occasion for raising it at the time, as the tail-string projected from the underneath of the tailpiece instead of that almost universally now known as the secret tie (diagrams 11 and 12). This latter necessitates the use of a higher and more substantial nut, otherwise the tailpiece would be close down to, if not touching, the table, causing a rattling. Further, in accordance with mechanical law, the strain or pull forward increases with the height of the nut. It is therefore obvious, that unless well fitted and held strongly, the nut will be liable to be wrenched forward out of position. This is more frequent than would be suspected, and is sometimes a secret source of damage or bad influence leading to disaster in other parts of the instrument. The same observations concerning the preliminaries apply to the fixing of this as to the other nut. The modern arrangement of the part leaves but little to be improved upon.

DIAGRAM 10. OLDEST FORM OF NUT.	DIAGRAM 11.	DIAGRAM 12.

The length and thickness of the nut required having been determined upon, we will suppose ourselves in the presence of an old worthy from Cremona requiring a fresh attachment, the wood selected—Mauritius ebony for preference—and the measurement as follows, 5/16 in length and thickness according to the width of the border, as the nut looks best when the inner edge runs in a continuous line with that of the purfling (diagram 13). In highly finished work and when the end of the violin has a perceptible curve instead of being nearly straight, the nut should be made to follow the course of the purfling, this will require some care in the cutting and finishing of it. For this a piece of almost any veneer cut to the exact flow or drawing of the line may be used as a guide or template. The block from which the nut is to be made having been cut quite level, the line can be traced with a fine pointed pencil, or better, a fine pointed knife, and then shaped with a sharp chisel. The block or nut can now be laid on the border, care being taken that the tail pin comes immediately in a central position in relation to it, and then with the sharp pointed knife a finely cut line can be traced all round. The space now marked may be cleared away down to the top of the end block with a clean, vertical wall on three sides formed by the pine. If carefully done, the nut, at present only a solid, squared block, will fit exactly, if too tight, a little shaving off here and there of the pine will correct it. The nut, supposed to be an exact fit, may be warmed and some fairly strong glue applied (diagram 14). The raw surfaces of the pine and the exposed end block are of course very absorbent and require an extra feed or two in order that the final glueing of the nut and place of reception may have a good holding. The nut, now squeezed into position, will not require the clamp, but if time is no desideratum an application of that useful tightener will ensure a firm hold, and moreover the superfluous glue is forced out.

DIAGRAM 13.	DIAGRAM 14.

When the glue has had time to thoroughly dry and harden, the clamp may be released, and a part at each end of the nut marked off for levelling down to the surrounding forces by filing and glass-papering. The manner and care with which this is done declares the excellence and characteristics of the workman or firm by whom he is employed; almost every repairer or house of reputation having their individualisms in this respect, as also in that of the fingerboard nut (diagram 15). A line having been ruled with precision along the upper central part with the pencil or knife as before, a small gouge can be run along a hollow which will face the bridge. To give this the best kind of finish a piece of pine or soft poplar, such as is used for champagne wine cases, you may look out for one about Christmas time, cut it to the shape of the part to be finished thus (diagram 16), and with a piece of fine glasspaper, slightly oiled, a few rubs backwards and forwards will be necessary. The top of the back part can now be shaved gently down by a small metal plane, a little filing will give the evenness and rotundity required. The same treatment will be necessary for the under part, which in good work is a continuation of the line of the edging of the upper table. A section of the nut in its finished state will be as in diagram 17.

DIAGRAM 15.

DIAGRAM 16.	DIAGRAM 17.

The whole of the surfaces may now be finished with the finest emery cloth and oil. This latter may be linseed, nut, poppy or castor oil with turpentine, but do not use sweet or olive oil, it never dries, but lurks about in the pores of the wood and turns rancid.

Before leaving this part of the instrument, it may be as well to take a glance at the peg itself and its insertion at the centre underneath the nut. This is in no respect an unimportant detail to be seen to in the fitting up and regulation of a violin. In olden times the peg was small, not half the size of those inserted in new violins of the present day. The increase in the size seems to have been gradual and to compensate for the hard wood of the peg pressing against the inner, softer substance of the end block with the thin slice of maple used for the ribs, both being insufficient to withstand the strain of the tail-string. Consequently the peg is pulled upwards, sometimes considerably out of position. This is especially likely to occur if the hole has been bored too large or the peg is too thin or short. The accurate fitting of these should have strict attention. Some modern repairers, when they find that there are indications of a softer piece of pine than usual having been used, enlarge the hole with a tool specially made for the purpose, having two cutting edges, or with a number of grooves having sharp ridges, others a rat-tailed file. The latter is perhaps the best, as being less likely to split the fibres of the soft pine. The tool is inserted, not directly in a line pointing exactly midway between the upper