musically-curious as somewhat extraordinary, when the limited powers of
the instrument were remembered. It was Koch's custom to require that all
the lights should be extinguished, in order that the illusion produced
by his playing might be increased.

It was reserved, however, for Mr. Eulenstein to acquire a musical
reputation from the Jew's harp. After ten years of close application and
study, this young artist has attained a perfect mastery over this
untractable instrument. In giving some account of the Jew's harp,
considered as a medium for musical sounds, we shall only present the
result of his discoveries. This little instrument, taken singly, gives
whatever grave sound you may wish to produce, as a _third_, a _fifth_,
or an _octave_. If the grave tonic is not heard in the bass Jew's harp,
it must be attributed, not to the defectiveness of the instrument, but
to the player. In examining this result, you cannot help remarking the
order and unity established by nature in harmonical bodies, which places
music in the rank of exact sciences. The Jew's harp has three different
tones; the bass tones of the first octave bear some resemblance to those
of the flute and clarionet; those of the middle and high, to the _vox
humana_ of some organs; lastly, the harmonical sounds are exactly like
those of the _harmonica_. It is conceived, that this diversity of tones
affords already a great variety in the execution, which is always looked
upon as being feeble and trifling, on account of the smallness of the
instrument. It was not thought possible to derive much pleasure from any
attempt which could be made to conquer the difficulties of so limited an
instrument; because, in the extent of these octaves, there were a number
of spaces which could not be filled up by the talent of the player;
besides, the most simple modulation became impossible. Mr. Eulenstein
has remedied that inconvenience, by joining sixteen Jew's harps, which
he tunes by placing smaller or greater quantities of sealing-wax at the