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Title: Jackson's Gymnastics for the Fingers and Wrist

Author: Edwin Ward Jackson

Release date: February 11, 2022 [eBook #67375]

Language: English

Original publication: United Kingdom: N. Trübner & Co, 1864

Credits: Charlene Taylor, Les Galloway and the Online Distributed Proofreading Team at https://www.pgdp.net (This file was produced from images generously made available by The Internet Archive/American Libraries.)


*** START OF THE PROJECT GUTENBERG EBOOK JACKSON'S GYMNASTICS FOR THE FINGERS AND WRIST ***

                          Transcriber’s Notes

Obvious typographical errors have been silently corrected. Variations
in hyphenation have been standardised but all other spelling and
punctuation remains unchanged.

Italics are represented thus _italic_.




_In preparation._


 A Hand-book of Bodily Exercises, based upon A. Ravenstein’s
 “Volks-Turnbuch,” and edited by E. G. Ravenstein, F.R.G.S., &c.,
 President of the German Gymnastic Society of London, and John Hulley,
 Director of the Athletic Club, Liverpool. In one volume, 8vo, pp. 400,
 and 700 woodcuts.

This will be the most complete work on Gymnastics and all descriptions
of bodily exercises ever published in the English language.

CONTENTS: 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—(free
exercises, walking, running, co-operative and facto-gymnastical
exercises, wrestling, boxing, &c.)—Exercises with portable apparatus
(wands, dumb-bells, clubs, bars, &c.)—Exercises at fixed apparatus
(rack, parallel bars, horse, buck, climbing and escalading, leaping and
vaulting, swings, &c.).


LONDON: N. TRÜBNER & CO., 60, PATERNOSTER ROW.




                               JACKSON’S

                 GYMNASTICS FOR THE FINGERS AND WRIST,

                                 BEING

                        A SYSTEM OF GYMNASTICS,

          BASED ON ANATOMICAL PRINCIPLES,—FOR DEVELOPING AND
          STRENGTHENING THE MUSCLES OF THE HAND; FOR MUSICAL,
                   MECHANICAL, AND MEDICAL PURPOSES.

                      With thirty-seven Diagrams.

                                LONDON:
                N. TRÜBNER & CO., 60, PATERNOSTER ROW.
                                 1865.

                  [_Right of Translation reserved._]


The whole of the Engravings contained in this work were executed for
the author by Berndt, in Berlin, July, 1864.

The apparatus referred to in this work may be had, price 3s. 6d., of
Messrs Metzler & Co., 36 to 38, Great Marlborough Street, W.


                    JOHN CHILDS AND SON, PRINTERS.




                               PREFACE.


The subject of this little work develops, on anatomical and
physiological principles, a system of Gymnastics for the Fingers
and Wrist, the object of which is—, to lay a solid and scientific
foundation for the acquisition of technical skill in the fingers
and wrist, as applied to the playing on musical instruments and to
finger-work generally.

For a detailed account of the circumstances under which this system
was discovered, I refer to the Introductory Remarks, wherein I have
explained the process of reasoning and the series of experiments,
which enabled me to arrive at the results I have now the pleasure of
submitting to the consideration of my countrymen; more especially to
all those among them who are engaged in musical pursuits, or any other
work requiring the constant use of the fingers.

I may simply state that both the scientific principles and the
practical utility of this system of Gymnastics—, after having been
subjected to the test of numerous experiments—, have met with the
approval of the highest anatomical, musical, and gymnastic authorities
of Germany; at whose special solicitation I was induced to make these
discoveries known by means of public and private lectures—, delivered
gratis in the German language in many German cities—, during a journey
undertaken at my own expense, in the course of the summer of 1864.

I gladly avail myself of this opportunity to return my best thanks
to Professors Hyrtl, Virchow, Hermann Meyer, and Griesinger; to
Drs Richter, C. C. Carus, J. V. Carus, Berend, and Angerstein; to
Professors Moscheles, Kullak, Stern, Geyer, Kittl, Joachim, and
Lauterbach; to Capellmeister Taubert, Ferdinand Hiller, Lachner,
Strauss, Abenheim, Täglichsbeck, and Meyer; to Concertmeister F.
Schubert, Carl Baermann, Scholtz, Singer, Grün, and many others whom
space precludes me from mentioning here,—for the assistance they have
given me, and for the kind and favourable reception which they, the
press, and the public generally, gave to my lectures.

And I indulge the hope that this little work may meet with the same
approval from the medical, musical, and gymnastic authorities in this
country, and be a means of practical utility among those for whom it is
more particularly intended.

In all the gymnastic establishments throughout Europe and the civilized
world, gymnastic exercises have been introduced for every part of
the body _except for the Fingers_, notwithstanding that it is these
important members of the human frame—with the mental organs—which
chiefly distinguish Man from the Brute creation.

Therefore I venture to dedicate to the public—, “Gymnastics for the
development of the Muscles, Ligaments, and Joints of the Fingers and
Hand”—, specially adapted to

Musicians of all classes,

Authors, and all who are occupied much in writing,

Artists and Draughtsmen,

Printers and Compositors,

Lithographers and Engravers on steel and copper,

Workers in ivory and wood,

Watch-makers and fine Mechanicians.

Spinners and Weavers, for

All female handiwork, for

Surgical and anatomical processes, for the treatment of rheumatism,
contortions, and other diseases of the Fingers and Hand,—and for

All those who require a flexible Hand, or who earn their bread with
their Fingers.

  EDWIN W. JACKSON.

 _September_, 1865.




                               CONTENTS.


                                                                    PAGE

  PREFACE.

  INTRODUCTORY REMARKS ON THE ORIGIN OF THIS
  SYSTEM OF GYMNASTICS FOR THE FINGERS AND WRIST                       1

  CHAP.

  I. ANATOMY OF THE HAND. ON LIGAMENTS, TENDONS, ETC.                 16

  II. THE MUSCLES OF THE HAND AND OF THE FINGERS                      22

  III. EFFECTS OF THIS GYMNASTIC TREATMENT ON
  THE MUSCLES, LIGAMENTS, AND JOINTS OF
  THE FINGERS AND THE HAND                                            29

  IV. NEGLECT HITHERTO OF THE HAND AND FINGERS                        35

  V. THE FINGER-JOINTS ARE THE LEAST EXERCISED,
  AND THE WEAKEST                                                     39

  VI. THE PRINCIPAL DIFFICULTY DOES NOT CONSIST
  IN THE READING OF MUSIC, BUT IN
  THE WEAKNESS OF THE FINGERS                                         41

  VII. MUSIC IS THE ART WHICH MAKES THE HIGHEST
  DEMANDS ON THE MUSCLES OF THE FINGERS. MOVING
  THE FINGERS UP AND DOWN INSUFFICIENT                                44

  VIII. ARTISTS AND TEACHERS OF MUSIC                                 46

  IX. FREE GYMNASTIC EXERCISES FOR THE FINGERS AND THUMB              49

  X. FREE GYMNASTIC EXERCISES FOR THE THUMB                           55

  XI. FREE GYMNASTIC EXERCISES FOR THE WRIST                          58

  XII. MECHANICAL FINGER-EXERCISES                                    63

  XIII. MECHANICAL FINGER-EXERCISES (CONTINUED)                       70

  XIV. MECHANICAL FINGER-EXERCISES (CONTINUED)                        80

  XV. BOARD FOR STRETCHING THE MUSCLES, ESPECIALLY
  THOSE OF THE THUMB AND THE LITTLE FINGER                            84

  XVI. ON STRINGED INSTRUMENTS IN PARTICULAR.
  THE WRIST OF THE RIGHT HAND                                         86

  XVII. CONTINUATION                                                  89

  XVIII. CONTINUATION. STACCATO                                       92

  XIX. CONCLUDING REMARKS                                             95




                         INTRODUCTORY REMARKS

 ON THE ORIGIN OF THIS SYSTEM OF GYMNASTICS FOR THE FINGERS AND WRIST.


If any one should desire to know how and in what manner I, as a private
individual, came to hit upon these discoveries, I answer simply:

Six years ago I took my family, principally consisting of daughters, to
Germany, to have them educated there, and especially to obtain for them
good instruction in music. I soon found that the method of teaching the
pianoforte then in general use was very fatiguing and trying to the
nerves; at the same time, as Germany stands at the head of the musical
world, that method, as a matter of course, must be considered the best
which we at present know. In order to investigate that system more
minutely, I visited several musical schools and conservatories for
music in Germany, inquiring what was the very best method known for
strengthening the fingers and wrist, for bringing them into order and
preparing them to play the pianoforte? The answer I everywhere received
was as follows: “The chief difficulties and impediments to be overcome
in teaching the piano, the violin, and almost all other musical
instruments, are muscular, and lie in the joints of the fingers and
wrists; and the very best method of rendering them strong and flexible
is frequently and perseveringly to move the fingers up and down on the
instrument, preserving the hand in the same position. This movement,
together with the usual finger-exercises, if continued for five or six
years, and diligently carried out, is usually sufficient to render the
joints and muscles of the fingers agile and flexible, and to bring the
fingers generally into order.”

I inquired further, “Are those exercises not very fatiguing?” to which
I was answered, “They certainly are very trying to the muscles and
nerves;” and whether “the health of the students, male and female, did
not suffer thereby?” to which the reply was, that it did, and that,
indeed, it was sometimes necessary for them to discontinue playing for
some months; but then they added, “It must be remembered that learning
to play the piano was in itself at all times attended with very
considerable difficulties.”

I observed that this result was really lamentable; and inquired whether
there did not exist any other method for obtaining the same end and
becoming proficient on the piano? To this I received a negative answer,
and was again told, “After all possible experiments, it is the opinion
of all artists and teachers at the present time, in all cities in
Europe, 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 wrist.”

Now on observing that my daughters suffered in the same manner, I said
to myself, “There must surely be something wrong here.” And here I
would mention the fact that when I was 12 or 13 years of age I learnt
the violin, and afterwards for upwards of 35 years discontinued it.
But later in life, desiring to accompany my children, I was induced
to take up the violin again. I then found that, although I was in
all other respects exceedingly strong and healthy and capable of
all athletic exercises, my fingers and hand in a few minutes became
painfully fatigued. The same result followed whenever I took the violin
in hand,—in fact, I found that my fingers were the only weak parts of
my body. This happened a few years ago, about the same time when the
above-mentioned inquiries took place, exciting in me great surprise and
an earnest desire to search into the cause. I thought to myself, “There
must underlie some unknown hidden cause to account for this phenomenon.
I will thoroughly probe the matter.” For this purpose I now put myself
in the way of those individually who earn their bread by the sweat of
their brow, viz., the smith, the joiner, the bricklayer, the labourer,
the peasant, the gardener, the wood-cutter, the miner, &c. &c. I found
that all these persons work with their _arms_, and thereby acquire
muscle like steel and arms like giants; but that none of them work with
their _fingers_.

After this I visited boys’ and girls’ schools, and also observed them
in their families; and there I found again that nearly all of them in
their work made _no use_ of the _fingers_. The same observation I made
with the educated classes, of every age and sex.

This discovered to me the fact that the muscles of the fingers are
_extremely little exercised_ in the ordinary occupations of life; and
must, therefore, on physiological ground, be weak; a fact of much
importance.

I then repaired to the most renowned gymnastic establishments of the
Continent, and begged to be shown all the varied gymnastic exercises
practised on the body, from the crown of the head to the sole of the
foot, and when all these various movements had been exhibited before
me, I inquired “But where are your gymnastic exercises for the
_fingers_?” “We have none.” “Why?” “We never thought of it.” “But they
require them surely as much or more than all!” “It has never occurred
to us; we did not know the fingers required gymnastics, and they have
been entirely overlooked.” This disclosed to me another great fact;
namely, that the fingers are the _only active members_ of the human
body to which a properly constituted system of gymnastic exercises has
NOT been applied.

I thereupon visited houses and institutions where men _do_ work with
their fingers, viz., where carvers in wood and ivory, in steel, copper,
and stone, painters and draughtsmen, watchmakers and fine mechanists,
spinners and weavers, printers and compositors, &c., drive their trade,
and after that, people who are in the habit of writing much, and even
the whole day, such as authors, copyists, clerks, stenographers,
lithographers, as well as sempstresses and workwomen;—in short, all
those who have much finger-work, or earn their living by their fingers.
And here I observed all kinds of finger diseases, such as stiffness of
the joints and limbs, writers’ cramp, hands and forearms debilitated
in the highest degree, paralyzed limbs, nervous weakness, &c. Then
I said to myself, “A light begins to dawn upon me. I find, _first_,
that the fingers are the least exercised, in the ordinary occupations
of life, of all the active members of the body; _secondly_, that they
are on that account relatively and physiologically the weakest; and,
_thirdly_, that they are also the _only_ active members which are not
gymnastically trained and treated. I must consider the matter now
ANATOMICALLY, PHYSIOLOGICALLY, and GYMNASTICALLY.”

And I forthwith began to make all sorts of artistic and mechanical
experiments, for the purpose of gymnastically exercising, stretching,
and developing the muscles, the ligaments, and joints of the fingers
and hands in all directions, so as to strengthen and prepare them for
playing the piano and the violin, as well as other instruments, and for
all kinds of finger-work and handicraft.

In doing so I studied the physiology of the muscles and ligaments, and
directed especial attention to the _transverse metacarpal ligament_.
In comparing this anatomy with the difficulties experienced, I sought
to discover a means more particularly of stretching the _ligaments_ or
bands which run _transversely_ across the hands and knuckles. This I
succeeded in effecting, and then I discovered, to my astonishment, that
the moment I had applied my gymnastic movements to these stout and very
obstinate elastic bands, the _muscles_ became instantaneously looser,
and moved with greatly increased freedom and agility. In a word, the
_muscles were set free_.

At the same time I tried on _myself_ various simple, natural, free
movements with the joints of the fingers, in order to examine them
practically and physiologically, and thus to found a system on solid
principles. And I may here be permitted to state as the result,
in my own case, that though at that time 54 years of age, after I
had diligently practised the course of gymnastic exercises herein
described, a comparatively short time, every day, my fingers and wrists
became so strong and flexible that I was able to play, and can now
play upon the violin many hours daily in succession without fatigue.

I caused the same to be tried by many other persons also, of different
ages. Then I found, to my surprise, in each case that, in the absence
of proper gymnastic exercises, these most important parts of the human
frame, owing to their being so unpractised in the ordinary occupations
of life, and being consequently so weak, are not equal to the least
work or exertion beyond the usual movements of daily life, and that
whenever anything beyond the ordinary routine is required of them, they
are found to be utterly incapable of fulfilling the task.

Then I said to myself, “I now see as clear as sunlight whence arise the
extraordinary difficulties of learning to play the piano and violin.
They arise from the very fact that an art the most difficult, from a
muscular point of view, which we know of, has to be performed with the
_least practised_ and, proportionately, the _weakest of muscles_. The
impediments and difficulties in almost all cases can be referred to
the muscles; and it is this weakness which must be overcome.”

Upon this I repaired to anatomical, chirurgical, and medical
institutions, in order to study still further the anatomy of the
hand, the fingers, and the arm. I found that the muscles, the
ligaments, and the tendons of the fingers and hands consist of elastic
masses, intersecting the hand, and running TRANSVERSELY as well
as LONGITUDINALLY; and I especially discovered, after a number of
experiments, that the TRANSVERSE LIGAMENTS, _unless they be exercised,
remain quiet and stiff, and impede to a certain extent the movements
and activity of the muscles_, when the latter are more than ordinarily
exerted; that in order practically to exercise and stretch them, and
particularly the TRANSVERSE ligaments and tendons, and to render them
strong and supple, it is necessary not only to move the fingers up and
down, but laterally also; that, in short, both muscles and ligaments
ought to be practised gymnastically; and that the fatigue and the
danger to health, the nervous weakness and the disgust often observed
in musical students, arise from the following causes:

_Firstly_, that the muscles, tendons, and ligaments of the hand and
fingers are, proportionately, the least practised, and, consequently,
as stated before, the weakest;

_Secondly_, that they have never been gymnastically trained or treated;

_Thirdly_, that the methods now in use for strengthening those weak
muscles and rendering them flexible are insufficient and erroneous;

_Fourthly_, that the _transverse ligaments have never been stretched_;
thus on these several grounds hampering the learning of music with
unnatural difficulties, and with exertions of the muscular and nervous
system injurious to health;

_Fifthly_, that so soon as the muscles are properly and gymnastically
exercised, and the ligaments and tendons stretched, the fingers set at
liberty move glibly and freely over the instrument; and,

_Sixthly_, that all this is readily accounted for on the simplest,
though till now unexplained, anatomical and physiological grounds.

And as regards the different persons and classes already mentioned,
who earn their living with their fingers, it would have been easy to
prevent the various diseases of the same to which they are exposed,
if the joints of their fingers and hands had previously been daily
practised, strengthened, and prepared by transversal and longitudinal
gymnastic exercises. And more than this, those sad infirmities
might, in most cases, either have been entirely cured or at any rate
alleviated by the above muscular treatment. Besides, a continuance of
the same diseases would be easily obviated, if such treatment were
resorted to.

Then I asked myself, “Is any one to blame that the facts just mentioned
have not been previously known and acted upon?” No one. It certainly is
not the fault of the artist and teacher, because their task, so great
in itself, did not necessarily lead them to direct their attention to
this speciality of gymnastics. Nor could anatomists and physicians,
nor other learned men, in treating problems more nearly, and perhaps
more important in themselves, be expected to have thought of it. As we
are frequently indebted to chance for the most important discoveries,
so it has been with this one. For my part, I lay claim to very little.
The idea had taken hold of me that a hiatus and a want in the method of
learning and practising music, also in finger-work of various kinds,
existed, and I set to work to fill up the former and to satisfy the
latter. For several years I have indefatigably pursued this work in
Germany, and after multifarious trials, experiments, and exercises,
I have happily achieved the following simple system of gymnastics,
whose aim and object, as regards _music_, after full and complete
proof, are; by strengthening the muscles and stretching the ligaments
through careful training, to impart to them flexibility and agility,
to shorten considerably the time of study, and facilitate the work of
both teachers and students; whilst as regards all classes generally who
work with their fingers, it is calculated to a great extent to render
their work more easy, and in case of disease of the fingers and hands,
to prevent it, to cure it, or at the least to diminish its injurious
consequences.

Having been requested by the highest anatomical and artistic
authorities in Germany to give publicity to this method and to explain
it personally, I undertook, in 1864, at my own expense, from love
of the art, a journey through many towns of the Continent, where,
as already stated, I delivered, in the German language, a number of
private and public lectures on the subject. And here I desire specially
to crave the forgiveness of my kind German friends, if, in delivering
those lectures, I did not at all times express myself in accents of
the purest German, since I only commenced the study of that difficult
language,—for the first time in my life,—six years ago, after I had
attained the age of 52 years. The exposition of this method having met
with cordial approval, I now offer the result of my labours to artists,
musical students, and to all friends of music, as well as to all those
who work much with their fingers, or who suffer from finger disease;
also to anatomists, physiologists, surgeons, and gymnasts; indulging
the hope that, if applied correctly and carefully, they will go far
towards removing the evils to which I have alluded, and be of much
practical usefulness and advantage.




                              CHAPTER I.

          ANATOMY OF THE HAND. ON LIGAMENTS, TENDONS, &c. &c.


The skeleton of the hand, consisting of 27 bones and moved by 40
muscles, most ingeniously combines firmness with pliant flexibility,
is equally fit for rough work and the most subtle occupation, and
corresponds in its well-balanced mechanism with that mental superiority
through which man, amongst all creatures the poorest in means of
defence, becomes the ruler of living and inanimate nature. The hand,
fixed to the end of a long articulated column of bones, and, through
its skin-covering, particularly in the cavity, endowed with high
sensibility, raises itself to the importance of an organ of feeling,
which, moveable in all directions, apprizes us of the extent of
matter, and of its physical qualities.

The most ancient forms of measurement have, therefore, been taken from
the length of the several subdivisions of the hand. The capability
of the hand of assuming the hollow shape of a spoon, and of being
stretched like a shovel, determines its use for gathering and for
turning up matter. The curvature of the fingers forms a strong and
broad hook, which renders excellent service in climbing; and the thumb,
whose position enables it to be placed opposite all the other fingers,
acts in conjunction with the latter like a pair of pincers, capable of
seizing and feeling smaller objects. The thumb being easily moveable
and strong at the same time, is a privilege of the human hand. It
powerfully opposes itself against the other fingers into the _fist_,
for the seizing and holding of heavy objects. In doing this the thumb
indeed performs almost as much as the remaining fingers taken together;
it represents one half of a pair of pincers, wherefore _Albin_ has
called it _Manus parva_.

The unequal length of the fingers is well adapted for the taking hold
of spherical forms, and the fingers being bent towards the hollow of
the hand and held together, encloses an empty space, which is shut by
the thumb serving as a lid. The wrist of the hand, having a circular
shape, and being composed of several bones, is much less exposed to
the danger of being broken, than if one single curved bone were to
take its place. Its cavity, which by _strong transversal ligaments_ is
transformed into a ring, protects the bending tendons of the fingers
from pressure and friction. The firm connection between the middle hand
and the wrist renders possible the actions of _stemming_ and _hurling_
with the hands, and the longitudinal curve of the separate bones of
the middle hand, as well as their lying one at the side of the other,
and convexly towards the back of the hand, facilitates the forming of
the cavity of the hand. The great moveability of the fingers, and the
many possible combinations of their relative positions, have made them
the instruments of language by signs. The deep slits separating them
allow of folding the hands, in order to press with double force, and
the bending of the two last finger-joints, which can only take place
at an angle, imparts to the clenched fist a force which once usurped
the place of right. How necessary the joint action of both hands is for
certain performances is proved by the old proverb: _Manus manum lavat_.
In short, all the thousandfold occupations of the hand which necessity
commands and the mind develops, and which are an exclusive prerogative
of man, become practicable through the wonderful structure of this
instrument.[1]

As regards the system of the gymnastic training of the fingers in
particular, which I am now placing before the public, it is founded on
an important fact, namely, the action of the LIGAMENTS AND TENDONS.

It has been acknowledged at all times, that if a muscle is to be
made both stronger and quicker in its movements, it should be
exercised; that the ligaments and tendons play, in these exercises,
an indispensable part, has hitherto (to use the words of a celebrated
German physiologist), hardly been sufficiently acknowledged or
explained. It is further known, that the principal method now in use
of strengthening and rendering flexible the joints and muscles of
the fingers in playing the piano, consists in alternately raising
and dropping the fingers, and that this method requires very great
exertion, and consumes very much time. Now, I have found, by means
of many different experiments and exercises, which I have made with
the hand and the fingers, that the tight ligaments and skin-folds,
intersecting the hand _transversely_, unless they be exercised, and
if they be allowed to remain firm, for this very reason, _impede the
movements of the muscles_ whenever they are more than ordinarily
exerted; while, on the contrary, the stretching of the _transversal
ligaments_ produces a remarkable influence on the moveability of the
fingers and the hand, facilitates the work of the _muscles_, and
imparts to them freedom, steadiness, and precision.

By placing the cylinders to be used for this purpose between the
fingers for only a very short time, and thereby exercising the
_ligaments_ of the hand, both _transversely_ and longitudinally, the
movement of the fingers is at once rendered much easier and quicker.
This result can only be explained by the fact that the ligaments
and folds of the hand, having been stretched by the cylinders, have
become loosened, and, therefore, as I said before, impede less the
muscles in their fatiguing work. If, on the other hand, all the
muscles, ligaments, and tendons are put into motion in both directions,
longitudinally and transversely, they soon become strong and flexible.


FOOTNOTES:

[1] Joseph Hyrtl: Lehrbuch der Anatomie. 4te Auflage. Wien, 1855.
Erasmus Wilson, F.R.S., System of Human Anatomy. 8th Edition. London,
1862.




                              CHAPTER II.

              THE MUSCLES OF THE HAND AND OF THE FINGERS.


Leaving aside the vessels and nerves unconnected with our subject, we
may describe the hand as being composed of three classes of organs, 1.
bones with joints, 2. ligaments, 3. muscles.


1. BONES WITH JOINTS.

The hand is subdivided into five separate limbs (fingers), lying one
at the side of the other, and being, at the lower end, firmly joined
together into one whole. Each of these five limbs (fingers) is composed
of a row of bones, having the nature of long bones. The first of these
bones, next to the lower arm, is called the metacarpal or middle-hand
bone (Fig. 1 _a_); the others are called finger-joints. The thumb has
only two finger-joints, the other fingers three each. The _fourth and
fifth fingers are the weakest of all_.

[Illustration: Fig. 1.]

The union of the five fingers into one whole is effected by means of
the extremities of the middle-hand bones, commonly known as knuckles,
which are turned towards the forearm, being connected with one another
by _very tight transversal ligaments_ (Fig 2 _aa_ and Fig. 3 _bb_),
and being thus connected, are again fixed to a row of four roundish
bones, joined to one another in the same manner (Fig. 1 _b_). Thus, the
five middle-hand bones and the four bones of the upper wrist form one
firm structure. In this structure the middle-hand bone of the thumb and
of the little finger can be more easily moved than the others.

[Illustration: Fig. 2.]

On account of this moveability of the two extreme middle-hand bones,
it is possible to move the two edges of the hand close to one another,
whereby the cavity of the hand assumes the shape of a groove.

The structure here described (the hand, in the narrower sense of
the word) is joined to the lower arm by means of three muscles,
the posterior row of the bones of the wrist (Fig. 1 _c_). The
movement between these bones and the hand is hardly anything but a
hinge-movement; that between them and the lower arm, however, is a
movement in almost all directions. The bending and stretching of the
hand is, therefore, produced with the participation of both joints, the
side movement of the hand, however, almost exclusively by the joint
situated between the posterior row of the bones of the wrist and the
lower arm.[2]


2. LIGAMENTS.

All the finger-joints are provided with capsules, which are woven out
of strong _transversal_ fibres (Fig. 3 _aa_). The bones of the wrist
are connected between themselves and with the bones of the middle-hand
by tight transversal and longitudinal ligaments, as seen in Fig.
2 _aa_, _bb_. Lastly, the _two ends of the middle-hand bones, or
knuckles, are connected with one another and with the first joints of
the fingers by a separate strong, transversal ligament_ (Fig. 2 _aa_,
Fig. 3 _bb_).


3. THE MUSCLES OF THE HAND consist

1. Of muscles (four in number) rising from the lower arm and bending
the wrist up and down, right and left (Fig. 3 _c_, _d_, _e_).

2. Of muscles of the fingers. These are subdivided into—

_a._ Extensors of the fingers, being situated in the back part of the
hand and rising from the bones of the lower arm (Fig. 4 _a_).

_b._ Benders of the fingers. Two muscles, the one for the second joints
of the fingers (Fig. 3 _d_), the other for the first joints of the
fingers and the joints of the nails (Fig. 3 _e_) also rising from the
bones of the lower arm.

[Illustration: Fig. 3.]

c. Contractors of the fingers, rising from the hand itself, between
the bones of the middle-hand (Fig. 4 _b_), and extending as far as the
first finger-joint (Fig. 4 _b_).

d. Two muscles, also rising from the cavity of the hand, and moving the
little finger towards the thumb (Fig. 3 _g_).

Lumbricales, or Flexores primi Internodii Digitorum, are situated in
the hollow of the hand, and pass to their tendinous implantations
with the interossei at the first joint of each finger, externally
and laterally, next the thumb (Fig. 4 _a_, _b_). These perform those
minute motions of the fingers when the second and third internodes
are curvated by the muscles, and therefore are used in playing
musical instruments, whence they are named Musculi Fidicinales, or
fiddle-muscles.[3]


FOOTNOTES:

[2] Luther Holden, Manual of Anatomy (London, 1861), Lecturer on
Anatomy in Bartholomew’s Hospital. Hermann Meyer: Lehrbuch der
Physiologischen Anatomie. Leipzig, 1856.

[3] William Cowper, Myotomia reformata. London, 1724. Richard Quain,
Professor of Clinical Surgery, Surgeon Extraordinary to the Queen.




                             CHAPTER III.

  EFFECTS OF THIS GYMNASTIC TREATMENT ON THE MUSCLES, LIGAMENTS, AND
                JOINTS OF THE FINGERS AND THE HAND.[4]


After the explanations just given, 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 hand.

1. The ligaments connecting the bones of the middle-hand amongst
themselves and with the fingers (Fig. 2 _aa_) are extended and
stretched (Fig. 3 _bb_), and thus those joints, so important in playing
on musical instruments, are rendered more moveable.

2. The connecting links between the bones of the middle-hand and the
bones of the wrist are loosened (Fig. 2 _bb_).

3. Almost all the ligaments of the cavity of the hand are made flexible.

4. At the same time, all the muscles of the hand, and particularly the
muscles situated between the bones (Fig. 4 _b_), generally so little
practised, are stirred into activity by the cylinders, the stick, the
staff, and the free exercises.

From the diagrams (Fig. 2 and 3) it may be plainly seen, what was
mentioned before, viz., that the movement of the middle-hand and of
the bones of the wrist in general, unless specially practised, is very
inconsiderable; while through the cylinder gymnastics prescribed in
this work, that limited movement of the bones is rendered more easy.
It may also be seen from the diagrams that, if both the great and the
small _tight transversal ligaments_ remain still and firm, they impede
and render more difficult the free movement of the fingers in every
direction; and these ligaments will always remain stiff and tight,
unless they be specially trained.

[Illustration: Fig. 4.]

For this reason the cylinder exercise, just mentioned, is particularly
intended to loosen the impeding _transversal ligaments_, as well as to
exercise and strengthen all the muscles of the hand and fingers.

To convince yourself that this opinion is correct, extend your fingers
for two minutes only with the cylinders alluded to, and you will find
that the fingers instantaneously move much more easily, and that the
muscles, liberated from their tight, stiff neighbours, act with much
greater freedom.

In the same manner as with the cylinders, the greatest advantage may be
experienced from the use of the gymnastic staff or stick.

The principle on which these movements are founded is, that by them
almost all the muscles of the hand and the fingers, the smallest as
well as the largest, which in playing musical instruments and all the
other occupations of the fingers bear the chief part, are stirred
into action. At the same time, the extraordinary effect of the free
exercises on the large finger-joints and on the ligaments and tendons
is increased. And further—every portion of the hand and fingers,
ligaments, tendons, joints, and particularly the muscles, are well
practised, strengthened, and rendered flexible, by the fingers being
stretched and extended on, pressed and exercised against, a solid body.
Finally, 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 affect, all these exercises affect
the _nerves_ in a lesser degree, and prepare the fingers for all kinds
of work.

These results, observed and tested by me countless times, are of the
greatest importance to all those who work with their fingers, but
more particularly to those engaged in musical pursuits, who, instead
of being overwhelmed with fatiguing work as before, will find that by
these exercises their studies are facilitated and divested of much of
their previous trouble and vexation.


THE WRIST.

This joint, which for players on the piano and other instruments
is of such great importance (Fig. 2 _c_), should also be exercised
gymnastically; since, by means of the gymnastic exercises here
recommended, strength and flexibility will be gained in a very short
time, and a great deal of trouble saved. Nor ought it to be overlooked
that for all those who work with their fingers, a flexible, pliant
wrist is a great help, and that by it all the joints of the hand are
made to act harmoniously together.


FOOTNOTES:

[4] Anatomists and physicians of great eminence have observed to me,
“Your anatomical researches have solved some important questions long
held in dispute by physiologists, and are of great practical value.”




                              CHAPTER IV.

               NEGLECT HITHERTO OF THE HAND AND FINGERS.


Many books have been written on gymnastics, but I am not acquainted
with one which treats of the gymnastical exercise of the _fingers_.
Why these important members of the human body should until now have
been so much overlooked and neglected, it is difficult to understand.
For, as Professor Richter in Dresden says, “Next to the more powerful
development of the brain, it is almost exclusively the structure and
skill of the fingers and hand which raises man above the brute, and has
made him ruler of the earth.”

In order, therefore, to heighten the capacities of the human hand, the
joints of the hand and fingers should, from early youth, be exercised
gymnastically, as much and in as many various ways as possible, partly
by free exercises, partly by means of mechanical appliances.

Gymnastics, according to anatomists and physicians, is the
_stretching_, _extending_, _pressing_, and _training_ of the muscles,
the ligaments, and the limbs of the body.[5]

Flexibility, agility, and strength can be acquired only by means of a
regular exercise of the muscles of the body.

Strength and power impart agility and quickness. This every physician
and every sensible man knows.

A soldier only becomes fit for his work after the muscles of his body
have been gymnastically attended to and developed. Any man, having to
perform hard physical labour, must exercise his muscles gymnastically,
and every one ought to exercise those particular limbs the use of which
is most necessary for his profession.

And more than any one else, the _teachers of music_ have to experience
the consequences of a want of skill and strength in the hands of many
learners, 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 times.

Nevertheless, there are many arts besides music for which the hand
ought to be also trained from early youth, in order to be able
permanently to accomplish, in later years, what is excellent, _e.
g._, many kinds of handicraft, machine-work, needle-work, anatomy, and
surgery, writing and drawing, and all fine manipulations.

An untrained hand will either remain clumsy in these branches of work,
or it will soon fail through over-exertion, which causes a peculiar
kind of paralysis, connected with cramp, and well known to writers
(the so-called writers’ cramp), but which also affects musicians,
artists, shoemakers, tailors, sempstresses, and other working people.
Certain it is, that if this matter had been inquired into before, and
public attention directed to it, a great deal of trouble and vexation
in learning music might have been saved; the labour of many working
people of all classes, who chiefly have to use their fingers, have been
greatly facilitated; and, moreover, many diseases of the joints of the
fingers and hand might have have been prevented.


FOOTNOTES:

[5] The following quotations from the works of some of the leading
authorities may be of interest to the reader:—

“Methodical gymnastic exercises of the hands and fingers afford the
very best means of overcoming the technical difficulties.”—Schmidt’s
“Annals of Medicine.”

“Technical difficulties will most safely and quickly be conquered by
proper gymnastic exercises of the hand and fingers.”—Dr Dietz, Member
of the Royal Council of Medicine.

“To obtain technical skill and muscular steadiness, a gymnastic
education is the best means.”—P. M. Link. The gymnast exercises
his limbs through preparatory exercises; how, therefore, is it
possible for the player of the piano and violin to dispense with this
gymnastic preparation of the joints of the hand and fingers?”—Prof.
Rector v. Schmidt, President of the Royal Gymnasium. “La souplesse
et l’étendue des poignets dépendent du développement gymnastique
des forces. La gymnastique développe l’aisance et la grâce.”—Dr M.
Bally. “For so great an art as piano or violin playing, the muscles of
the fingers are weak; they ought to be prepared by proper gymnastic
exercises.”—Ferguson.




                              CHAPTER V.

      THE FINGER-JOINTS ARE THE LEAST EXERCISED, AND THE WEAKEST.


To become a skilful musician is no small matter. There is no art which
demands more labour, patience, and especially more _time_, than, for
instance, piano or violin playing; and at least half of that time
is for years required for the particular purpose of strengthening
the muscles of the fingers, and rendering them flexible. And why so
many years? Because the muscles, the ligaments, and the tendons of
the finger-joints and wrists have not previously been gymnastically
exercised and trained.

To prove in a practical manner that it is particularly important to
prepare the muscles and ligaments of the fingers and hand, I will cite
a fact which may appear startling, but which, nevertheless, is true,
viz., that the muscles and tendons of the fingers, in spite of their
great importance, are, proportionately speaking, the least of all
practised in daily life.

Take all sorts of people from amongst the labouring classes, such as
the smith, the joiner, the gardener, the bricklayer, the stone-mason,
the husbandman, the day-labourer, &c., &c. They are at work the whole
day, and acquire arms like steel and muscle like giants; but they very
_rarely_ use the _fingers_, which, therefore, remain unexercised. And
it is the same with the educated classes, without difference of age or
sex.

This is the reason why the learning of piano and violin playing
is attended with such great difficulties, and why the muscles and
ligaments of the hand ought to be trained by proper gymnastic
exercises. For their weakness arises, for physiological reasons, from
the very fact of their inactivity.

This fact I will satisfactorily prove in the sequel, for it forms the
basis and key of my discoveries.




                              CHAPTER VI.

THE PRINCIPAL DIFFICULTY DOES NOT CONSIST IN THE READING OF MUSIC, BUT
                    IN THE WEAKNESS OF THE FINGERS.


In the opinion of many, the chief difficulty to be overcome in studying
music consists in learning to _read it_. But this is by no means the
case. The reading of music is learned in the same manner as a child
learns to read letters. The first difficulties having been mastered,
the task is easy; as with a printed book, so with music.

Consequently the paramount difficulty is not in the _notes_, but
in the weakness and _awkwardness of the fingers_ and wrists. From
this, again, it may be plainly seen how necessary it is to train the
_fingers_ before commencing the work of the _head_. In short, what is
wanted is a regular gymnastic training for the muscles of the fingers,
the joints, and the wrists; and it will be found that the following
exercises, being as desirable as they are applicable for every age,
will strengthen and render them flexible in a most surprising manner,
will materially shorten the time of study, and save much labour;
nevertheless, on that account _the ordinary finger-practice, scales,
and studies should of course_ NOT _be omitted_.

Suppose a boy from 10 to 14 years old, who is strong and healthy by
means of gymnastics and other exercises, set to learn the piano or
violin. His body is strong with gymnastic exercises, but his wrists and
fingers are weak and awkward. How is he, with the method now in use, to
succeed in playing an instrument well, without very long and wearying
work? No wonder that the painful exertion almost makes him despair, and
that finally he gives up the thing altogether. But if, on the contrary,
his fingers and joints have been gymnastically trained and exercised
beforehand, he will get on easily and quickly, and continue his
studies with pleasure.

Many presidents and teachers of the most celebrated gymnastic
institutions have, therefore, come to the determination to introduce
into their establishments these exercises in addition to the other
branches of gymnastic training. Their practical utility for all those
who work with their fingers, for anatomists, surgeons, sculptors,
watchmakers, and many others, is as evident as their salutary
effect;—from a medical point of view, in curvature and paralysis of
the hand and forearm, in weakness of the muscles and nerves, writers’
cramp, and similar complaints,—is undeniable.




                             CHAPTER VII.

MUSIC IS THE ART WHICH MAKES THE HIGHEST DEMANDS ON THE MUSCLES OF THE
         FINGERS. MOVING THE FINGERS UP AND DOWN INSUFFICIENT.


These exercises for persons engaged in musical pursuits can, least
of all, be dispensed with, because music is the art which makes the
highest demands on the muscles of the fingers and wrists.

Eminent physiologists say, “Gymnastic exercises for the fingers and
joints ought to have been commenced 150 years ago; they form the real
foundation of practical art.”

It is, indeed, 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 muscles. As a matter of course, this is only
to be ascribed to the unremitting exertions and the indefatigable zeal
of the teachers, and to the unwearying industry of the pupils. And how
much easier might this have been attained!

The muscles, ligaments, and tendons consist of soft elastic matter,
and, as has been stated, run partly _longitudinally_, partly
_transversely_. This is a point to be borne in mind. It is, therefore,
one-sided and erroneous to believe that the best means of strengthening
the muscles consists in simply raising and dropping the fingers. All
one-sided practice is hurtful; and an exercise of the fingers limited
to an upward and downward movement, occasions much severe work. If,
on the other hand, the muscles be moved according to physiological
principles, in all directions, both laterally and up and down, and
trained gymnastically, they will become within a very short time strong
and flexible.




                             CHAPTER VIII.

                    ARTISTS AND TEACHERS OF MUSIC.


If any one should say that he has diligently studied the piano and
violin after the method used at present, and in course of time has
learned and taught it with the greatest success, without having found
it necessary to trouble himself about any other system, my reply is,
that music is one of the most beautiful, and with respect to muscular
work, the most difficult of arts, and that all the arts and sciences,
music not excepted, have made enormous strides in advance during the
present century. But exactly because music has become a universal boon
for all classes of the civilized world, one ought to be so much the
less disposed to shut out new ideas respecting it, from whatever side
they may come. The representatives of this art, professional musicians
and teachers of music, are generally the most active and often the most
educated men, who devote their lives to the art, and promote it in a
way which is hardly acknowledged sufficiently by the musical world. The
most highly honoured, however, are those who have made the greatest
progress in theory and in practice, or who have readily and generously
acknowledged such progress, from whatever direction it might come.

It is, therefore, the duty of all to assist teachers of music and
proficients, as much as possible, in promoting this beautiful
accomplishment; for this reason, encouraged by persons of the highest
distinction, and moved by the love of the art and of mankind, I venture
to make known my “_Gymnastics of the Fingers and Wrist_,” and to offer
to all who work with their fingers in general, and to musicians in
particular, a means which, based on physiological principles, leads
most surely to the attainment of artistic execution, and which is in
itself so simple, that any child may use it; a means, too, which will
effect a great saving of time and facilitate the work of both teachers
and students.

I have only to add that, as a matter of course, these exercises, in
order to have the desired effect, should be performed _gymnastically
and regularly_, according to _the directions_ given, and not otherwise;
whilst, on the other hand, they ought _not to be carried to excess, nor
are they intended to supersede the usual finger-exercises, scales, and
studies_.




                              CHAPTER IX.

          FREE GYMNASTIC EXERCISES FOR THE FINGERS AND THUMB.


                           _First movement._

[Illustration: Fig. 5.]

[Illustration: Fig. 6.]

Stretch the fingers as much as possible one from the other, let them
fall on the large muscle of the thumb (thumb-ball), and press them
firmly on it; _remain for a moment in this position_, and bring the
thumb against the forefinger, 40 times up and down.

You will find that this exercise, as well as several others, if
vigorously continued for three minutes only, is very fatiguing; a clear
proof that the muscles of the fingers, although they may be quite fit
for ordinary daily occupations, are, nevertheless, _very weak and
incapable_ when anything more is demanded from them, and without proper
gymnastical training, they must remain so.


                          _Second movement._

[Illustration: Fig. 7.]

[Illustration: Fig. 8.]

Stretch the fingers as before, but let the finger-ends fall against
the middle of the cavity of the hand, instead of against the great
muscle of the thumb, and press them firmly. To be repeated 40 times.


                           _Third movement._

The following exercise (9 and 10) is intended particularly for the
small joints of the fingers. It is effective, but difficult.

[Illustration: Fig. 9.]

[Illustration: Fig. 10.]

Do not stretch the fingers away from one another, but hold them firmly
and close together, as this produces the effect particularly desired.
Bend the two first finger-joints of the four fingers closely together;
move them vigorously up and down, and press them on _firmly_, without,
however, moving the large joints. Repeat this movement until you are
tired, which will not be long, thus affording another practical proof
how weak the untrained finger-joints are. This is also an excellent
exercise for the thumb, provided it is made slowly and vigorously. It
may also be made with outstretched fingers.

I again repeat that no one who has not already tried the above or
similar exercises of the fingers, will be able vigorously to continue
them for even so short a time as three minutes without experiencing
painful fatigue. And why? Because, as I have demonstrated before, the
joints of the fingers and wrists are, in the ordinary occupations of
life, the least of all exercised, and consequently the weakest, in
comparison with what they have afterwards to perform.

After this experience people will, in future, hardly venture to teach
and to continue the exercise of an art like music (which, from a
muscular point of view, is the most difficult of all), with muscles
the weakest and least trained, without having previously prepared them
by proper gymnastic exercises.


                          _Fourth movement._

[Illustration: Fig. 11.]

[Illustration: Fig. 12.]

The last free exercise for the finger-joints, which I will recommend
here (11 and 12), consists in moving all the fingers and the thumb
simultaneously together, that is to say, in stretching them far away
from one another, like claws, and making all sorts of eccentric
movements in whatever direction you please, and as long as you like or
are able, but always vigorously.




                              CHAPTER X.

                FREE GYMNASTIC EXERCISES FOR THE THUMB.


Although it is not easy to prescribe complete gymnastic exercises for
the thumb, the following, if made vigorously, will, nevertheless, be
found very effective.


                           _First movement._

[Illustration: Fig. 13.]

[Illustration: Fig. 14.]

Stretch the fingers as far as possible away from one another, then
press the hand firmly together, the thumb being held fast in the cavity
of the hand; continue for a moment in this position, and then repeat
the same movement, alternately opening and closing the hand.


                          _Second movement._

[Illustration: Fig. 15.]

Hold the fingers close together, stretch out the thumb, and then
perform with the latter a circular movement inside the hand, first 20
times to the right, then 20 times to the left: to be repeated again and
again.


                           _Third movement._

[Illustration: Fig. 16.]

Take hold of the thumb of the one hand with the fingers of the other,
or with the whole hand, and shake it or bend it to its root, without,
however, overdoing either.

In short, perform every day some exercise with the thumb, whereby it
will be sufficiently brought into exercise.




                              CHAPTER XI.

              FREE GYMNASTIC EXERCISES FOR THE WRIST.[6]


                           _First movement._

[Illustration: Fig. 17.]

[Illustration: Fig. 18.]

Move the wrist, _without moving the arm or elbow_, vigorously up and
down in a perpendicular direction, from 20 to 40 times, first slowly,
then more quickly; finally, as quick as possible. In doing so, let the
elbows rest close to the body, so as to bring both hands and wrists
into the proper position. As soon as you are tired, leave off.


                          _Second movement._

[Illustration: Fig. 19.]

[Illustration: Fig. 20.]

Move the hand horizontally or vertically without moving the arm.

To understand the practical utility of this exercise (19, 20), it ought
to be borne in mind that the entire action of the wrist is effected by
two principal joints, one of which, the smaller of the two, lies at
the root of the hand, and is called the “joint of the hand,” by means
of which it becomes possible to move the hand, independently of the
arm, at its root. The other joint, the larger of the two, rises from
the elbow, and is called the rotatory joint of the forearm. Holding,
then, all the five fingers close together, move the smaller joint
perpendicularly or horizontally, as you please, without in any way
moving the arm, and at the same time holding the elbow close to the
body.


                           _Third movement._

[Illustration: Fig. 21.]

[Illustration: Fig. 22.]

Move the wrist in a slanting direction right and left, as above, first
slowly, then quicker and quicker. Hold the elbows as before. By this
movement, both the joints mentioned above will be put into action, 21,
22.

[Illustration: _Fourth movement._
Fig 23.]

The young violinist, who generally finds the sideways movement of the
wrist of the right hand so difficult, will derive great advantage from
all these wrist exercises.

Holding your arm quite still, move the free hand or fist vigorously
round in a circle, 20 times to the right, and 20 times to the left,
first slowly, then more quickly. By this exercise all the muscles of
the hand and the arm will be put into motion, and though the most
difficult of all, this is at the same time one of the most important
exercises.

All these several free movements of the hand and fingers may be
repeated _many times_, with advantage; still by simply performing them,
short though they be, daily and regularly, the prescribed time only,
the desired end of strengthening the muscles of the fingers and wrists,
and rendering them vigorous and flexible, will be surely attained.

I could mention some other free exercises of the fingers; but since
they are neither so practical nor so effective as those I have already
described, I prefer to omit them.


FOOTNOTES:

[6] One or two of these exercises may possibly have been mentioned in
some former work.




                             CHAPTER XII.

                     MECHANICAL FINGER-EXERCISES.


                           _First movement._

[Illustration: Fig. 24.]

[Illustration: Fig. 25.]

Take for each hand three cylinders, three quarters of an inch long,
and from half to one inch in diameter, according to the size of the
fingers; place them between the upper ends of the fingers, and while
gradually and conveniently extending the muscles, by bending the
fingers, move the latter as shown by the above figures, 24 and 25.


                          _Second movement._

[Illustration: Fig. 26.]

[Illustration: Fig. 27.]

Move the cylinders further down, to the roots of the fingers, and
perform the exercises according to Figs. 26 and 27. In doing this, put
a small round piece of wood between the thumb and the forefinger, at a
distance sufficient to extend the former as much as possible.

Leaving the other fingers as before, put a large cylinder between
the thumb and forefinger (28 and 29), so as to entirely fill up the
intervening space. In doing this, be careful to extend the thumb as
much as possible. In case the tension of the fingers is small, take
smaller cylinders: or if the latter should be too hard for tender
hands, cover them with some soft substance, such as velvet, or the like.

[Illustration: _Third movement._
Fig. 28.
Fig. 29.]

       *       *       *       *       *

Perform all these exercises vigorously, and, if possible, just before
practising the musical instrument, twice or three times daily, each
time for a few minutes, especially in the morning, on getting up. As
a matter of course, after eight or 10 hours rest, the muscles of the
fingers and wrist, like those of the rest of the body, are somewhat
stiff, and ought to be prepared by proper gymnastic exercises, before
beginning to play. Besides, _provided over-exertion be avoided_, there
is not, according to the best medical authorities, the least danger to
be apprehended, from these exercises, for the joints and muscles of
even the very smallest hands.

If players of the piano and the violin should object that, in the act
of _playing_, the fingers need not be as much extended as prescribed
here, or assert that the finger-exercises, scales, and _études_ as
at present used are perfectly sufficient, and that nothing more is
wanted, I can only repeat, that the fingers must be _prepared_ in
order to render them strong and flexible; that, for this purpose, it
is necessary to exercise them _gymnastically_, and that, as I have
explained before, these preparatory exercises will save much time
and trouble, and facilitate the work of both teachers and pupils;
_further_—that, by the diligent practice of these gymnastics, the
fingers become elastic and independent of each other; you acquire
thereby complete control over them, and _when you have done this_, you
can move them and do with them as _you will_.

ANOTHER MOST EFFECTIVE mode of stretching and loosening the tendons and
ligaments which encompass the large middle-hand bones, or “knuckles,”
may be performed as follows:

Place the forefinger of each hand, up to the middle joint, firmly on
the table, and in that position press it up and down with a certain
degree of force, for a few seconds; then withdraw it, and apply the
next finger in a precisely similar manner; then the two other fingers
in succession, each finger remaining on the table alone, unaccompanied
by any other.

Afterwards apply the 2nd and 4th _together_, exactly in the same way,
for a few seconds; then the 3rd and 5th; lastly the thumb.

The pupil may do this many times a day with great advantage; for by
this process the ligaments and tendons of the knuckles are stretched
and loosened, and the muscles are set free.

Of course always with due moderation.


ANOTHER VERY IMPORTANT exercise, bearing chiefly on the tendons and
ligaments of the large metacarpal joints or knuckles, is the following:

With the thumb and forefinger of the one hand take hold of one finger
of the other hand, and shake it up and down, for one minute, to its
root. Then take the other fingers in succession in like manner. To be
applied equally to both hands, and to be done, especially with the 4th
and 5th fingers separately, as often as leisure permits.

       *       *       *       *       *

To this category belongs also ANOTHER EXERCISE of the metacarpal joints
or knuckles. Into the palm of one outstretched hand place the closed
fingers or fist of the other: then open and close the _latter_ as fast
and as long a time as is agreeable, always continuing to press upon
the palm. Change hands and repeat. Ever remember that the difficulties
of bringing the fingers into order lie, physiologically, almost all
in the middle-hand bones or knuckles; and as the five preceding
exercises,—and especially the three last,—act in a very efficient and
special manner upon the ligaments, tendons, and muscles of these and
the other joints of the fingers, they _cannot be made too often_.




                             CHAPTER XIII.

               MECHANICAL FINGER-EXERCISES (CONTINUED).


It is not sufficient to play the ordinary finger-exercises and scales.
As has been shown in the opening chapters, and in the anatomical
representations of the hand, all the fingers are not equally strong;
for instance, the 4th and 5th fingers are, by nature, much weaker than
the others, and it is necessary to remedy this inequality.

Each finger ought, therefore, to have gymnastic exercises _for itself_,
and they ought to be performed on some solid body, which can be firmly
grasped. For this purpose take a round staff, from 12 to 18 inches
long, and half to three quarters of an inch thick, on which, at a
proper distance from one another, round indentations are made, and
into which the fingers are to be placed after the manner illustrated in
the adjoining and following figures.

[Illustration: The staff]


                             _Directions._

Place the thumb of each hand on one side, and the four fingers _very
firmly_ fixed on the other side of the staff; _raise one finger as high
as possible_, and let it fall down vigorously, like a hammer, 20 times
in succession, while the three remaining fingers, _stretched out from
one another_, like claws, remain immoveable. In the same way exercise
the other fingers; firmly, _slowly_, vigorously, and immediately after
the cylinder exercises just described. Repeat this three times daily,
each time for five minutes, altogether for 15 minutes a day, _but the
oftener it be done the better_.

Those playing the piano need not confine themselves to one particular
exercise, but may make use of all the figures at pleasure.

[Illustration: Fig. 32.
Fig. 31.]

[Illustration: Fig. 33.]

The fingers of the left hand may also be trained for violin playing, as
seen in Fig. 35.

[Illustration: Fig. 35.]

_Further upon the same._ After the cylinders, by far the most effective
of all means for imparting, gymnastically, strength and flexibility
to the fingers, together with evenness of vigour, individuality, and
independence, is, daily, in the room, or while walking, to take the
above-named staff, or, indeed, a smooth round stick of 18 inches
long, and half to three quarters of an inch thick, or an ordinary
walking-stick, and to perform on it as follows—With the four fingers
of one or both hands firmly pressed and stretched upon it, raise one
finger as high as possible, and, as above stated, let it fall down upon
it vigorously, like a hammer, while the other fingers remain firmly
pressed on the stick, 20 to 30 times in succession, then in couplets
with the 5th and 4th fingers, then with the 4th and 3rd, then with the
3rd and 2nd, 20 times each, the two fingers, in all cases, as stated,
lifted as high as possible, and the others remaining, _stretched at
even distances_, firm upon the staff; finally, with the four fingers
of each hand, 12 times ascending, and 12 times descending, but always
SLOWLY, energetically, with firm pressure, “and in time.” You may
_occasionally_ practise a little faster, but it must be the exception.
Slow moving, pressing, and stretching should from the chief gymnastic
rule.[7]

In a similar manner you may practise, _slowly and with energy_, with
one or with both hands, all sorts of difficult, muscular movements and
passages upon the staff, for example:—

_First series._ In couplets 20 to 30 _times each in succession_, with
the 2nd and 4th fingers, alternating, afterwards, with the 4th and 2nd;
then with the 3rd and 5th fingers, alternating with the 5th and 3rd; in
each case the two fingers stretched wide apart, and the other fingers
pressed upon the staff.

_Second series._ In couplets 20 to 30 _times each in succession_,
with the 2nd and 3rd fingers, first close together, then wide apart,
afterwards alternating in the same way, with the 3rd and 2nd. With the
3rd and 4th fingers first close together, then wide apart, afterwards
alternating, in the same way, with the 4th and 3rd. With the 4th
and 5th fingers, first close together, then wide apart, afterwards
alternating in the same way, with the 5th and 4th. In each case slowly,
the two fingers lifted as high as is convenient, 20 to 30 times in
succession, and the other fingers remaining firmly fixed upon the
staff. Lastly, all the four fingers together, in each of these varied
and different directions.

The number of times of each movement, and the duration of time, also
whether all should be made at the same hour, or otherwise, is left to
the discretion of the teacher and pupil. I would recommend, at first,
the selection of three or four modes or exercises for persistent
practice, to last over a given period of time, then to change to others.

But the regular exercise of the whole or part of them, _daily_, will,
in a comparatively short time, most surely impart immense strength
to, and render flexible, the muscles and joints of the fingers; will
enable you, if the directions be duly followed, to effect for yourself
perfectly equal and even fingering, and render the fingers entirely
_independent one of another_.

But let all be done with due moderation, and not driven to excess.

This gymnastic staff, or walking-stick exercise, however simple it may
appear, should, on no account, any single day be omitted. It produces
a most surprising effect if carefully and vigorously made; an effect
which will be the more remarkable in proportion as the fingers are
pressed and stretched far away from one another. By this means all the
various muscles, and even the tendons, joints, and ligaments are put
into motion, and both fingers and nerves are rendered strong and firm.
Besides, no time need be lost; as in performing these exercises you may
converse or engage in other occupations.[8]

In this manner, also, _the 4th finger may_ have a special training, and
become equally strong with the others. This finger is, on physiological
grounds, the weakest of all, and after a number of vain attempts at
remedying its well-known weakness, some physiologists of note in
Germany, have gone so far as to suggest the idea whether it would not
be well to cut the ligament joining the two fingers, in order to set
the 4th finger free.

But it is unnecessary to have recourse to such rude and unnatural
measures; the natural weakness of the 4th finger may be effectually
remedied, and may be entirely overcome, by the above exercises. The
same exercises, if _performed strictly according to the directions_
given above, are extremely useful for _all_ the fingers, which they
will render both strong and flexible.

These exercises may be _partially_ performed on musical instruments;
but they are _far more_ effective if made gymnastically, as directed,
because the fingers, in having a resting point, or lever, and having
something firm to grasp, are enabled to perform them _gymnastically_.


FOOTNOTES:

[7] The late Mr Clementi was celebrated for the perfect evenness and
beauty of his touch in playing rapid passages on the piano. The means
by which he attained this execution he was unwilling to disclose. It is
now known that he effected it by playing his scales VERY SLOWLY, and
with _great pressure_ of each individual finger (see page 96).

[8] The celebrated violinist, Bernard Molique, told me lately, in
London, that when he was called on to play difficult solo pieces in
public, he very often played them previously over _upon a stick_.




                             CHAPTER XIV.

               MECHANICAL FINGER-EXERCISES (CONTINUED).


Moreover, beautiful works of art, like pianofortes, violins, and other
musical instruments, ought not to be used as gymnastic implements. They
are destined for _play_, not for _gymnastic_ appliances. The fingers
and joints ought, therefore, first to be gymnastically exercised;
_then_ play upon the instrument.

The head and the fingers ought to go together; but how is this possible
if the latter remain behind? The mind strives forward, the fingers keep
it back. Why should this torture be inflicted? No; let the fingers
first be properly trained; then head and fingers will go harmoniously
together.

Another great advantage attending the above exercises is, that so
long as they last, the organs of hearing are spared. Many persons,
who zealously and with endurance perform finger-exercises on musical
instruments, injure their health, through the irritation of the
auditory nerves, to such a degree, as either to be prevented, on
medical authority, from continuing to practise, or otherwise to be
subjected to serious consequences; whereas, if the exercises are
preceded by the gymnastic movements given above, the hearing organs of
the pupil will be greatly spared, and not injured in any way.

The greatest technical art consists in controlling alike the fingers,
the joints, and the nerves. Now, if the muscles and tendons are
exercised and strengthened by proper physical work, the _nerves_ will
be invigorated at the same time. This is a well-known fact, and for
those engaged in musical pursuits, an advantage which it is impossible
to overrate. The fingers then will not be fatigued as easily as
before, and you learn at the same time by habit, to acquire complete
control over the joints, the muscles, and nerves.

Nor ought another advantage to be overlooked; viz., that in regard to
artists and persons who play well, when these travel, or from any other
cause are prevented from playing for some time on a musical instrument,
they will be enabled, in the manner described above, to exercise
efficiently for a short time daily their fingers and joints. Thus the
fingers and joints will not get stiff, and you will always remain their
master.

However, to attain this end, the exercises on the stick ought not be
performed carelessly, but _gymnastically_, and STRICTLY _according to
the directions given above_.

The same exercises are very useful for persons playing the violin, by
promoting the proper bending of the _forefinger_ of the left hand.

Generally speaking, the whole of the above exercises are equally
fit for all persons playing the piano, the organ, the violin, the
violoncello, and other instruments; and they will find, after having
accustomed themselves to perform them vigorously and gymnastically
for a short time daily, that they then come to the instrument with a
strength and individuality of finger which will exceed their utmost
expectations.




                              CHAPTER XV.

BOARD FOR STRETCHING THE MUSCLES, ESPECIALLY THOSE OF THE THUMB AND THE
                            LITTLE FINGER.


Take a board, about 22 inches long, four to five inches wide, and three
quarters of an inch thick, and mark out on it four or five grooves,
about half an inch deep. To fix this board on the table, have a little
ledge glued on to one of its sides, as in Fig. 36 and 37.

Place the outstretched hand on the board; stretch the thumb and the
little finger as far as possible away from one another, into one of the
grooves, place the other fingers into one of the other grooves, and set
them in motion, while holding the thumb and little finger firmly in
their places.

[Illustration: Fig. 36.
Fig. 37.]




                             CHAPTER XVI.

  ON STRINGED INSTRUMENTS IN PARTICULAR. THE WRIST OF THE RIGHT HAND.


The following mechanical gymnastic exercises refer to the _wrist of
the right hand_, and are intended for players on stringed instruments.
Their chief purpose is to render the wrist of the right hand and the
forearm strong and flexible. This all students find very difficult; it
will soon be evident for what reason.

It is a fact acknowledged by the most celebrated musicians, that the
principal bowing difficulties in playing the violin arise from the
wrist. This is chiefly owing to the circumstance that, in playing the
violin, the movement _sideways_ of the wrist is a peculiar one, being,
in fact, totally different from any other movements taking place in
the ordinary occupations of life. If, therefore, it be desired to
diminish the painful work, as customary at present, it is indispensable
to _prepare_ the wrist and arm by exercises like those we are about to
describe.

Take three times daily, and particularly early in the morning, a
stick or cane exceeding the length of a violin bow by 8-10 inches,
holding it in your right hand the same as a bow; lay it on the left
hand,—which is to be raised to the same height as if playing the violin
or violoncello,—and move it _vigorously_ up and down as follows:

1. The entire length, 30 times;

2. The middle length; with the forearm and wrist only, without moving
the upper arm, 30-40 times;

3. At the _nutt_; with the wrist alone,—and especially up-stroke,—with
energy; without in the least moving the arm, 30-40 times;

4. At the extreme _head_-end; with the wrist alone, and with pressure;
without in the least moving the arm, 30-40 times.

Move the cane alternately up and down, pressing it with the thumb
and forefinger, and look at the direction of the wrist and the stick
or cane. With this gymnastic cane you may exercise gymnastically,
at pleasure, up and down strokes, triplets, and all sorts of
bow-movements. The effect you will find surprising.

These exercises are particularly useful for the student. As a matter of
course, they can also be _partially_ made with the bow, but _not with
the same effect_.




                      CHAPTER XVII. (CONTINUED).


There is another very effective gymnastic exercise for strengthening
and rendering flexible the wrist of the right hand. A movement
resembling it has already been described above, but to prevent any
misconception, I think it well to give explicit directions respecting
it here.

Take hold with your right hand of the extreme end of a long and rather
heavy _Alpenstock_, and while continually keeping the hand in the same
place, move it upon the upheld left hand vigorously up and down:

1. With the whole arm, 30 times;

2. The middle length, 25 times;

3. As near as possible to the lower end, with the wrist alone, without
in any way moving the arm, 30 times;

4. As near as possible to the upper end, with the wrist alone, and
especially up-stroke, without in any way moving the arm, 30 times.

This exercise, on anatomical grounds, produces a considerable effect on
the muscles and sinews of the wrist and the forearm, in imparting to
them the wished-for strength and flexibility.

Besides, it is a well-known fact that, having handled a heavy object,
it is more easy skilfully to handle a lighter one.

If it should be objected that the last-mentioned gymnastic exercises,
being of rather a rough kind, might spoil the elegant stroke, my answer
is, that those so-called rough exercises only last a very short time
daily, and are undertaken for the special purpose of rendering the arm
and wrist strong, easy, even, and flexible. Indeed, if these right-hand
exercises are made _carefully_ and _according to the directions given_,
a short time every day, they will strengthen the wrist of the right
hand and render it pliant and flexible to such a degree, as to enable
persons, in a comparatively short time, to play with the wrist almost
as vigorously as with the arm.

There is, moreover, another advantage attending these exercises, viz.,
that, if continued for some weeks only, and for a few minutes daily,
they will soon give the proper position to the student’s arm, which,
consequently, will not be required to be tied to the body, as was often
done in former times.




                            CHAPTER XVIII.

                        CONTINUATION. STACCATO.


A famous German chamber violinist once remarked to me, “I find that
staccato playing is the best exercise for bowing, but I can’t say why.”
The reason, however, lies in the fact that, by frequently playing with
the end of the bow, or with the staccato-stroke, the muscles of the
wrist are put in motion, thus undergoing a _gymnastic_ training by
which strength and flexibility are acquired.

It is impossible to perform the staccato-stroke well, unless the
muscles of the wrist have become strong and agile; and the reason why
the student finds this stroke in most cases so difficult is, that the
wrist has not been specially trained and prepared, in consequence of
which it remains weak and stiff.

It ought to be remembered that in almost all kinds of handiwork in
daily life, the _whole_ arm is active and in motion, and _very rarely_
the _wrist alone_. With musical instruments, on the contrary, and
particularly in playing the violin, it is necessary _always_ to use
the wrist, and it is impossible to play well unless the wrist has been
rendered strong and elastic. It is, therefore, absolutely indispensable
that proper gymnastic exercises should be made with the wrist, in
order to _prepare it_. The wrist, indeed, ought to be _accustomed_, in
other words, _to move of itself_, and the student ought, as often as
possible, to perform all kinds of movements calculated to impart to it
pliancy and strength. It will then soon become free and easy, and the
student will, in course of time, acquire the strongest, most elegant,
and artistic stroke.

No single one of these practical gymnastic exercises ought to be
despised on account of its simplicity. Only try them, and they will
be found very effective. All sensible artists and teachers will do
homage to every improvement, and consider it their duty to welcome any
assistance calculated to diminish and render lighter the arduous toil,
and shorten the valuable time required for becoming a proficient in
music.




                             CHAPTER XIX.

                          CONCLUDING REMARKS.


I will only add in conclusion, that it would be well not to continue
too long with the same gymnastic exercise, but to allow the muscles
and joints some change, which will be found both agreeable and
advantageous. If, therefore, the student be tired of one exercise, he
should begin another. Besides, if the fingers are fatigued and hot by
playing, and the nerves irritated, an exercise of some of the different
free or mechanical gymnastic appliances will refresh the muscles, by
imparting to them a new and an easier movement. And be it remembered,
“these exercises are not irksome, but recreative.”

It may also be recommended in such cases, to dip the points of the
fingers for half a minute into half a glassful of cold water, and let
them get dry of themselves, thus cooling by evaporation; or still
better, wash the hands with soap and water.

To sum up: No student ought to begin to learn or to play the piano,
violin, or other musical instrument, or even to engage in any work or
occupation requiring a strong and flexible hand, before having set
the joints of his fingers and hands in order, by means of preparatory
gymnastic exercises; and he ought to continue the same from day to day.

Let it ever be borne in mind that much rapid playing affects
injuriously the muscles and nerves; while, on the other hand, _slow
exercises and studies_ invigorate them.

To borrow an illustration from the animal world; take the race-horse,
the fleetest animal which we use in this country, whose great task
requires that his muscle should be brought into the highest condition
of strength and flexibility. Do you suppose that, in training and
preparing him for the race,—a process often extending over a
considerable period,—that he is, in the course of it, much galloped?
By no means! Galloping forms the exception, and, during this long
interval, walking, trotting, and cantering form his chief training
paces; namely, four-fifths or seven-eighths of the time; galloping only
one-fifth or one-eighth part! His skilful trainer knows that much rapid
exertion, such as galloping long continued, weakens and wears out his
muscle. So, also, in the hunting-field and on the road, it is “the pace
that kills.” Even so with the player upon a musical instrument; _long
continued_, rapid movements wear out the muscle and shake the nerves,
while slow exercises, however vigorously executed, invigorate and
strengthen both (see p. 75, note).

The exercises for stringed instruments will be most satisfactorily
performed before a looking-glass, and I may here add that a little
work by the author, entitled “Gymnastic Exercises for the Violin and
Violoncello,” having for its special object the exercise of the wrist
of the right hand on the instrument, will be published in a short time.

       *       *       *       *       *

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 presses. Let me ask, _first_, why should this little sharp
projection be permitted to appear on every bow, to the prejudice of
the placing firmly the thumb there, instead of being _rounded off_?
and _secondly_, why should there not be placed, close to this point,
especially for students, a small piece of round gutta percha—a gutta
percha button—as a _stay_ to the thumb? Great facility would thus be
afforded for holding firmly the bow. Any one may put a piece of gutta
percha in the candle, and, when softened, stick it fast on the place
indicated.

Finally, I repeat that, in performing any of these gymnastic exercises,
the principal condition to be adhered to is, that they should always
be made in the morning, also immediately before playing; and that
while great vigour is imparted to them by following out strictly
the directions given, any over-exertion should be avoided. As to the
claims of the author himself, they are limited to an earnest desire,
that his “Gymnastics of the Fingers and Wrist,” founded as they are
on anatomical and physiological principles, may find favour with the
Public, and be instrumental in promoting the best interests of Art.


                               THE END.


                    JOHN CHILDS AND SON, PRINTERS.




                             TESTIMONIALS.


_From_ PRESCOTT HEWETT, F.R.C.S., _Surgeon to St George’s Hospital,
late Professor of Anatomy to R.C.S._

  _Aug. 28th, 1865._

“Having carefully examined the gymnastic exercises invented by Mr Edwin
Ward Jackson for the due working of the fingers and hand, I have great
pleasure in stating that I believe that such exercises will be of the
greatest use, not only to musicians, but to every one who wishes to
possess a perfectly free use of his hands. The power and the freedom
obtainable by exercises such as these have been little thought of; but
from what I have seen, I feel confident that Mr Jackson’s exercises, if
rightly used, are destined to make the hand much more perfect for all
its purposes than it really is.”

       *       *       *       *       *

_From_ LUTHER HOLDEN, F.R.C.S., _Senior Lecturer on Anatomy at
Bartholomew’s Hospital_.

  _Aug. 28th, 1865._
Since our last interview I have often thought and talked about the
practical effect of your ‘Gymnastic exercises for the Fingers.’ On
anatomical and physiological grounds, it is quite certain that these
exercises are admirably calculated to liberate the ligaments of the
fingers, 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 depend.

“I have no doubt whatever that such exercises will be of the greatest
service in educating the fingers of musicians, and thereby save them a
great deal of time and trouble.”

       *       *       *       *       *

 _From_ RICHARD QUAIN, F.R.S., _Professor of Chemical Surgery in
 University College; Surgeon Extraordinary to the Queen_.

  _August 2nd, 1865._
I write to you upon the important facts you were good enough to
communicate to me to-day, and to explain how they may be accounted
for scientifically. Your proposal to exercise the hand and fingers,
and your plan of systematically carrying out the proposal so as to be
beneficial to musicians, are _both new_ to me. Judging on principle,
and from a knowledge of what occurs in other parts of the body, I have
no doubt that the system must be useful, for it will give increased
mobility to the fingers and increased development and power to the
small muscles—Lumbricales (the _musculi fidicinales_ of Cowper), and
metacarpal interosseous, as well as indeed to the general flexors and
extensors of the hand. In short, the exercises you propose will be to
the hand and fingers what the ordinary gymnastic exercises are to the
rest of the limbs. The result will be useful wherever the free play
and vigour of the fingers are needed; would therefore, I anticipate,
be especially advantageous to musicians, and I am inclined to add to
painters and to writers also.” ...

       *       *       *       *       *

_From_ ERASMUS WILSON, F.R.S.

“On carefully thinking over your demonstration of gymnastic exercises
as applied to the hand, I can see in it only good; it is ingenious,
practical, and physiological, and eminently adapted for the purpose to
which you propose to adopt it; namely, the manipulation of the strings
and keys of musical instruments. I am glad to hear that you intend to
give your labours to the public very shortly.... I see no possible
inconvenience, much less danger, in the process.”

       *       *       *       *       *

_From_ DR VIRCHOW, _Professor of pathological Anatomy, Berlin_.

  _June 3rd._

TRANSLATION.

“The exposition of your proposed Gymnastics for the regular exercise
of those portions of the body which are used most partially, namely,
the fingers, deserves, assuredly, a great and practical recognition.
They are addressed, according to my opinion, to a real want or hiatus.
Not only will they very naturally serve as a special preparation for
musical objects, but also for a like participation of the muscle-groups
of the forearm and the hand, which, in all the usual labours of daily
life, are only very partially brought into action. In the case of men
who only write, and women who sew, or do other fine work, the great
disadvantages arising from the special pressure in individual groups
of muscles will be altogether avoided; and I regard it as extremely
probable that your gymnastics will diminish or entirely remove many
disorders, such as writing-cramp, contortions, &c.”

       *       *       *       *       *

 _Official extract from the books of the_ SOCIETY OF PHYSICIANS AT
 BERLIN _of the Meeting held by them_, _June 6th_.

 _President_—DR BEREND, Member of the Royal Privy Council, and Director
 of the Gymnastic-orthopedic Institution, Berlin.

 _Secretary_—DR GUMBINNER.

“Mr Jackson from England delivered a lecture upon gymnastics of the
fingers and wrist. The fatigue which immediately attended the playing
on the violin late in life, incident even to a person strong and
athletic in all other respects, led him to the discovery, after
lengthened investigations, _first_, that the fingers are the least
exercised of all the active muscles of the human body; _secondly_,
that they are thereby, on physiological grounds, also the weakest;
and _thirdly_, as he afterwards on minute investigation found out,
that the finger-muscles are almost the only active muscles in the
frame to which a properly constituted system of gymnastics had never
been applied. He discovered that the cause of this fatigue lies in
the want of finger-training; and the lecturer explained, and adduced
proof, that the muscles, hitherto constrained in their movements by
tight transverse ligaments, are instantaneously set free by gymnastic
stretching applications to those ligaments. The society expressed
itself entirely in accord with the theory as well as the practice which
the lecturer adduced; they desired to add that both the one and the
other are entirely new to them, and to express a belief that the same
will be introduced into every school in Germany as soon as they shall
be made known.

“In expressing their best thanks to Mr Jackson for his most interesting
discourse, the society desire to record the fact, which the lecturer
in soliciting their indulgence stated, that he had commenced the study
of the German language for the first time at a late period of life,
namely, at the age of 52 years, exactly six years ago; nevertheless
the lecturer seems to have mastered its great difficulties, and has
delivered gratuitously this and many other lectures extempore in
excellent German, an achievement which the society believes to be
without precedent.”

Expressions of marked approval have also been received from W.
FERGUSSON, F.R.S., _Surgeon Extraordinary to the Queen_, PROFESSOR R.
OWEN, F.R.S., D.C.L., _British Museum_, DR JOSEPH HIRTH, _Professor of
Anatomy, Vienna_, and other distinguished persons.

       *       *       *       *       *

 _From_ JOHN HULLAH, _Professor of Music in King’s College and in
 Queen’s College; Organist of Charterhouse, &c., &c._

  _July 27th, 1865._
Mr Edwin W. Jackson has called attention to an anatomical fact which
is likely to prove of great importance to students of instrumental
music; 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
strength, pliability, and expansiveness of the hand.”

       *       *       *       *       *

 _From_ E. F. RIMBAULT, LL.D., F.S.A., _Member of the Royal Academy
 of Music in Stockholm; Musical Examiner in the Royal College of
 Preceptors, London, &c., &c._

“Mr E. Ward Jackson’s discovery is of the _highest importance_ to all
performers on musical instruments requiring the use of the fingers.
Several attempts have been made, at different times, to construct
apparatus which would give strength and elasticity to these important
members of the hand; but they have all signally failed. Mr Jackson
has been the _first_ to consider the subject _philosophically_ and
_anatomically_. His discovery will form an era in the progress of the
manipulation of the art.”

       *       *       *       *       *

_From_ JULES BENEDICT, _Pianist_.

  _July 22nd, 1865._

“I believe that Mr Jackson’s simple but ingenious contrivance will
be highly beneficial for the musical student, and contribute to the
clearness of touch and independence of the fingers. Experiments on a
large scale, and in schools where music is taught, would still more
contribute to acquaint the public with his clever and useful invention.”

       *       *       *       *       *

_From_ PROFESSOR WYLD, _Mus. Doc., Cantab.; Professor of Music in
Gresham College_.

  _July 23rd, 1865._

“Many thanks for sending me your pamphlet, which I have read very
carefully. It has interested me very much, and I have no doubt of the
practical excellence of your discovery.”

       *       *       *       *       *

 _From_ PROSPER SAINTON, _Leader of the Royal Italian Opera; of the
 Sacred Harmonic Society; of the Musical Society of London; and of the
 New Philharmonic Society_.

  _Aug. 5th, 1865._

“I have great pleasure in adding my testimony to that given to you by
so many artists. I congratulate you upon your invention, which I am
certain will be of great utility to pupils of the violin, in giving to
their fingers strength and elasticity.”

       *       *       *       *       *

_From_ WALTER MACFARREN, _Professor of Pianoforte in the Royal Academy
of Music_.

  _July 28th, 1865._

“Mr. Edwin W. Jackson has done me the favour to explain to me his new
system of gymnastics for the fingers, and I have no hesitation in
stating that in my opinion it is calculated to obtain, by the simplest
means, the independence of wrist and flexibility of finger essential
to the pianist, or indeed to the performer on any keyed instrument. 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 studied.”

       *       *       *       *       *

_From_ JOS. JOACHIM, _Violinist_.

“I must, on reflection, admit that the gymnastics for the fingers
which you suggest must, by proper application of the same, contribute
greatly to strengthen and render pliant the finger-joints.”

       *       *       *       *       *

_From_ PROFESSOR MOSCHELES.

“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
appliances, must prove to be of great use.”

       *       *       *       *       *

_From_ DR H. H. PIERSON, _Professor of Music, Edinburgh_. Many
thanks for your staff, which is an excellent idea, and a very
useful invention, as well as the cylinders. The advice contained in
your ‘Finger und Handgelenk Gymnastik,’ together with the set of
regulations there laid down, is of eminent value, if properly attended
to, as a means of preparing the fingers and wrists for playing the
piano, violin, &c., and for rendering them strong and flexible, the
two indispensable requisites. I particularly admire the extreme
simplicity of all your inventions, which really remind one of the
‘Egg of Columbus,’ and I should not be surprised if your ideas (so
disinterestedly offered to the public) were to introduce a new era in
the study of the pianoforte and stringed instruments. They must also be
of signal service to organists, to whom I should specially recommend
your apparatus.”

       *       *       *       *       *

_From_ HERRN LAUTERBACH, _Violinist_.

“Being always very much in favour of gymnastics of all kinds, I hasten
to inform you that your discovery relating thereto has interested me
very much, and I am satisfied that great good will arise from it.”

       *       *       *       *       *

 _From_ HENRY BLAGROVE, _Professor of the Royal Academy of Music;
 Leader of the Philharmonic Society; of the Musical Society of London.,
 &c., &c._

  _July 22nd, 1865._

“On perusal of your MS. relative to the development of the muscles
of the hands, &c., as applied to musicians, I have great pleasure in
offering you my testimony to its being a valuable adjunct to musical
tuition where mechanical action is required, such as for the piano,
or violin and violoncello. I think it shortens the usual routine of
practising to gain strength, and will give at once freedom and force to
the hand, fingers, arm, &c.”

       *       *       *       *       *

_From_ J. T. CARRODUS, _Leader of Her Majesty’s Theatre_.

  _July 23rd, 1865._

“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
students.”

       *       *       *       *       *

_From_ E. AGUILAR, _Pianist_.

  _July 22nd, 1865._

“I consider Mr Ward Jackson’s system for the fingers remarkable for
its simplicity, ingenuity, and efficacy. I believe that its universal
adoption must materially benefit and assist all who cultivate
instrumental music.”

       *       *       *       *       *

_From_ W. GEO. CUSINS, _Pianist, Organist to Her Majesty_.

  _July 27th, 1865._

“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 me. I believe your discovery to be of great
importance to musicians who use their fingers. For myself I intend
trying your system, and shall likewise make my pupils use it.”

       *       *       *       *       *

_From_ LINDSAY SLOPER, _Pianist_.

  _July 31st, 1865._

“Allow me to express to you the interest I felt in your system of
finger-gymnastics as shown to me by you last week. Your inventions seem
to me very likely to produce the results you have sought, and I should
be very glad to see their utility tested in our music-schools.”

       *       *       *       *       *

_From_ B. MOLIQUE, _Pianist_.

  _July 22nd, 1865._

“Mr Jackson’s gymnastic invention for the fingers and wrists will be of
great benefit to musical students.”

       *       *       *       *       *

_From_ J. BALSIR CHATTERTON, _Harpist to Her Majesty the Queen_.

  _July 31st, 1865._

“I have taken time to think over your ingenious invention, and am of
opinion that it will be of incalculable service to harp players. I can
only hope that it will become extensively known, and shall be glad to
hear of the publication of your forthcoming work.”

       *       *       *       *       *

_From_ JOHN THOMAS, _Harpist, Professor of the Royal Academy of Music;
Pencerdd Gwalia_.

  _July 25th, 1865._

“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 other, and in preparing them for execution upon
any musical instrument, thus greatly facilitating the attainment of
execution; and I sincerely hope that his invention will be made public,
in order that the world may derive the full benefit of it.”

       *       *       *       *       *

_From_ JACQUES BLUMENTHAL, _Pianist_.

  _July 25th, 1865._

“I have great pleasure in stating that I consider Mr Edwin W. Jackson’s
new system of gymnastics for the fingers a very ingenious invention,
and as simple as I believe it to be useful to the student; and if
generally adopted would prevent, no doubt, many a headache engendered
by the now prevailing system of exercises for the pianoforte and
violin.”

       *       *       *       *       *

_From_ ADOLF POLLITZER, _Violinist, Royal Italian Opera_.

  _July 24th, 1865._

“Mr Jackson deserves the thanks of every instrumentalist for his clever
invention for strengthening the fingers; and those who follow his very
ingenious system must find great benefit from it.”

       *       *       *       *       *

_From_ R. SIDNEY PRATTEN, _Flautist, Royal Italian Opera_.

  _July 7th, 1865._

“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 value, as flexibility and strength
can be obtained even though the instrument may not be at hand; and I
shall have great pleasure in recommending it to all my pupils, as well
as professional brethren, as a thing indispensable for the purpose for
which it is intended.”

       *       *       *       *       *

_From_ HENRY LAZARUS, _Clarionetist, Royal Italian Opera_.

  _August 9th, 1865._
I was very pleased indeed this morning to hear you explain your
invention of ‘Gymnastics for the Fingers.’ It is extremely clever, and
I consider it will be of the greatest service to all performers on
wind instruments, as well as to pianists and performers on stringed
instruments. I conceive it will give great facility and lessen the
labour.”

       *       *       *       *       *

_From_ ALFRED NICHOLSON, _Oboist, Royal Italian Opera_.

  _July 24th, 1865._

“The system of gymnastics for the hand, invented by Mr Edwin Jackson,
is, in my opinion, calculated to be of great service to musical
professors and students, from the increased strength and flexibility
the fingers must gain by practice under this method.”

       *       *       *       *       *

_From_ H. C. DEACON, _Pianist_.

  _July 28th, 1865._

“I think your system of hand-exercise, as explained to me the other
morning, likely to be a useful adjunct to the pianoforte, inasmuch as
it tends to give increased extensions to an important part of the hand.”

       *       *       *       *       *

_From_ JAMES HOWELL, _Contrebassist, Royal Italian Opera_.

  _August 25th, 1865._

“It is with great pleasure that I testify to the soundness and
excellence of your system of gymnastics for the hand, as giving
flexibility and power to the fingers. It would prove of great advantage
to any member of the musical profession, if properly carried out.”

       *       *       *       *       *

 _The whole of the Orchestra of the Royal Opera-house at Stuttgart in
 Wurtemberg, testified individually as follows_:

“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 pianoforte, as also upon stringed
and wind instruments, that they are new and eminently practical, and
deserve to be everywhere adopted.”

       *       *       *       *       *

_From_ EDWARD J. HOPKINS, _Organist to the Hon. Societies of the Inner
and Middle Temple_.

  _Sept. 13th, 1865._
Mr Jackson has been so good as to explain to me —and to exhibit, his
apparatus and course of exercises for developing and strengthening the
muscles and powers of the hand, which I firmly believe are calculated
to be of very considerable importance to all practitioners upon musical
instruments.”




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