afterwards require polishing, and thus increase the trouble. The glasses being thus tuned, you are to be provided with a case for them, and a spindle on which they are to be fixed. My case is about three feet long, eleven inches every way wide within at the biggest end, and five inches at the smallest end; for it tapers all the way to adapt it better to the conical figure of the set of glasses. This case opens in the middle of its height, and the upper part turns up by hinges fixed behind. The spindle is of hard iron, lies horizontally from end to end of the box within, exactly in the middle, and is made to turn on brass gudgeons at each end. It is round, an inch in diameter at the thickest end, and tapering to a quarter of an inch at the smallest.-A square shank comes from its thickest end through the box, on which shank a wheel is fixed by a screw. This wheel serves as a fly to make the motion equable, when the spindle, with the glasses, is turned by the foot like a spinning wheel. My wheel is of mahogany, eighteen inches diameter, and pretty thick, so as to conceal near its circumference about twenty-five pounds of lead.-An ivory pin is fixed in the face of this wheel, about four inches from the axis. Over the neck of this pin is put the loop of the string, that comes up from the moveable step to give it motion. The case stands on a neat frame with four legs. To fix the glasses on a spindle, a cork is first to be fitted in each neck pretty tight, and projecting a little without the neck, that the neck of one may not touch the inside of another when put together, for that would make a jarring. These corks are to be perforated with holes of different diameters, so as to suit that part of the spindle on which they are to be fixed. When a glass is put on, by holding it stiffly between both hands, while another turns the spindle, it may be gradually brought to its place. But care must be taken that the hole be not too small, lest in forcing it up the neck should split; nor too large, lest the glass, not being firmly fixed, should turn or move on the spindle, so as to touch or jar against its neighbouring glass. The glasses thus are placed one in another; the largest on the biggest end of the spindle, which is to the left hand: the neek of this glass is towards the wheel; and the next goes into it in the same position, only about an inch of its brim appearing beyond the brim of the first; thus proceeding, every glass when fixed shows about an inch of its brim (or three quarters of an inch, or half an inch, as they grow smaller) beyond the brim of the glass that contains it; and it is from these exposed parts of each glass that the tone is drawn, by laying a finger on one of them as the spindle and glasses turn round. My largest glass is G, a little below the reach of a common voice, and my highest G, including three complete octaves. To distinguish the glasses more readily to the eye, I have painted the apparent parts of the glasses within-side, every semitone white, and the other notes of the octave with the seven prismatic colors; viz. C, red; D, orange; E, yellow; F, green; G, blue; A, indigo; B, purple; and C, red again;-so that the glasses of the same color (the white excepted) are always octaves to each

other. This instrument is played upon by sitting before the middle of the set of glasses, as before the keys of a harpsichord, turning them with the foot, and wetting them now and then with a sponge and clean water. The fingers should be first a little soaked in water, and quite free from all greasiness; a little fine chalk is sometimes useful, to make them catch the glass and bring out the tone more readily. Both hands are used, by which means different parts are played together.--Observe, that the tones are best drawn out when the glasses turn from the ends of the fingers, and not when they turn to them. The advantages of this instrument are, that its tones are incomparably sweet beyond those of any other; that they may be swelled and softened at pleasure by stronger or weaker pressures of the finger, and continued to any length; and that the instrument, being once well tuned, never again wants tuning. Some have proposed to use cork instead of the finger, but this substitute does not seem capable of producing the same mellowness and equality of tone with the finger. Alum water is also thought preferable to chalk. From what has already been said, it will easily be perceived, that this instrument requires to be tuned with the nicest degree of delicacy which the laws of temperament will possibly admit. The same rules, however, which are observed in tuning a harpsichord, will be equally effectual in tuning the harmonica; with this only difference, that greater delicacy in adjusting the chords should, if practicable, be attempted. Dr. Edmund Cullen, of Dublin, made what he considered an improvement on this instrument; but it is objected by connoisseurs, that a full bass cannot be executed upon it; and that the complete bass, practicable on the harmonica, is greatly preferable to the chords with which the Dr. proposes to grace each emphatic note, and with which, they allege, he deludes instead of satisfying the ear.'

HARMONICAL, adj. HARMONIC, adj. HARMONIOUS, adj. HARMONIOUSLY, adv. HARMONIOUSNESS, n. s. HARMONISE, v. a. HARMONY, n. s.

Fr. harmonique; Greek, αρμονικός. Originally from Gr. apw, to fit or suit, and signifies a state of fitness, suita

ment; applied to sounds and to minds, and in both implies adaptation: in music, the adaptation of different modulated sounds to each other; in mind, co-operation of thought, sentiment, or affection: symmetrical; proportionate. Harmonise, to adjust equally.

On every bough, the birdes herd I syng
With voice of Angell in hir harmonie.

Chaucer. The Assemblie of Foules.
For al my chambre gan to ringe;
Through singing of hir harmony,
For instrument nor melody

Wos no where herde yet, halfe so swete,
Nor of accorde halfe so mete.

Id. Boke of the Duchesse,

HARMONY. The sense which the Greeks gave to this word, in their music, is not easy to be determined. In the ancient treatises that are extant harmony appears to be that department whose object is the agreeable succession of sounds; merely considered as high or low; in opposition to the two others called rhythmica and metrica, which have their principle in time and measure. This leaves our ideas concerning that aptitude of sound vague and undetermined; nor can we fix them without studying for that purpose all the rules of the art; and, even after we have done so, it will be very difficult to distinguish harmony from melody, unless we add to the last the ideas of rhythmus and measure; without which, in reality, no melody can have a distinguishing character: whereas harmony is characterised by its own nature, independent of all other quantities except the chords or intervals which compose it. It appears by a passage of Nicomachus, and by others, that they likewise gave the name of harmony to the chord of an octave. and to concerts of voices and instruments, which performed in the distance of an octave one from the other, and which is more commonly called antiphone. Harmony, according to the moderns, is a succession of chords agreeable to the laws of modulation. For a long time this harmony had no other principle but such rules as were almost arbitrary, or solely founded on the approbation of a practised ear, which decided concerning the agreeable or disagreeable succession of chords, and whose determinations were at last reduced to calculation. But F. Mersenne

and M. Saveur having found that every sound, however simple in appearance, was always accompanied with other sounds less sensible, with this experiment M. Rameau set out, and which constitute with itself a perfect chord-major; upon it formed the basis of his harmonic system, which he extended to many volumes. Signior Tartini, taking his route from an experiment which is more delicate, yet not less certain, reached conclusions similar to those of Rameau, by pursuing a path whose direction seems quite opposite. According to M. Rameau, the treble is generated by the bass; Signior Tartini makes the bass result from the treble. One deduces harmony from melody, and the other supposes the contrary. To determine from which of the two schools the best performances are likely to proceed, no more is necessary than to investigate the end of the composer, and discover whether the air is made for the accompaniments, or the accompaniments for the air. At the word system, in Rousseau's Musical Dictionary, is given a delineation of that published by Signior Tartini. Here he continues to speak of M. Rameau, whom he has followed through this whole work, as the artist of greatest authority in the country where he writes. In reality, when this author took it in his head to dignify with the title of demonstration the reasonings upon which he established his theory, every one turned the arrogant pretence into ridicule. The Academy of Sciences loudly disapproved a title so ill founded, and so gratuitously assumed; and M. Estive, of the Royal Society at Montpelier, has shown him, 'that, even to begin with this proposi

tion, that according to the law of nature sounds are represented by their octaves, and that the octaves may be substituted for them, there was not any one thing demonstrated or even firmly established, in his pretended demonstration.' But without quoting his arguments, which are too long for insertion, we readily grant, that the system of harmony by M. Rameau is neither demonstrated, nor capable of demonstration. But it will not follow, that any man of invention can so easily and so quickly subvert those aptitudes and analogies on which the system is founded. Every hypothesis is admitted to possess a degree of probability proportioned to the number of phenomena for which it offers a satisfactory solution. The first experiment of M. Rameau is, that every sonorous body, together with its principal sound and its octave, gives likewise its twelfth and seventeenth major above; which being approximated as much as possible, even to the chords immediately represented by them, return to the third, fifth, and octave, or, in other words, produce perfect harmony. This is what nature, when solicited, spontaneously gives; this is what the human ear, unprepared and uncultivated, imbibes with ineffable avidity and pleasure. We do not contend for the truth of M. Rameau's second experiment. Nor is it necessary we should. The first, expanded and carried into all its consequences, resolves the phenomena of harmony in a manner sufficient to establish its authenticity and influence. The difficulties for which it affords no solution are too few and trivial either to merit the regard of an artist, or a philosopher, as M. D'Alembert, in his Elements, has clearly shown. Rousseau and his opponent are agreed in this, that the harmonics conspire to form one predominant sound; and are not to be detected but by the nicest organs, applied with the deepest attention. It is equally obvious, that, in an artificial harmony, by a proper management of this wise institution of nature, dissonances themselves may be either entirely concealed or considerably softened. So that, since by nature sonorous bodies in actual vibration are predisposed to exhibit perfect harmony, and since the human ear is fabricated in such a manner as to perceive it, the harmonical chaos of M. Rousseau has in fact no existence. Nor does it avail him to pretend, that, before the harmonics can be extinguished, sonorous bodies must be impelled with a force which alters the chords, and destroys the purity of the harmony; for this position is equally false both in theory and practice: in theory, because an impulse, however forcible, must proportionally operate on all the parts of any sonorous body, so far as it extends; in practice, because the human ear actually perceives the harmony to be pure. What effects his various manœuvres upon the organ may have, we leave to such as have leisure and curiosity enough to try the experiments; but it is apprehended, that, when tried, their results will leave the system of Rameau, particularly as remodelled by D'Alembert, in its full force. Of all the whims and paradoxes maintained by this philosopher, none is more extravagant than his assertion, that every chord, except the simple unison, is displeasing to the human ear; nay,

that we are only reconciled to octaves themselves, by being inured to hear them from our infancy. Strange, that nature should have fixed this invariable proportion between male and female voices, whilst at the same time she inspired the hearers with such violent prepossessions against it, as were invincible but by long and confirmed habit. See MUSIC, &c.

HARMONY, DIRECT, is that in which the bass is fundamental, and in which the upper parts preserve among themselves, and with that fundamental bass, the natural and original order which ought to subsist in each of the chords that compose this harmony.

HARMONY, INVERTED, is that in which the fundamental or generating sound is placed in some of the upper parts, and when some other sound of the chord is transferred to the bass beneath the others.

HARMONY, a village of the United States, in the county of Gibson Indiana; famous as a recent property of the eccentric but benevolent Mr. Owen. It is seated on the Wabash, and is so called from being settled by a sect called the Harmonists, who held their property in common, and sold it to Mr. Owen. They had a very extensive establishment here for the manufacture of wool, and their Merino cloth was said not to be surpassed by any in the United States. They also cultivated the vine.

HARMOSTA, or HARMOSTES, Greek 'Apμons from ipμow, to adapt. In antiquity, a magistrate among the Spartans, whereof there were several, whose business was to look to the building of citadels, and repairing the forts and fortifications.

HARMOSYNIANS, àquoovvot, in antiquity, magistrates among the Spartans, who, after the death of Lycurgus, were appointed to enforce the observance of that law which required married women to wear veils in the streets; whereby. they were distinguished from single females, who were allowed to go abroad with their faces uncovered.

HARNESS, n. s. & v. a. Fr. harnois; supposed from Runick iern or hiern; Welsh and Erse hiairn, iron. Mr. Thomson says, from Goth. her, an army. Armour; defensive furniture of war; somewhat antiquated. The traces of draught-horses, particularly of carriages of pleasure: to dress in armour; or to fix horses in their traces.

Harness the horses, and get up the horsemen, and stand forth with your helmets. Jer. xlvi. 4.

These folke taken litel regard of the riding of Goddes son of heven, and of his harneis, whan he rode upon the asse, and had non other harneis but the poure clothes of his disciples, ne we rede not that ever he rode on any other beste.

Chaucer. The Persones Tale. But all hir horse harneis and other gere, Was in a sute, according everichone, As ye have herd the foresaid trumpets were. Id. The Floure and the Leaf. Before the door her iron chariot stood, All ready harnessed for journey new. Spenser. A goodly knight, all dressed in harness meet, That from his head no place appeared to his feet.

Id.