in this country1 whose great task requires that his muscle should be brought into the highest condition of strength and flexibility4 ,do you suppose that1 in training and preparing him for the race1--a process often extending over a considerable period1--that he is1 in the course of it1 much galloped8 ,by no means6 ,galloping forms the exception1 and1 during this long interval1 walking1 trotting1 and cantering form his chief training paces2 namely1 four-fifths or seven-eighths of the time2 galloping only one-fifth or one-eighth part6 ,his skilful trainer knows that much rapid exertion1 such as galloping long continued1 weakens and wears out his muscle4 ,so1 also1 in the hunting-field and on the road1 it is 8the pace that kills40 ,even so with the player upon a musical instrument2 long continued1 rapid movements wear out the muscle and shake the nerves1 while slow exercises1 however vigorously executed1 invigorate and strengthen both 7see p4 #ge1 note74 ,the exercises for stringed instruments will be most satisfactorily performed before a looking-glass1 and ,i may here add that a little work by the author1 entitled 8,gymnastic ,exercises for the ,violin and ,violoncello10 having for its special object the exercise of the wrist of the right hand on the instrument1 will be published in a short time4 99 99 99 99 99 ,and here ,i avail myself of this opportunity to raise a question for consideration regarding that part of the violin-bow which the right thumb presses4 ,let me ask1 first1 why should this little sharp projection be permitted to appear on every bow1 to the prejudice of the placing firmly the thumb there1 instead of being rounded off8 and secondly1 why should there not be placed1 close to this point1 especially for students1 a small piece of round gutta percha--a gutta percha button--as a stay to the thumb8 ,great facility would thus be afforded for holding firmly the bow4 ,any one may put a piece of gutta percha in the candle1 and1 when softened1 stick it fast on the place indicated4 ,finally1 ,i repeat that1 in performing any of these gymnastic exercises1 the principal condition to be adhered to is1 that they should always be made in the morning1 also immediately before playing2 and that while great vigour is imparted to them by following out strictly the directions given1 any over-exertion should be avoided4 ,as to the claims of the author himself1 they are limited to an earnest desire1 that his 8,gymnastics of the ,fingers and ,wrist10 founded as they are on anatomical and physiological principles1 may find favour with the ,public1 and be instrumental in promoting the best interests of ,art4 ,,the ,,end4 ,,john ,,childs ,,and ,,son1 ,,printers4 ,,testimonials4 ,from ,,prescott ,,hewett1 ,f4,r4,c4,s41 ,surgeon to ,st ,george's ,hospital1 late ,professor of ,anatomy to ,r4,c4,s4 ,aug4 #bhth1 #ahfe4 8,having carefully examined the gymnastic exercises invented by ,mr ,edwin ,ward ,jackson for the due working of the fingers and hand1 ,i have great pleasure in stating that ,i believe that such exercises will be of the greatest use1 not only to musicians1 but to every one who wishes to possess a perfectly free use of his hands4 ,the power and the freedom obtainable by exercises such as these have been little thought of2 but from what ,i have seen1 ,i feel confident that ,mr ,jackson's exercises1 if rightly used1 are destined to make the hand much more perfect for all its purposes than it really is40 99 99 99 99 99 ,from ,,luther ,,holden1 ,f4,r4,c4,s41 ,senior ,lecturer on ,anatomy at ,bartholomew's ,hospital4 ,aug4 #bhth1 #ahfe4 ,since our last interview ,i have often thought and talked about the practical effect of your #8,gymnastic exercises for the ,fingers4' ,on anatomical and physiological grounds1 it is quite certain that these exercises are admirably calculated to liberate the ligaments of the fingers1 and to give a freer play and increased vigour to those muscles upon which many of the varied and more independent movements of the fingers depend4 8,i have no doubt whatever that such exercises will be of the greatest service in educating the fingers of musicians1 and thereby save them a great deal of time and trouble40 99 99 99 99 99 ,from ,,richard ,,quain1 ,f4,r4,s41 ,professor of ,chemical ,surgery in ,university ,college2 ,surgeon ,extraordinary to the ,queen4 ,august #bnd1 #ahfe4 ,i write to you upon the important facts you were good enough to communicate to me to-day1 and to explain how they may be accounted for scientifically4 ,your proposal to exercise the hand and fingers1 and your plan of systematically carrying out the proposal so as to be beneficial to musicians1 are both new to me4 ,judging on principle1 and from a knowledge of what occurs in other parts of the body1 ,i have no doubt that the system must be useful1 for it will give increased mobility to the fingers and increased development and power to the small muscles--,lumbricales 7the musculi fidicinales of ,cowper71 and metacarpal interosseous1 as well as indeed to the general flexors and extensors of the hand4 ,in short1 the exercises you propose will be to the hand and fingers what the ordinary gymnastic exercises are to the rest of the limbs4 ,the result will be useful wherever the free play and vigour of the fingers are needed2 would therefore1 ,i anticipate1 be especially advantageous to musicians1 and ,i am inclined to add to painters and to writers also40 444 99 99 99 99 99 ,from ,,erasmus ,,wilson1 ,f4,r4,s4 8,on carefully thinking over your demonstration of gymnastic exercises as applied to the hand1 ,i can see in it only good2 it is ingenious1 practical1 and physiological1 and eminently adapted for the purpose to which you propose to adopt it2 namely1 the manipulation of the strings and keys of musical instruments4 ,i am glad to hear that you intend to give your labours to the public very shortly4444 ,i see no possible inconvenience1 much less danger1 in the process40 99 99 99 99 99 ,from ,,dr ,,virchow1 ,professor of pathological ,anatomy1 ,berlin4 ,june #crd4 ,,translation4 8,the exposition of your proposed ,gymnastics for the regular exercise of those portions of the body which are used most partially1 namely1 the fingers1 deserves1 assuredly1 a great and practical recognition4 ,they are addressed1 according to my opinion1 to a real want or hiatus4 ,not only will they very naturally serve as a special preparation for musical objects1 but also for a like participation of the muscle-groups of the forearm and the hand1 which1 in all the usual labours of daily life1 are only very partially brought into action4 ,in the case of men who only write1 and women who sew1 or do other fine work1 the great disadvantages arising from the special pressure in individual groups of muscles will be altogether avoided2 and ,i regard it as extremely probable that your gymnastics will diminish or entirely remove many disorders1 such as writing-cramp1 contortions1 c40 99 99 99 99 99 ,official extract from the books of the ,,society ,,of ,,physicians ,,at ,,berlin of the ,meeting held by them1 ,june #fth4 ,president--,,dr ,,berend1 ,member of the ,royal ,privy ,council1 and ,director of the ,gymnastic-orthopedic ,institution1 ,berlin4 ,secretary--,,dr ,,gumbinner4 8,mr ,jackson from ,england delivered a lecture upon gymnastics of the fingers and wrist4 ,the fatigue which immediately attended the playing on the violin late in life1 incident even to a person strong and athletic in all other respects1 led him to the discovery1 after lengthened investigations1 first1 that the fingers are the least exercised of all the active muscles of the human body2 secondly1 that they are thereby1 on physiological grounds1 also the weakest2 and thirdly1 as he afterwards on minute investigation found out1 that the finger-muscles are almost the only active muscles in the frame to which a properly constituted system of gymnastics had never been applied4 ,he discovered that the cause of this fatigue lies in the want of finger-training2 and the lecturer explained1 and adduced proof1 that the muscles1 hitherto constrained in their movements by tight transverse ligaments1 are instantaneously set free by gymnastic stretching applications to those ligaments4 ,the society expressed itself entirely in accord with the theory as well as the practice which the lecturer adduced2 they desired to add that both the one and the other are entirely new to them1 and to express a belief that the same will be introduced into every school in ,germany as soon as they shall be made known4 8,in expressing their best thanks to ,mr ,jackson for his most interesting discourse1 the society desire to record the fact1 which the lecturer in soliciting their indulgence stated1 that he had commenced the study of the ,german language for the first time at a late period of life1 namely1 at the age of #eb years1 exactly six years ago2 nevertheless the lecturer seems to have mastered its great difficulties1 and has delivered gratuitously this and many other lectures extempore in excellent ,german1 an achievement which the society believes to be without precedent40 ,expressions of marked approval have also been received from ,w4 ,,fergusson1 ,f4,r4,s41 ,surgeon ,extraordinary to the ,queen1 ,,professor ,r4 ,,owen1 ,f4,r4,s41 ,d4,c4,l41 ,british ,museum1 ,,dr ,,joseph ,,hirth1 ,professor of ,anatomy1 ,vienna1 and other distinguished persons4 99 99 99 99 99 ,from ,,john ,,hullah1 ,professor of ,music in ,king's ,college and in ,queen's ,college2 ,organist of ,charterhouse1 c41 c4 ,july #bgth1 #ahfe4 ,mr ,edwin ,w4 ,jackson has called attention to an anatomical fact which is likely to prove of great importance to students of instrumental music2 and the apparatus and course of exercises by which he proposes to turn the knowledge of this fact to account seem well calculated for the attainment of the object he has in view--that of increasing the strength1 pliability1 and expansiveness of the hand40 99 99 99 99 99 ,from ,e4 ,f4 ,,rimbault1 ,,ll4,d41 ,f4,s4,a41 ,member of the ,royal ,academy of ,music in ,stockholm2 ,musical ,examiner in the ,royal ,college of ,preceptors1 ,london1 c41 c4 8,mr ,e4 ,ward ,jackson's discovery is of the highest importance to all performers on musical instruments requiring the use of the fingers4 ,several attempts have been made1 at different times1 to construct apparatus which would give strength and elasticity to these important members of the hand2 but they have all signally failed4 ,mr ,jackson has been the first to consider the subject philosophically and anatomically4 ,his discovery will form an era in the progress of the manipulation of the art40 99 99 99 99 99 ,from ,,jules ,,benedict1 ,pianist4 ,july #bbnd1 #ahfe4 8,i believe that ,mr ,jackson's simple but ingenious contrivance will be highly beneficial for the musical student1 and contribute to the clearness of touch and independence of the fingers4 ,experiments on a large scale1 and in schools where music is taught1 would still more contribute to acquaint the public with his clever and useful invention40 99 99 99 99 99 ,from ,,professor ,,wyld1 ,mus4 ,doc41 ,cantab42 ,professor of ,music in ,gresham ,college4 ,july #bcrd1 #ahfe4 8,many thanks for sending me your pamphlet1 which ,i have read very carefully4 ,it has interested me very much1 and ,i have no doubt of the practical excellence of your discovery40 99 99 99 99 99 ,from ,,prosper ,,sainton1 ,leader of the ,royal ,italian ,opera2 of the ,sacred ,harmonic ,society2 of the ,musical ,society of ,london2 and of the ,new ,philharmonic ,society4 ,aug4 #eth1 #ahfe4 8,i have great pleasure in adding my testimony to that given to you by so many artists4 ,i congratulate you upon your invention1 which ,i am certain will be of great utility to pupils of the violin1 in giving to their fingers strength and elasticity40 99 99 99 99 99 ,from ,,walter ,,macfarren1 ,professor of ,pianoforte in the ,royal ,academy of ,music4 ,july #bhth1 #ahfe4 8,mr4 ,edwin ,w4 ,jackson has done me the favour to explain to me his new system of gymnastics for the fingers1 and ,i have no hesitation in stating that in my opinion it is calculated to obtain1 by the simplest means1 the independence of wrist and flexibility of finger essential to the pianist1 or indeed to the performer on any keyed instrument4 ,i consider that the introduction of this system would be of great value to both professor and pupil in schools and conservatories where music is studied40 99 99 99 99 99 ,from ,,jos4 ,,joachim1 ,violinist4 8,i must1 on reflection1 admit that the gymnastics for the fingers which you suggest must1 by proper application of the same1 contribute greatly to strengthen and render pliant the finger-joints40 99 99 99 99 99 ,from ,,professor ,,moscheles4 8,your very ingenious discovery that the necessary strength and flexibility of the fingers for pianoforte and violin-playing can be effected by means of cylinders placed between the fingers and other appliances1 must prove to be of great use40 99 99 99 99 99 ,from ,,dr ,h4 ,h4 ,,pierson1 ,professor of ,music1 ,edinburgh4 ,many thanks for your staff1 which is an excellent idea1 and a very useful invention1 as well as the cylinders4 ,the advice contained in your #8,finger und ,handgelenk ,gymnastik1' together with the set of regulations there laid down1 is of eminent value1 if properly attended to1 as a means of preparing the fingers and wrists for playing the piano1 violin1 c41 and for rendering them strong and flexible1 the two indispensable requisites4 ,i particularly admire the extreme simplicity of all your inventions1 which really remind one of the #8,egg of ,columbus1' and ,i should not be surprised if your ideas 7so disinterestedly offered to the public7 were to introduce a new era in the study of the pianoforte and stringed instruments4 ,they must also be of signal service to organists1 to whom ,i should specially recommend your apparatus40 99 99 99 99 99 ,from ,,herrn ,,lauterbach1 ,violinist4 8,being always very much in favour of gymnastics of all kinds1 ,i hasten to inform you that your discovery relating thereto has interested me very much1 and ,i am satisfied that great good will arise from it40 99 99 99 99 99 ,from ,,henry ,,blagrove1 ,professor of the ,royal ,academy of ,music2 ,leader of the ,philharmonic ,society2 of the ,musical ,society of ,london41 c41 c4 ,july #bbnd1 #ahfe4 8,on perusal of your ,,ms4 relative to the development of the muscles of the hands1 c41 as applied to musicians1 ,i have great pleasure in offering you my testimony to its being a valuable adjunct to musical tuition where mechanical action is required1 such as for the piano1 or violin and violoncello4 ,i think it shortens the usual routine of practising to gain strength1 and will give at once freedom and force to the hand1 fingers1 arm1 c40 99 99 99 99 99 ,from ,j4 ,t4 ,,carrodus1 ,leader of ,her ,majesty's ,theatre4 ,july #bcrd1 #ahfe4 8,i am convinced that ,mr ,jackson's invention for the development of the muscles of the fingers and hand will be of great value to musical students40 99 99 99 99 99 ,from ,e4 ,,aguilar1 ,pianist4 ,july #bbnd1 #ahfe4 8,i consider ,mr ,ward ,jackson's system for the fingers remarkable for its simplicity1 ingenuity1 and efficacy4 ,i believe that its universal adoption must materially benefit and assist all who cultivate instrumental music40 99 99 99 99 99 ,from ,w4 ,,geo4 ,,cusins1 ,pianist1 ,organist to ,her ,majesty4 ,july #bgth1 #ahfe4 8,i beg you will permit me to say how much interested ,i was this morning with the highly ingenious method of developing the hand you were kind enough to explain to me4 ,i believe your discovery to be of great importance to musicians who use their fingers4 ,for myself ,i intend trying your system1 and shall likewise make my pupils use it40 99 99 99 99 99 ,from ,,lindsay ,,sloper1 ,pianist4 ,july #cast1 #ahfe4 8,allow me to express to you the interest ,i felt in your system of finger-gymnastics as shown to me by you last week4 ,your inventions seem to me very likely to produce the results you have sought1 and ,i should be very glad to see their utility tested in our music-schools40 99 99 99 99 99 ,from ,b4 ,,molique1 ,pianist4 ,july #bbnd1 #ahfe4 8,mr ,jackson's gymnastic invention for the fingers and wrists will be of great benefit to musical students40 99 99 99 99 99 ,from ,j4 ,,balsir ,,chatterton1 ,harpist to ,her ,majesty the ,queen4 ,july #cast1 #ahfe4 8,i have taken time to think over your ingenious invention1 and am of opinion that it will be of incalculable service to harp players4 ,i can only hope that it will become extensively known1 and shall be glad to hear of the publication of your forthcoming work40 99 99 99 99 99 ,from ,,john ,,thomas1 ,harpist1 ,professor of the ,royal ,academy of ,music2 ,pencerdd ,gwalia4 ,july #beth1 #ahfe4 8,i have much pleasure in bearing testimony to the importance of ,mr ,jackson's simple but clever invention for rendering the fingers independent of each other1 and in preparing them for execution upon any musical instrument1 thus greatly facilitating the attainment of execution2 and ,i sincerely hope that his invention will be made public1 in order that the world may derive the full benefit of it40 99 99 99 99 99 ,from ,,jacques ,,blumenthal1 ,pianist4 ,july #beth1 #ahfe4 8,i have great pleasure in stating that ,i consider ,mr ,edwin ,w4 ,jackson's new system of gymnastics for the fingers a very ingenious invention1 and as simple as ,i believe it to be useful to the student2 and if generally adopted would prevent1 no doubt1 many a headache engendered by the now prevailing system of exercises for the pianoforte and violin40 99 99 99 99 99 ,from ,,adolf ,,pollitzer1 ,violinist1 ,royal ,italian ,opera4 ,july #bdth1 #ahfe4 8,mr ,jackson deserves the thanks of every instrumentalist for his clever invention for strengthening the fingers2 and those who follow his very ingenious system must find great benefit from it40 99 99 99 99 99 ,from ,r4 ,,sidney ,,pratten1 ,flautist1 ,royal ,italian ,opera4 ,july #gth1 #ahfe4 8,i feel satisfied that your very ingenious yet simple invention for the exercise and strengthening of the fingers to the players of wind instruments will be of the greatest value1 as flexibility and strength can be obtained even though the instrument may not be at hand2 and ,i shall have great pleasure in recommending it to all my pupils1 as well as professional brethren1 as a thing indispensable for the purpose for which it is intended40 99 99 99 99 99 ,from ,,henry ,,lazarus1 ,clarionetist1 ,royal ,italian ,opera4 ,august #ith1 #ahfe4 ,i was very pleased indeed this morning to hear you explain your invention of #8,gymnastics for the ,fingers4' ,it is extremely clever1 and ,i consider it will be of the greatest service to all performers on wind instruments1 as well as to pianists and performers on stringed instruments4 ,i conceive it will give great facility and lessen the labour40 99 99 99 99 99 ,from ,,alfred ,,nicholson1 ,oboist1 ,royal ,italian ,opera4 ,july #bdth1 #ahfe4 8,the system of gymnastics for the hand1 invented by ,mr ,edwin ,jackson1 is1 in my opinion1 calculated to be of great service to musical professors and students1 from the increased strength and flexibility the fingers must gain by practice under this method40 99 99 99 99 99 ,from ,h4 ,c4 ,,deacon1 ,pianist4 ,july #bhth1 #ahfe4 8,i think your system of hand-exercise1 as explained to me the other morning1 likely to be a useful adjunct to the pianoforte1 inasmuch as it tends to give increased extensions to an important part of the hand40 99 99 99 99 99 ,from ,,james ,,howell1 ,contrebassist1 ,royal ,italian ,opera4 ,august #beth1 #ahfe4 8,it is with great pleasure that ,i testify to the soundness and excellence of your system of gymnastics for the hand1 as giving flexibility and power to the fingers4 ,it would prove of great advantage to any member of the musical profession1 if properly carried out40 99 99 99 99 99 ,the whole of the ,orchestra of the ,royal ,opera-house at ,stuttgart in ,wurtemberg1 testified individually as follows3 8,that ,mr ,jackson's discoveries and his gymnastics for the fingers and wrist must certainly conduce to a quick and sure attainment of a solid and a lasting execution upon the pianoforte1 as also upon stringed and wind instruments1 that they are new and eminently practical1 and deserve to be everywhere adopted40 99 99 99 99 99 ,from ,,edward ,j4 ,,hopkins1 ,organist to the ,hon4 ,societies of the ,inner and ,middle ,temple4 ,sept4 #acth1 #ahfe4 ,mr ,jackson has been so good as to explain to me --and to exhibit1 his apparatus and course of exercises for developing and strengthening the muscles and powers of the hand1 which ,i firmly believe are calculated to be of very considerable importance to all practitioners upon musical instruments40