Bacon, Francis, Sylva sylvarum : or, a natural history in ten centuries

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        <div xml:id="echoid-div133" type="section" level="1" n="21">
          <p>
            <s xml:id="echoid-s2144" xml:space="preserve">
              <pb o="44" file="0078" n="78" rhead="Natural Hiſtory;"/>
            the Parts, is drawn down to the Spermatical Veſiels, it leaveth the Body
              <lb/>
            more hot than it was; </s>
            <s xml:id="echoid-s2145" xml:space="preserve">whence cometh the dilatation of the Pipes: </s>
            <s xml:id="echoid-s2146" xml:space="preserve">For we
              <lb/>
            ſee plainly all effects of Heat do then come on; </s>
            <s xml:id="echoid-s2147" xml:space="preserve">as Piloſity, more rough-
              <lb/>
            neſs of the skin, hardneſs of the fieſh, &</s>
            <s xml:id="echoid-s2148" xml:space="preserve">c.</s>
            <s xml:id="echoid-s2149" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2150" xml:space="preserve">The induſtry of the Muſitian, hath produced two other means of Strain-
              <lb/>
              <note position="left" xlink:label="note-0078-01" xlink:href="note-0078-01a" xml:space="preserve">181.</note>
            ing, or Intenſion of Strings, beſides their Winding up. </s>
            <s xml:id="echoid-s2151" xml:space="preserve">The one is the Stopping of
              <lb/>
              <note position="left" xlink:label="note-0078-02" xlink:href="note-0078-02a" xml:space="preserve">1</note>
            the String with the Fingtr; </s>
            <s xml:id="echoid-s2152" xml:space="preserve">as in the Necks of Lutes, Viols, &</s>
            <s xml:id="echoid-s2153" xml:space="preserve">c. </s>
            <s xml:id="echoid-s2154" xml:space="preserve">The
              <lb/>
              <note position="left" xlink:label="note-0078-03" xlink:href="note-0078-03a" xml:space="preserve">2</note>
            other is the Shortneß of the String; </s>
            <s xml:id="echoid-s2155" xml:space="preserve">as in Harps, Virginals, &</s>
            <s xml:id="echoid-s2156" xml:space="preserve">c. </s>
            <s xml:id="echoid-s2157" xml:space="preserve">Both theſe
              <lb/>
              <note position="left" xlink:label="note-0078-04" xlink:href="note-0078-04a" xml:space="preserve">3</note>
            have one and the ſame reaſon, for they cauſe the String to give a quicker
              <lb/>
            ſtart.</s>
            <s xml:id="echoid-s2158" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2159" xml:space="preserve">In the ſtraining of a String, the further it is ſtrained, the leſs ſuperſtrain-
              <lb/>
              <note position="left" xlink:label="note-0078-05" xlink:href="note-0078-05a" xml:space="preserve">182.</note>
            ing goeth to a Note: </s>
            <s xml:id="echoid-s2160" xml:space="preserve">For it requireth good winding of a String, beſore it
              <lb/>
            will make any Note at all. </s>
            <s xml:id="echoid-s2161" xml:space="preserve">And in the ſtops of Lutes, &</s>
            <s xml:id="echoid-s2162" xml:space="preserve">c. </s>
            <s xml:id="echoid-s2163" xml:space="preserve">the higher they
              <lb/>
            go, the leſs diſtance is between the Frets.</s>
            <s xml:id="echoid-s2164" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2165" xml:space="preserve">If you fill a Drinking Glaß with Water, (eſpecially one ſharp below,
              <lb/>
              <note position="left" xlink:label="note-0078-06" xlink:href="note-0078-06a" xml:space="preserve">183.</note>
            and wide above) and fillip upon the Brim, or outſide; </s>
            <s xml:id="echoid-s2166" xml:space="preserve">and aſter, empty
              <lb/>
            part of the Water, and ſo more and more, and ſtill try the Tone by fillip-
              <lb/>
            ing; </s>
            <s xml:id="echoid-s2167" xml:space="preserve">you ſhall finde the Tone fall, and be more Baſe as the Glaſs is more
              <lb/>
            empty.</s>
            <s xml:id="echoid-s2168" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2169" xml:space="preserve">THe juſt and meaſured Proportion of the Air percuſſed, towards the
              <lb/>
              <note position="left" xlink:label="note-0078-07" xlink:href="note-0078-07a" xml:space="preserve">Experiments
                <lb/>
              in Conſort,
                <lb/>
              touching the
                <lb/>
              Proportion of
                <lb/>
              Trebble and
                <lb/>
              Baſe Tones.</note>
            Baſeneſs or Trebbleneſs of Tones, is one of the greateſt ſecrets in the
              <lb/>
            Contemplation of Sounds. </s>
            <s xml:id="echoid-s2170" xml:space="preserve">For it diſcovereth the true Coincidence of
              <lb/>
            Tones into Diapaſons, which is the return of the ſame Sound. </s>
            <s xml:id="echoid-s2171" xml:space="preserve">And ſo of
              <lb/>
            the Concords and Diſcords, between the Uniſon and Diapaſon; </s>
            <s xml:id="echoid-s2172" xml:space="preserve">which we
              <lb/>
            have touched before in the Experiments of Muſick, but think fit to reſume it
              <lb/>
            here as a principal part of out Inquiry, touching the Nature of Sounds. </s>
            <s xml:id="echoid-s2173" xml:space="preserve">It may
              <lb/>
            be found out in the Proportion of the Winding of Strings, in the Proportion
              <lb/>
            of the Diſtance of Frets, and in the Proportion of the Concave of Pipes, &</s>
            <s xml:id="echoid-s2174" xml:space="preserve">c.
              <lb/>
            </s>
            <s xml:id="echoid-s2175" xml:space="preserve">But moſt commodiouſly in the laſt of theſe.</s>
            <s xml:id="echoid-s2176" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2177" xml:space="preserve">Try therefore the Winding of a String once about, as ſoon as it is
              <lb/>
              <note position="left" xlink:label="note-0078-08" xlink:href="note-0078-08a" xml:space="preserve">184.</note>
            brought to that extenſion as will give a Tone, and then of twice about, and
              <lb/>
            thrice about, &</s>
            <s xml:id="echoid-s2178" xml:space="preserve">c. </s>
            <s xml:id="echoid-s2179" xml:space="preserve">And mark the ſcale or difference of the Rice of the Tone,
              <lb/>
            whereby you ſhall diſcover in one, two effects; </s>
            <s xml:id="echoid-s2180" xml:space="preserve">both the proportion of the
              <lb/>
            Sound to wards the Dimenſion of the Winding, and the proportion likewiſe
              <lb/>
            of the Sound towards the Stting, as it is more or leſs ſtrained. </s>
            <s xml:id="echoid-s2181" xml:space="preserve">But notethat
              <lb/>
            to meaſure this, the way will be to take the length in a right line of the String,
              <lb/>
            upon any Winding about of the Peg.</s>
            <s xml:id="echoid-s2182" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2183" xml:space="preserve">As for the Stops, you are to take the number of Frets, and principally
              <lb/>
              <note position="left" xlink:label="note-0078-09" xlink:href="note-0078-09a" xml:space="preserve">185.</note>
            the length of the Line, from the firſt ſtop of the String, unto ſuch a ſtop as
              <lb/>
            ſhall produce a Diapaſon to the former ſtop, upon the ſame String.</s>
            <s xml:id="echoid-s2184" xml:space="preserve"/>
          </p>
          <p>
            <s xml:id="echoid-s2185" xml:space="preserve">But it will beſt (as it is ſaid) appear in the Bores of Wind-Inſtruments; </s>
            <s xml:id="echoid-s2186" xml:space="preserve">and
              <lb/>
              <note position="left" xlink:label="note-0078-10" xlink:href="note-0078-10a" xml:space="preserve">186.</note>
            therefore cauſe ſome half dozen Pipes to be made in length, and all things
              <lb/>
            elſe a like, with a ſingle double, and ſo one to a ſextuple Bore; </s>
            <s xml:id="echoid-s2187" xml:space="preserve">and ſo mark
              <lb/>
            what fall of Tone every one giveth. </s>
            <s xml:id="echoid-s2188" xml:space="preserve">But ſtill in theſe three laſt inſtances
              <lb/>
            you muſt diligently obſerve, what length of String, or diſtance of Stop, or
              <lb/>
            concave of Air, maketh what riſe of Sound. </s>
            <s xml:id="echoid-s2189" xml:space="preserve">As in the laſt of theſe (which,
              <lb/>
            as we ſaid, is that which giveth the apteſt demonſtration) you muſt ſet down
              <lb/>
            what increaſe of Concave goeth to the making of a Note higher, and what
              <lb/>
            of two Notes, and what of three Notes, and ſo up to the Diapaſon: </s>
            <s xml:id="echoid-s2190" xml:space="preserve">For
              <lb/>
            then the great ſecret of Numbers and Proportions will appear. </s>
            <s xml:id="echoid-s2191" xml:space="preserve">It is </s>
          </p>
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