II A R 
II ARM'FULNESS,/. Hurtfu}npfs; .mifchievotrfnefs; 
noxioufnefs. 
HARM'IN.G, f. The aft of injuring. 
HARM'LESS, adj. Innocent; innoxious; not hiirtifal: 
She, like harmlefs lightning, throws her eye 
OiYhini, her brothers, me, her mafter; hitting 
Each ,'objeft with a joy. S hakefpeace. 
Unhurt; undamaged.—The fifipwright will-be careful 
to gain by his labour, or at leaf! tq fjive -himfelf harpdefs, 
and. therefore fu.it his work flightly, according to a 
flight price. Raleipr/i. 
HARMLESSLY, adv. Innocently; without hurt; 
without crime.—Bullets batter’the walls which hand 
Inflexible^ ‘fidt-faif har.hilefsly into wood br'feathers. De¬ 
cay of Piety. 
. HARMLESSNESS, f. Innocence; freedom from 
tendency to injury or hurt: 
When, through taftelefs flat humility, 
J n.dovrgh-bak’d men fome karmlejfnefs we fee, 
*Tis but his phlegm that’s virtuous,.ajpd not. he. Donne. 
HARMO'DIUS, a man’s name ; a famous Athenian, 
inflrumental in delivering his country .from the tyranny 
of Pififtratus. See the article Greece;: v.ol. viii. 
HARMO'NIA, in mythology, the daughter of Mars 
and Venus, whom Cadmus is .faid to have married. 
Bochart imagines that (he had her. name from mount 
Hermon : but, fays Mr. Bryant, fhe feeins tp have been 
an emblem of nature, apd the fpftering nirrfe.of all 
things. She is from hence Ailed by N.ohnus, Wvwlgo'pw 
A^ma.. And, when Venus is reprefented in the alle¬ 
gory as making her a.vifit, flie is faid to go et; 
Aromas In fome of the Orphic verfes (lie i ( s 
not only reprelented as a deity, but as the light of the 
world : 
AgfAOvw, y.oaf/.oio (paeo-tpoqe , nai cotye. Aa.ifjt.ov. 
Harmonia was fuppofed to have been a perfonage 
from whom all knowledge was derived. On this ac¬ 
count the books of fcience were called Ay/.ovias, 
the books of Harmonia, as well as the books of Hermes. 
Thefe were four in number, of which Nonnus gives a 
curious account, and fays, that they contained matter of 
tvonderfyl antiquity. The firfl of them is faid to have 
been coeval with the world : 
Ylgulyv wqQiv on air vi a1sgfv.ovo;,y?ay.a xoa/aov, 
£H 7Vav1x (pt^ovaav, oca ay.nrflovyoi; OQwv 
Hvvaev. - 
From hence we find, that Harmon, or Harmonia, was 
■a deity, to whom the firfl writing is aferibed. The fame 
is faid of Hermes. The invention is alfo aferibed to 
Taut, or Thoth. Cadmus is laid not only to have 
brought letters into Greece,, but to have invented them. 
From hence we may conclude, that under the charac¬ 
ters of Hermon, Hermes, Taut, Thoth, and Cadmus, 
one perfon is alluded to. 
The deity, called by the Greeks Harmonia, was intro¬ 
duced among the Canaanites very early by the people 
of Egypt: and was worlhipped in Sidon, and the adja¬ 
cent country, by the name of Baal Hermon. Nonnus 
gives an account of a robe or pharos, which Harmonia 
is fuppofed to have worn, when flie was vifited by the 
goddefs of beauty. Upon it are delineated the earth, 
the heavens, and.the liars ; the fea alfo and the rivers 
were reprefented : and the whole was at the bottom fur- 
rounded by the ocean. Mr. Bryant concludes that all 
this relates to a painting either at Sidon or Berytus ; which 
was delineated in a tower or temple facred to Hermon. 
HARMON'IC, or Harmon'ical, adj. 
Gr. harmonique, Fr.] Relating to mufic ; fufceptible of 
.mufical proportion to each other.—After every three 
whole notes, nature requireth, for all harmonical ufe, one 
half-note to be interpofed. Bacon. —Concordant; nuifi- 
cal ; proportioned to each other ; lefs properly.—Harmo- 
VOh. IX. No. 58/3. 
H jA Ijt 22$ 
.meal founds, and djfcordant founds, ape‘both aftive apd 
poll five ; but blacltnefs and darknefs are, indeed, but 
priv i at t (v.es., ; B«f/?B; 
So dwells each wind-pipe; afs intones to afs, 
Harmonic twang of leather, horn, and brafs. Pope. 
Harmonic or mvfical proportion, is that in which the firfl: 
term is to the third as the difference'of the firfl: and fe- 
cond is to.,the difference of t,fie fecond and third; or 
when.the firfl, the third, and the faid two differences, 
are in,geopiietrical ,proportion. . Or, four terms are in 
■harmonica} proportion, when the firfl is to the fourth 
as the difference of the firfl and fecond is to the differ¬ 
ence of the.third and fourth.; .Thus, jt, 3, 6, are in har- 
-monical proportion,/b.ecaufe 2 : 6 :: 1 : 3. And the four 
jternps 9, 12, 16, 24, are in harmonical proportion, becaufe 
.9 : 2 + ; ■" 3 ; ,8. If the proportional- terms be continued 
in the former cafe, they will form an hafimpnica! pro- 
greflion, or feries.—See the article Music. 
HARMON'ICA, [from a^/.ona, Gr. harmony.] The 
in.flrurixent,popularly known by the-name of Musical 
Glasses.- : Mr. Pockrich, of Ireland, feems to have 
been the firfl who thought of playing tunes formed of 
the tones of drinking glaffes. lie collected a number of 
rummers of different fizes,. fixed them near each other 
on a table, and'tuned them by putting water into them, 
more or lefs, as each note required. Mr. Delaval, 
F.R.S. next made an inftrument in imitation of that 
which was contrived by Mr. Pockrich : and from this 
inftrument Dr. Franklin- took the hint of cohfti lifting 
the harmonica,which reflefts infinite credit onliis mulj. 
cal talents and ingenuity. 
The glaffes for this inflrument are blown as nearly as 
pojffible in the form of hemifpheres, punning from finalL 
to large in regular proportion, and having.each an open 
neck or fpeket in the middle. The thicknefs of the 
glafs near the brim is about one-tenth of an inch, increaf- 
ing towards the neck, which in the Jargeft is about an 
inch deep, and an inch and a half wide within ; but thefe 
dimetj.fions leffen, as the proportions of the glaffes dimi- 
niill, obferving tliat the neck of the fmalleft fliould not 
be fliorter than half an inch. The diameter of the largeft 
glafs is nine inches, and that of the fmallefl three inches: 
between thefe there are twenty-three gradations of fize,, 
differing from each other a quarter of an inch in diame¬ 
ter. For cpnftrufting a Angle inftrument, there fliould 
be at leaft fix glades blown of each fize, and out of thefe 
thirty-feven glaffes (which are fufficient for three oc¬ 
taves with all the femitones) may be found, that will 
either yield the note required, or one a little fliarper, 
and fitting fo well into each other, as to taper regularly 
from the largeft’ to the fmalleft. The glaffes being 
cliofen, and the note for which each glafs is intended being 
marked upon it with a diamond, they are fo be tuned 
by diminifliing the thicknefs of thole that are too ftiarp, 
which is done by grinding them round from the neck 
towards the brim, comparing, by means of a well-tuned 
harpfichord, the tone drawn from the glafs by your fin- 
,.g$r witli the note you want, as founded by the corre- 
iponding firing of the harpfichord. The largeft glafs in 
the inflrument is G, a little below the reach of a com¬ 
mon voice, and the higheftG, including three complete 
oftav.es: and they are diflinguifhed by painting the ap¬ 
parent parts of the glaffes within, fide, every lemi-tone 
white, and the other notes of the oftave with the feveu 
prifmatic colours ; fo that glaffes of the lame colour 
(the white excepted) are always oftaves to each other. 
When the glalfes are tuned, they are to be fixed on a 
round fpindle of hard iron, an inch in diameter at tlie 
tbickeft end, and tapering to a quarter of an inch at the 
fmalleft. For this purpole, the neck of each glafs is 
fitted with a cork, projefting a little without the neck; 
thefe corks are perforated with holes of different diame¬ 
ters; according to the dimenfion of the fpindle in that 
.part of it where they are to be fixed. The glaffes are 
3 N all 
