1857.] ■ The jEolian Harp. 31 



the better because more elastic,) of the utmost lightness consistent 

 with strength. Its dimensions are three feet in length, seven inches 

 in breadth, and two inches in depth. The length, however, should 

 not exceed the width of the window in which it is to be placed, and 

 if on this account, the length be less than three feet, the other di- 

 mensions should also be lessened in the same proportion. But it 

 should be borne in mind that any diminution from the size above 

 named, will also be an equal diminution in the richness and fullness 

 of the tone. A length of five feet with a window broad enough to 

 accommodate it, would be better still. The two boards for the up- 

 per and under sides, may be reduced to the thickness of one-eighth 

 of an inch j the two lateral, about one-fourth of an inch. The two 

 ends must be of black walnut, (or some other wood equally firm,) 

 and one-half of an inch in thickness. The whole should be put 

 together firmly with glue. In the upper or sounding board, are two 

 apertures, ornamentally designed. 



The chords, nine in number, may be each composed of from five 

 to eight threads of ' saddlers' ' silk, smoothly twisted, and stretched 

 lengthwise over the sounding-board. To secure these chords in 

 their places, nine small brass screws or brads are fixed in one of the 

 walnut end-pieces, and the same number of nuts similar to those of 

 a violin, are made to turn in perforations in the other end-piece ; 

 two bridges, also, of beech, support the chords near the ends of the 

 instrument. Stain and lac-varnish according to your taste. 



In tuning the harp, first raise the heaviest chord to a degree of 

 tension as great as it may easily bear, and then bring the others to 

 the same tone ; for all the chords must be retained in perfect unison. 

 Then raise the window-sash slightly — just enough to admit the in- 

 strument under it, on the windward side of the house, and invoke 

 the inspiring breeze. 



It might be supposed that an instrument so tuned, would give 

 only a continual monotonous sound — the key-note of the harp ; not 

 so. It pours forth strains of voluntary symphonies, endless in vari- 

 ety, running through all possible combinations of melody and har- 

 mony — now murmuring low with a distant moan — now swelling the 

 chorus clear and full — and now — Oh what shrieks of rapturous har- 

 monies, like angels' wail over a fallen world ! This variety of tones 

 from strings all tuned to a single note is surprising, and its explan- 

 ation goes far in revealing the laws of musical sounds, in general. 

 This explanation is as follows : 



