way of the
other innovations of this and other makers. One other thing in
connexion with Vuillaume's bows I will mention here though it is not
in the nature of an "improvement" properly so-called, albeit I have
no doubt Vuillaume thought it a great embellishment. In the nuts of
some of his bows, just where the mother-o'-pearl "eye" is usually
placed, he had inserted a minute and powerful lens with a microscopic
transparent portrait of himself that could be seen therein on holding
the nut to the light. It was just like the views one sometimes sees
in penholders brought as presents from popular seaside resorts.

I have recently heard of another variety of self-hairing bow patented
in America, but have not yet seen one. From that country, where, so I
have heard, the bows drawn are of quite exceptional length, emanated
a patent bow wherein fine cords are substituted for hair and also a
contrivance, whereby, when the hair becomes smooth and useless on the
one side, it can be taken out, turned round and then enters on a
rejuvenated existence the other way about.

To return to Vuillaume's patent bows. All of these, excepting the
steel bows, are splendid sticks, for they were made by Simon,
Fonclouse, and other noted workmen. It is therefore a profitable
thing to have them altered into normal bows. This can be done by
skilful workmen so that the bow is as good as any other ordinary bow
by the same maker, and is free from the encumbrance of the patent.

G. Chanot, of Manchester, I am told, has a patent bow that is made to
fold in two for convenience in packing for travelling purposes. The
idea is not as original as its inventor may think, for the Japanese
kokiu which is fast becoming obsolete had an extremely long and
flexible bow that was jointed together like a fishing rod.

The "improved bow," patented by Chas. Ketteridge, is distinctly novel
and has much to commend it. The hair in this bow is placed at such an
angle that, though the player holds his hand in the usual position,
the full width of the hair lies evenly on the string from end to end.
It has been well spoken of by the press and several noted artists.
For chord playing it possesses distinct advantages, and I should
think it would be very useful for certain orchestral players; it does
not, however, seem to have attracted more than passing attention.

Truly the "fiddlestick" is a magic wand in more senses than one. As
mentioned above it is significant that so li