tter is shrouded in mystery. In other branches of science,
art, etc., we find brilliant thinkers arriving simultaneously at
identical results,[1] and I can quite believe that the idea of the
ferrule and slide (obvious contrivances when one considers the
requirements of a good bow) could have occurred to more than one of
the workers then striving after perfection.

[Footnote 1: As a noteworthy example, take the simultaneous discovery
by deduction of the invisible planet Neptune, by Adams and
Leverrier.]

The characteristic feature I wish to call attention to in the heel
shown above (Fig. 31) is the great size of the slide in proportion to
the whole lower surface of the nut. It leaves such a very small
margin compared with that of other makers. This will be found in
nearly every genuine specimen. Unfortunately nuts wear out and become
replaced with new ones, so that it is not always possible to obtain a
bow that is original in all its parts. Dodd occasionally decorated
the face of his bows with mother-of-pearl, as in the example shown in
Fig. 31. He invariably stamped the name DODD in large, plain letters
both on the side of the nut and on the stick. I have seen some that
are stamped J. Dodd, but not many. Fig. 32 shows (actual size) a very
early Dodd head, than which nothing, I think, could be more
distressingly ugly. It is remarkable that such a caricature should
have emanated from the same man who produced those shown in Plates
III. and IV. Plate III. consists of photographs (actual size) of two
violin bows, and one tenor bow, Plate IV. giving one tenor bow and
one 'cello bow by this maker. It would be quite impossible to give
representations of all Dodd's characteristics, as his work varies so
very much. I have therefore chosen a few only of the best types.
These are all exceptionally well finished. In the second and third is
to be seen the tendency to arch in the neck of the bow so frequent in
Dodds; in the others the sweep of the stick up to the head is
perfect. His 'cello bows are his best work, and compare favourably
with the greatest Continental makers. The one I have selected is of
the finest period. The first of the two tenor bows (third on Plate
III.) is the type of head most frequently seen, some have the head
drawn backward at a very ungainly angle, and others, again, slope
forwards, to an extent greater even than that of the 'cello bow in
Plate IV.

[Illustration: FIG. 32.]

[Illustration: PLATE III.]