Then I asked myself, “Is any one to blame that the facts just mentioned have not been previously known and acted upon?” No one. It certainly is not the fault of the artist and teacher, because their task, so great in itself, did not necessarily lead them to direct their attention to this speciality of gymnastics. Nor could anatomists and physicians, nor other learned men, in treating problems more nearly, and perhaps more important in themselves, be expected to have thought of it. As we are frequently indebted to chance for the most important discoveries, so it has been with this one. For my part, I lay claim to very little. The idea had taken hold of me that a hiatus and a want in the method of learning and practising music, also in finger-work of various kinds, existed, and I set to work to fill up the former and to satisfy the latter. For several years I have indefatigably pursued this work in Germany, and after multifarious trials, experiments, and exercises, I have happily achieved the following simple system of gymnastics, whose aim and object, as regards music, after full and complete proof, are; by strengthening the muscles and stretching the ligaments through careful training, to impart to them flexibility and agility, to shorten considerably the time of study, and facilitate the work of both teachers and students; whilst as regards all classes generally who work with their fingers, it is calculated to a great extent to render their work more easy, and in case of disease of the fingers and hands, to prevent it, to cure it, or at the least to diminish its injurious consequences.
Having been requested by the highest anatomical and artistic authorities in Germany to give publicity to this method and to explain it personally, I undertook, in 1864, at my own expense, from love of the art, a journey through many towns of the Continent, where, as already stated, I delivered, in the German language, a number of private and public lectures on the subject. And here I desire specially to crave the forgiveness of my kind German friends, if, in delivering those lectures, I did not at all times express myself in accents of the purest German, since I only commenced the study of that difficult language,—for the first time in my life,—six years ago, after I had attained the age of 52 years. The exposition of this method having met with cordial approval, I now offer the result of my labours to artists, musical students, and to all friends of music, as well as to all those who work much with their fingers, or who suffer from finger disease; also to anatomists, physiologists, surgeons, and gymnasts; indulging the hope that, if applied correctly and carefully, they will go far towards removing the evils to which I have alluded, and be of much practical usefulness and advantage.
CHAPTER I.
ANATOMY OF THE HAND. ON LIGAMENTS, TENDONS,
&c. &c..
The skeleton of the hand, consisting of 27 bones and moved by 40 muscles, most ingeniously combines firmness with pliant flexibility, is equally fit for rough work and the most subtle occupation, and corresponds in its well-balanced mechanism with that mental superiority through which man, amongst all creatures the poorest in means of defence, becomes the ruler of living and inanimate nature. The hand, fixed to the end of a long articulated column of bones, and, through its skin-covering, particularly in the cavity, endowed with high sensibility, raises itself to the importance of an organ of feeling, which, moveable in all directions, apprizes us of the extent of matter, and of its physical qualities.
The most ancient forms of measurement have, therefore, been taken from the length of the several subdivisions of the hand. The capability of the hand of assuming the hollow shape of a spoon, and of being stretched like a shovel, determines its use for gathering and for turning up matter. The curvature of the fingers forms a strong and broad hook, which renders excellent service in climbing; and the thumb, whose position enables it to be placed opposite all the other fingers, acts in conjunction with the latter like a pair of pincers, capable of seizing and feeling smaller objects. The thumb being easily moveable and strong at the same time, is a privilege of the human hand. It powerfully opposes itself against the other fingers into the fist, for the seizing and holding of heavy objects. In doing this the thumb indeed performs almost as much as the remaining fingers taken together; it represents one half of a pair of pincers, wherefore Albin has called it Manus parva.
The unequal length of the fingers is well adapted for the taking hold of spherical forms, and the fingers being bent towards the hollow of the hand and held together, encloses an empty space, which is shut by the thumb serving as a lid. The wrist of the hand, having a circular shape, and being composed of several bones, is much less exposed to the danger of being broken, than if one single curved bone were to take its place. Its cavity, which by strong transversal ligaments is transformed into a ring, protects the bending tendons of the fingers from pressure and friction. The firm connection between the middle hand and the wrist renders possible the actions of stemming and hurling with the hands, and the longitudinal curve of the separate bones of the middle hand, as well as their lying one at the side of the other, and convexly towards the back of the hand, facilitates the forming of the cavity of the hand. The great moveability of the fingers, and the many possible combinations of their relative positions, have made them the instruments of language by signs. The deep slits separating them allow of folding the hands, in order to press with double force, and the bending of the two last finger-joints, which can only take place at an angle, imparts to the clenched fist a force which once usurped the place of right. How necessary the joint action of both hands is for certain performances is proved by the old proverb: Manus manum lavat. In short, all the thousandfold occupations of the hand which necessity commands and the mind develops, and which are an exclusive prerogative of man, become practicable through the wonderful structure of this instrument.[1]
As regards the system of the gymnastic training of the fingers in particular, which I am now placing before the public, it is founded on an important fact, namely, the action of the LIGAMENTS AND TENDONS.
It has been acknowledged at all times, that if a muscle is to be made both stronger and quicker in its movements, it should be exercised; that the ligaments and tendons play, in these exercises, an indispensable part, has hitherto (to use the words of a celebrated German physiologist), hardly been sufficiently acknowledged or explained. It is further known, that the principal method now in use of strengthening and rendering flexible the joints and muscles of the fingers in playing the piano, consists in alternately raising and dropping the fingers, and that this method requires very great exertion, and consumes very much time. Now, I have found, by means of many different experiments and exercises, which I have made with the hand and the fingers, that the tight ligaments and skin-folds, intersecting the hand transversely, unless they be exercised, and if they be allowed to remain firm, for this very reason, impede the movements of the muscles whenever they are more than ordinarily exerted; while, on the contrary, the stretching of the transversal ligaments produces a remarkable influence on the moveability of the fingers and the hand, facilitates the work of the muscles, and imparts to them freedom, steadiness, and precision.
By placing the cylinders to be used for this purpose between the fingers for only a very short time, and thereby exercising the ligaments of the hand, both transversely and longitudinally, the movement of the fingers is at once rendered much easier and quicker. This result can only be explained by the fact that the ligaments and folds of the hand, having been stretched by the cylinders, have become loosened, and, therefore, as I said before, impede less the muscles in their fatiguing work. If, on the other hand, all the muscles, ligaments, and tendons are put into motion in both directions, longitudinally and transversely, they soon become strong and flexible.