120 
B L I 
a (hake. No. 12. A circular flat wax-head placed in the 
lame manner, (ignifies a paufe. No. 8. A (harp wax-head 
placed before a note, makes that note (harp. No. 12. A 
circular flat wax-head makes it flat. No. 4. A round 
wax-head makes it natural. A direcl, is noted by No. 16, 
the fqnare wax-head. No. 16, placed on No. 5, denotes ' 
the bafs did'. On No. 6, the tenor ditto. On No. 7, 
the treble. A tie, is denoted by commort pins placed in a 
i'emicircle. A pin after any note, ferves for a dot. A 
A .pin above a note, points out Jlaccato. A pin under a 
note, legato. Two on each fide of a double bar fignify a 
repeat; and the repeat which is known by the letter S, is 
lignified by three pins placed one above another over the 
note on which it begins. Bars are denoted by wire flaples, 
made fo as to embrace the ftave, as found in the lower part 
of the margins of this compartment or fide of the figure. 
No. 10 placed on any cork note, the pin parting through 
"both, fliews that the right-hand erodes into the bafs. 
No. n placed in like manner, fliews that the left-hand 
erodes into the treble. 
Terms. No. 5, when placed above the rtave near the 
beginning, fignifies grave ; No. 6, when placed in the 
fame fituation, (ignifies adagio ; No. 7, largo-, No. 9, vi¬ 
vace-, No. 10, allegro-, No. 11, prejlo. A pin placed be¬ 
fore any of the laft fix characters implies piu , or a little 
.quicker; placed after, fignifies poco, or a little flower. 
No. 12, a wax flat head on No. 5, fignifies/i»7e; on No. 
6, c'rcfcendo ; on No. 7, tutli-, on No. 9, piano ; on No. 10, 
diminuendo-, on No. 1 1, Jolo. A pin before piano makes 
it a little fofter ; and after, a little louder: before fo\te, 
a little louder ; and after, a little fofter. No. 4, a wax 
round head on No. 5, fignifies obligato ; on No. 6, ripieno-, 
.on No. 7, harpeggio ; on No. 9, da capo-, on No. 10, tre- 
mando ; on No. 11, calando. No. 8, a wax (harp head on 
No. 5, fignifies fymphony ; on No. 6 , Jong ; on No. 7., mo¬ 
derate ; on No. 9, da camera ; on No. 10, da capello ; on 
No. 11, da tealro. Thus upwards of fixty of the mod: 
eifential notes, marks, and terms, ufed in harpfichord miific, 
are provided for; and, if more be wanted, they may 
readily be fupplied by the (fudent’s own invention, as 
thefe are capable of a much more extenfive combination. 
I11 organ niufic, the names of the (tops, with all the vari¬ 
ous modes of exprefiion, may be dignified. 
To enable the (Indent to obtain a more general and com- 
prehenfive idea of mufical notes, a fet of femibreves, mi¬ 
nims, crotches, &c. are made of tin, refembling in ihape 
•thefe characters as they appear in print, and are placed 
above the bars in the margins of the fecond fide. The 
names, properties, and form, of each being accurately ac¬ 
quired, will not only enlarge his knowledge of the art, 
but render him more expert in communicating that know¬ 
ledge to others, particularly to tliofe who have fight. The 
portable lize of this machine excludes the poflibility of 
letting whole tunes thereon, the intention of it being only 
to enable the (indent to acquire a theoretical and practical 
knowledge of its principles, for which the compafs of a 
few bars is fulficient. But, when as much mufic is fet as 
the length of the rtave will admit, the characters may be 
withdrawn, and replaced in their refpective fquares, ready 
to begin a new paliage. When the (indent has acquired 
a thorough knowledge of the principles of this machine, 
and is defirous to fet movements at length, one or more 
frames may be provided with cufhions, each a yard long, 
fix inches broad, and one inch thick, having firings on 
both (ides alike, fo that when one fide is full he may pro¬ 
ceed on the other, cohering the fil'd fide with a thin board ; 
'.for which purpofe the frames may be made to rife on each 
fide a quarter of an inch above the cufliions, and thus he 
will be enabled to retain his compolitions till trail feci bed.” 
It is certain, that when playing concertos, or when per¬ 
forming in J, 'core , the blind mud depend upon memory, 
and upon memory alone : but happily their retentive 
powers are remarkably ftrong ; and there are few pieces 
’ in mufic which will be found Cither too intricate to be ac¬ 
quired, or too long to be remembered, by a perfon de- 
B L I 
prived of fight. Mr. Stanley, the celebrated blind leader 
of his majefty’s band, and organift of St. Andrew’s, Hoi- 
born, performed what is dill more afionifliing; for it is 
faid, he accompanied any lefTon with a thorough bafs, 
though he never had heard it before. When the pupil 
becomes a more profound theorift, if lie has adopted the 
notion that mulic and geometry are congenial‘and infe- 
parable, he may have read to him Malcolm’s Jiftay on 
Mufic, and Treydell’s Theory and Brattice of Mufic. But, 
if he choofes to hear the fame principles delivered with¬ 
out that unnecertary parade, let him be inftrutted by d'A¬ 
lembert ; by Rameau, in his principles of compoiition ; 
and by Roulfeau’s Mufical Dictionary. It is true, that 
the forms and proportions of infiruments, the thicknefs, 
length, and tendon, of mufical firings, may be mathemati¬ 
cally adjufied ; their relations one to another may be de¬ 
termined by the coincidence of their vibrations, or by the 
number and velocity of thefe vibrations when diflbnant ; 
but experience and a good ear are amply fufficient for 
thefe purpofes. Yet, if the neceflity of geometry in niu¬ 
fic fhould fiill remain an indelible article in his creed, he 
may confider Dr. Smith’s Pnilofophical Principles of Har¬ 
mony. There lias alfo been publifhed an explication of 
Tartini’s theory, intitled, The Principles and Power of 
Harmony; which, after lie has made conliderable progrefs, 
may be read to him with fenfible advantage. 
yWcon-BLIND. HoiTes that lofe their fight at certain 
times of the moon, are faid (o be roocn-blind. It is, how¬ 
ever, nothing more than an inflammation of the eyes, which 
recurs fomewhat periodically; though at laft it ufually 
ends in the total lofs of fight. See Farriery. 
Rorc-BLIND. See Pur-Blind. 
To BLIN'DFOLD, v. a. [from blind and fold.~\ To 
hinder from feeing, by blinding the eyes.—When they had 
blindfolded him, they (truck him 011 the face. Luke. 
BLIND'FOLD, adj. Having the eyes covered.—The 
women will look into the (late of the nation with theirown 
eyes, and be no longer led blindfold by a male legiflature. 
Addifon. 
BLIND HAR'BOUR, a bay on the fouth coaft of Ire¬ 
land, in the county of Cork. Lat. 51. 31. N. Ion. 9. 4. 
W. Greenwich. 
BLIND HARRY. See Henry the Minjlrel. 
B LIND'ING, f. A fpeci'es of corporal punidiment an¬ 
ciently inflicted on thieves, adulterers, perjurers, and 
others ; and from which the ancient Chriftians were not 
exempt. Sometimes lime and vinegar, or hot vinegar, 
was poured into the eyes till their balls were confumed ; 
fometimes a rope was twifted round the head till the eyes 
darted out. In the middle age, they inflicted blindnefs 
by holding a red-hot iron difh or bafon before the eyes, 
till their humours wete dried and their coats (drivelled 
up. The inhabitants of the city Apollonia executed it 
on their watch whom they found afleep. Democritus (ac¬ 
cording to Plutarch, Cicero, and A. Gellius) put out his 
own eyes, that he might be lefs difturbed in his mental 
contemplations, when thus ireed from the diftraCtion of 
the objeCts of fight. 
BLIND'LY, adv. Without fight. Implicitly ; without 
examination : 
The old king, after a long debate, 
By his imperious miftrefs blindly led. 
Has given Cydaria to Orbellaivs bed. Dryden. 
Without judgment or direction : 
How feas, and earth, and air, and aCtive flame, 
Fell through the mighty void ; and, in their fall. 
Were blindly gather’d in this goodly ball. Dryden. 
BLIND'MAN’S BUFF,/ A play, in which fame one 
is to have his eyes covered, and hunt out the reft ol the 
company : 
Difguis’d all in the mafic of night, 
We left our champion on his flight ; 
At 
