All female handiwork, for
Surgical and anatomical processes, for the treatment of rheumatism, contortions, and other diseases of the Fingers and Hand,—and for
All those who require a flexible Hand, or who earn their bread with their Fingers.
EDWIN W. JACKSON.
September, 1865.
CONTENTS.
| PAGE | ||
| PREFACE. | ||
| INTRODUCTORY REMARKS ON THE ORIGIN OF THISSYSTEM OF GYMNASTICS FOR THE FINGERS ANDWRIST | 1 | |
| CHAP. | ||
| [I]. | ANATOMY OF THE HAND. ON LIGAMENTS, TENDONS, ETC. | 16 |
| [II]. | THE MUSCLES OF THE HAND AND OF THE FINGERS | 22 |
| [III]. | EFFECTS OF THIS GYMNASTIC TREATMENT ONTHE MUSCLES, LIGAMENTS, AND JOINTS OFTHE FINGERS AND THE HAND | 29 |
| [IV]. | NEGLECT HITHERTO OF THE HAND AND FINGERS | 35 |
| [V]. | THE FINGER-JOINTS ARE THE LEAST EXERCISED,AND THE WEAKEST | 39 |
| [VI]. | THE PRINCIPAL DIFFICULTY DOES NOT CONSISTIN THE READING OF MUSIC, BUT INTHE WEAKNESS OF THE FINGERS | 41 |
| [VII]. | MUSIC IS THE ART WHICH MAKES THE HIGHESTDEMANDS ON THE MUSCLES OF THEFINGERS. MOVING THE FINGERS UP ANDDOWN INSUFFICIENT | 44 |
| [VIII]. | ARTISTS AND TEACHERS OF MUSIC | 46 |
| [IX]. | FREE GYMNASTIC EXERCISES FOR THE FINGERSAND THUMB | 49 |
| [X]. | FREE GYMNASTIC EXERCISES FOR THE THUMB | 55 |
| [XI]. | FREE GYMNASTIC EXERCISES FOR THE WRIST | 58 |
| [XII]. | MECHANICAL FINGER-EXERCISES | 63 |
| [XIII]. | MECHANICAL FINGER-EXERCISES (CONTINUED) | 70 |
| [XIV]. | MECHANICAL FINGER-EXERCISES (CONTINUED) | 80 |
| [XV]. | BOARD FOR STRETCHING THE MUSCLES, ESPECIALLYTHOSE OF THE THUMB AND THELITTLE FINGER | 84 |
| [XVI]. | ON STRINGED INSTRUMENTS IN PARTICULAR.THE WRIST OF THE RIGHT HAND | 86 |
| [XVII]. | CONTINUATION | 89 |
| [XVIII]. | CONTINUATION. STACCATO | 92 |
| [XIX]. | CONCLUDING REMARKS | 95 |
INTRODUCTORY REMARKS
ON THE ORIGIN OF THIS SYSTEM OF GYMNASTICS FOR THE FINGERS AND WRIST.
If any one should desire to know how and in what manner I, as a private individual, came to hit upon these discoveries, I answer simply:
Six years ago I took my family, principally consisting of daughters, to Germany, to have them educated there, and especially to obtain for them good instruction in music. I soon found that the method of teaching the pianoforte then in general use was very fatiguing and trying to the nerves; at the same time, as Germany stands at the head of the musical world, that method, as a matter of course, must be considered the best which we at present know. In order to investigate that system more minutely, I visited several musical schools and conservatories for music in Germany, inquiring what was the very best method known for strengthening the fingers and wrist, for bringing them into order and preparing them to play the pianoforte? The answer I everywhere received was as follows: “The chief difficulties and impediments to be overcome in teaching the piano, the violin, and almost all other musical instruments, are muscular, and lie in the joints of the fingers and wrists; and the very best method of rendering them strong and flexible is frequently and perseveringly to move the fingers up and down on the instrument, preserving the hand in the same position. This movement, together with the usual finger-exercises, if continued for five or six years, and diligently carried out, is usually sufficient to render the joints and muscles of the fingers agile and flexible, and to bring the fingers generally into order.”