Catterwall

NATURALL HISTORY.
II. Century.

[Experiments in Consort touching Musick.] Musick in the Practice, hath been well pursued: And in good Variety: But in the Theory, and especially in the Yeelding of the Causes of the Practick, very weakly: being reduced into certain Mysticall Subtilties, and not much Truth. We shall therefore, after our manner, joyn the Contemplative and Active Part together.

[101] All sounds are either Musicall Sounds, which we call Tones; Whereunto there may be an Harmony; which Sounds are ever Equall; As Singing, the Sounds of Stringed, and Wind-Instruments, the Ringing of Bels, &c. Or Immusicall Sounds; which are ever Unequall; Such as are the Voice in Speaking, all Whisperings, all Voices of Beasts, and Birds, (except they be Singing Birds,) all Percussions, of Stones, Wood, Parchment, Skins, (as in Drums) and infinite others.

[102] The Sounds that produce Tones, are ever from such Bodies, as are in their Parts and Pores Equall; As well as the Sounds themselves are Equall; And such are the Percussions of Metall, as in Bels; Of Glass, as in the Filliping of a Drinking Glass; Of Air, as in Mens voices whilst they Sing, in Pipes, Whistles, Organs, Stringed Instruments, &c. And of Water, as in the Nightingals Pipes of Regalls, or Organs, and other Hydraulicks; which the Ancients had, and Nero did so much esteem, but are now lost. And if any Man think, that the String of the Bow, and the String of the Viall, are neither of them Equall Bodies; And yet produce Tones; he is in an errour. For the Sound is not created between the Bow or Plectrum, and the String; But between the String, and the Air; No more than it is between the Finger or Quill, and the String, in other Instruments. So there are (in effect) but three Percussions that create Tones; Percussion of Metalls, (comprehending Glass, and the like) Percussions of Air; and Percussions of Water.

[103] The Diapason or Eight in Musick is the sweetest Concord; Insomuch, as it is in effect an Unison; As we see in Lutes, that are strung in the Base Strings with two strings, one an Eighth above another; which make but as one Sound, And every Eighth Note in Ascent, (as from Eight to Fifteen, from Fifteen to Twenty two, and so in infinitum) are but Scales of Diapason. The Cause is dark, and hath not been rendred by any; And therefore would be better contemplated. It seemeth that Air, (which is the Subject of Sounds) in Sounds that are not Tones, (which are all unequall, as hath been said) admitteth much Variety; As we see in the Voices of Living Creatures; And likewise in the Voices of severall Men; (for we are capable to discern severall Men by their Voices) And in the Conjugation of Letters, whence Articulate Sounds produced; which of all others are most various. But in the Sounds which we call Tones, (that are ever Equall) the Air is not able to cast it self into any such variety; But is forced to recurre into one and the Posture or Figure, only differing in Greatness and smalness. So we see Figures may be made of lines, Crooked and Straight, in infinite Variety, where there is Inequality; But Circles, or Squares, or Triangles Equilaterall, (which are all Figures, of Equall lines) can differ but in Greater, or Lesser.

[104] It is to be noted (the rather lest any Man should think, that there is any thing in this Number of Eight, to create the Diapason) that this Computation of Eight, is a thing rather received, than any true Computation. For a true Computation ought ever to be, by Distribution into equall Portions. Now there be intervenient in the Rise of Eight (in Tones) two Beemolls, or Half-notes; So as if you divide the Tones equally, the Eighth is but Seven whole and equall Notes; And if you subdivide that into Half-notes, (as it is in the Stops of a Lute) it maketh the Number of Thirteen.

[105] Yet this is true; That in the ordinary Rises and Fals of the Voice of Man (not measuring the Tone by whole Notes, and half Notes, which is the Equall Measure) there fall out to be two Beemols (as hath been said) between the Unison and the Diapason: And this Varying is naturall. For if a Man would endeavour to raise or fall his Voice, still by Half-notes, like the Stops of a Lute; or by whole Notes alone, without Halfs, as farre as an Eighth; he will not be able to frame his Voice unto it. Which sheweth, that after every three whole Notes Nature requireth, for all Harmonicall use, one half Note to be interposed.

[106] It is to be considered, that whatsoever Vertue is in Numbers, for Conducing to Concent of Notes, is rather to be ascribed to the Ante-number, that to the Entire Number; As namely, that the Sound returneth after Six, or after Twelve; So that the Seventh or the Thirteenth is not the Matter, but the Sixth, or the Twelfth; And the Seventh and the Thirteenth are but the limits and Boundaries of the return.

[107] The Concords in Musick which are Perfect, or Semiperfect, between the Unison, and the Diapason, are the Fifth, which is the more Perfect; the Third next; And the Sixth which is more harsh; And as the Ancients esteemed, and so do my self and some Other yet, the Fourth which they call Diatesseron, As for the Tenth, Twelfth, Thirteenth, and so in Infinitum; they be but Recurrences of the Former; viz. of the Third, the Fifth, and the Sixth; being an Eighth respectively from them.

[108] For Discords, the Second, and the Seventh, are of all others the most odious, in Harmony, to the Sense; whereof the One is next above the Unison, the Other next under the Diapason: which may shew, that Harmony requireth a competent distance of Notes.

[109] In Harmony, if there be not a Discord to the Base, it doth not disturb the Harmony, though there be a Discord to the Higher Parts; So the Discord be not of the Two that are Odious; And therefore the ordinary Concent of Four Parts consisteth of an Eighth, a Fifth, and a Third to the Base: But that Fifth is a Fourth to the Trebble, and the Third is a Sixth. And the Cause is, for that the Base striking more Air, doth overcome and drown the Trebble, (unless the Discord be very Odious) And so hideth a small Imperfection. For we see, that in one of the lower Strings of a Lute, there soundeth not the Sound of the Trebble, nor any Mixt Sounds, but only the Sound of the Base.

[110] We have no Musick of Quarter-Notes; And it may be, they are not capable of Harmony; For we see the Half-Notes themselves do but interpose sometimes. Nevertheless we have some Slides or Relishes, of the Voice, or Strings, as it were continued without Notes, from one Tone to another, rising, or falling, which are delightfull.

[111] The Causes of that which is Pleasing, or Ingrate to the Hearing, may receive light by that, which is Pleasing or Ingrate to the Sight. There be two Things Pleasing to the Sight (leaving Pictures, and Shapes aside, which are but Secondary Objects; And please or displease but in Memory;) these two are, Colours, and Order. The pleasing of Colour symbolizeth with the Pleasing of any Single Tone to the Ear; But the pleasing of Order doth symbolize with Harmony. And therefore we see in Garden-knots, and the Frets of Houses, and all equall and well answering Figures, (as Globes, Pyramides, Cones, Cylinders, &c.) how they please; whereas unequall Figures are but Deformities. And both these Pleasures, that of the Eie, and that of the Ear, are but the Effects of Equality, and Correspondence, are the Causes of Harmony. But to find the Proportion of that Correspondence, is more abstruse; whereof notwithstanding we shall speak somewhat, (when we handle Tones) in the generall Enquiry of Sounds.

[112] Tones are not so apt altogether to procure Sleep, as some other Sounds; As the Wind, the Purling of Water, Humming of Bees, a Sweet Voice of one that readeth, &c. The Cause whereof is, for that Tones, because they are Equall, and slide not, do more strike and erect the Sense, than the other. And Overmuch Attention hindreth Sleep.

[113] There be in Musick certain Figures, or Tropes; almost agreeing with the Figures of Rhetorick; And with the Affections of the Mind, and other Senses. First, the Division and Quavering, which please so much in Musick, have an Agreement with the Glittering of Light; As the Moon-Beames playing upon a Wave. Again, the Falling from a Discord to a Concord, which maketh great Sweetness in Musick, hath an Agreement with the Affections, which are reintegrated to the better, after some dislikes: It agreeth also with the Tast, which is soon glutted with that which is sweet alone. The Sliding from the Close or Cadence, hath an Agreement with the Figure in Rhetorick, which they call Præter Expectatum; For there is a Pleasure even in being deceived. The Reports, and Fuges, have an Agreement with the Figures in Rhetorick, of Repetition, and Traduction. The Tripla’s, and Changing of Times, have an Agreement with the Changes of Motions; As when Galliard Time, and Measure Time, are in the Medley of one Dance.

[114] It hath been anciently held, and observed, that the Sense of Hearing, and the Kinds of Musick, have most Operation upon Manners; As to Incourage Men, and make them warlike; To make them Soft and Effeminate; To make them Grave; To make them Light; To make them Gentle and inclin’d to Pity, &c. The Cause is, for the Sense of Hearing striketh the Spirits more immediately, than the other Senses; And more incorporeally than the Smelling; For the Sight, Tast, and Feeling, have their Organs, not of so present and immediate Access to the Spirits, as the Hearing hath. And as for the Smelling, (which indeed worketh also immediately upon the Spirits, and is forcible while the Object remaineth) it is with a communication of the Breath, or Vapour of the Object Odorate: But Harmony entring easily, and Mingling not at all, and Coming with a manifest Motion; doth by Custome of often Affecting the Spirits, and Putting them into one kind of Posture, alter not a little the Nature of the Spirits, even when the Object is removed. And therefore we see that Tunes and Aires, even in their own nature, have in themselves some Affinity with the Affections; As there be Merry Tunes, Dolefull Tunes, Solemn Tunes; Tunes inclining Mens minds to Pity: Warlike Tunes, &c. So as it is no Marvell, if they alter the Spirits; considering that Tunes have a Predisposition to the Motion of the Spirits in themselves. But yet it hath been noted, that though this variety of Tunes, doth dispose the Spirits to variety of Passions, conforme unto them; yet generally, Musick seedeth that disposition of the Spirits which it findeth, We see also that severall Aires, and Tunes, do please severall Nations, and Persons, according to the Sympathy they have with their Spirits.

[Experiments in Consort touching Sounds; and first touching the Nullity, and Entity of Sounds.] Perspective hath been with some diligence inquired; And so hath the Nature of Sounds, in some sort, as far as concerneth Musick. But the Nature of Sounds in generall, hath been superficially observed. It is one of the subtillest Peices of Nature. And besides, I practise, as I do advise: which is, after long Inquiry of Things, Immerse in Matter, to interpose some Subject, which is Immateriate, or less Materiate: Such as this of Sounds: To the end, that the Intellect may be Rectified, and become not Partial.

[115] It is first to be considered, what Great Motions there are in Nature, which pass without Sounds, or Noise. The Heavens turn about, in a most rapide Motion, without Noise to us perceived; Though in some Dreames they have been said to make an excellent Musick. So the Motions of the Comets, and Fiery Meteors, (as Stella Cadens, &c.) yeeld no Noise. And if it can be thought, that it is the Greatness of the distance from us, whereby the Sound cannot be heard; We see that Lightnings, and Coruscations, which are near at hand, yeeld no Sound neither. And yet in all these, there is a Percussion and Division of the Air. The Winds in the Upper Region (which move the Clouds above (which we call the Rack) and are not perceived below) pass without Noise. The lower Winds in a Plain, except they be strong, make no Noise; But amongst Trees, the Noise, of such Winds will be perceived. And the Winds (generally) when they make a Noise, do ever make it unequally, Rising, and Falling, and sometimes (when they are vehement) Trembling at the Height of their Blast. Rain, or Hail falling, (though vehemently) yeeldeth no Noise, in passing through the Air, till it fall upon the Ground, Water, Houses, or the like. Water in a River (though a swift Stream) is not heard in the Channell, but runneth in Silence, if it be of any depth; But the very Stream upon Shallowes, or Gravell, or Pebble, will be heard. And Waters, when they beat upon the Shore; or are straitned, (as in the falls of Bridges;) or are dashed against themselves, by Winds, give a Roaring Noise. Any peece of Timber, or, Hard body, being thrust forwards by another Body Contiguous, without knocking, giveth no Noise. And so Bodies in weighing, one upon another, though the upper body press the lower body down, make no Noise. So the Motion in the Minute parts of any Solid Body, (which is the Principal Cause of Violent Motion, though unobserved;) passeth without Sound; For that Sound, that is heard sometimes, is produced only by the Breaking of the Air; And not by the Impulsion of the Parts. So it is manifest; That where the Anteriour Body giveth way, as fast as the Posteriour cometh on, it maketh no Noise, be the Motion never so great, or swift.

[116] Air open, and at large, maketh no Noise, except it be sharply percussed; As in the Sound of a String, where Air is percussed by a hard and stiff Body; And with a sharp loose: For if the String be not strained, it maketh no Noise. But where the Air is pent, and straitned, there Breath, or other Blowing, (which carry but a gentle Percussion,) suffice to create Sound: As in Pipes, and wind-instruments. But then you must note, that in Recorders, which go with a gentle Breath, the Concave or the Pipe, were it not for the Fipple, that straitneth the Air, (much more than the Simple Concave;) would yeeld no Sound. For, as for other Wind-Instruments, they require a forcible Breath; As Trumpets, Cornets, Hunters Horns, &c. Which appeareth by the blown-Cheeks of him that windeth them. Organs also are blown with a strong wind, by the Bellows. And note again, that some kind of Wind-Instruments, are blown at a small Hole in the side, which straitneth the Breath at the first entrance; The rather, in respect of their Traverse, and Stop above the Hole, which performeth the Fipples Part; As it is seen in Flutes, and Fifes, which will not give Sound, by a blast at the end, as Recorders, &c. do. Likewise in all whistling, you contract the Mouth; And to make it more sharp, Men sometimes use their Finger.

But in Open Air, if you throw a Stone, or a Dart, they give no Sound: No more do Bullets, except they happen to be a little hollowed in the Casting; Which Hollowness penneth the Air: Nor yet Arrowes, except they be ruffled in their Feathers, which likewise penneth the Air. As for Small Whistles, or Shepheards Oaten Pipes; they give a Sound, because of their extreme Slenderness, whereby the Air is more pent, than in a wider Pipe. Again the Voices of Men, and Living Creatures, pass through the throat, which penneth the Breath. As for the Jewes Harp, it is a sharp Percussion; And besides, hath the vantage of penning the Air in the Mouth.

[117] Solid Bodies, if they be very sofly Percussed, give no Sound, As when a Man treadeth very softly upon Boards. So Chests or Doors in fair weather, when they open easily, give no Sound. And Cart-Wheeles squeak not when they are liquoured.

[118] The Flame of Tapers, of Candles, though it be a swift Motion, and breaketh the Air, yet passeth without Sound. Air in Ovens, though (no doubt) it doth (as it were both) and dilate it self, and is repercussed, yet it is without Noise.

[119] Flame percussed by Air, giveth a Noise; As in blowing of the Fire by Bellowes; Greater, than if the Bellowed should blow upon the Air it self. And so likewise Flame Percussing the Air strongly (as when Flame suddenly taketh and openeth,) giveth a Noise; So great Flames, whiles the one impelleth the other, give a bellowing Sound.

[120] There is a Conceit runneth abroad, that there should be a White Powder, which will discharge a Peece without Noise; which is a dangerous Experiment, if it should be true: For it may cause secret Murthers. But it seemeth to me unpossible; For, if the Air pent, be driven forth, and strike the Air open, it will certainly make a Noise. As for the white Powder, (if any such thing be, that may extinguish, or dead the Noise,) it is like to be a Mixture of Petre, and Sulphur, without Coal. For Petre alone will not take Fire. And if any Man think, that the Sound may be extinguished, or deaded, by discharging the Pent Air, before it cometh to the Mouth of the Peece, and to the Open Air; That is not probable; For it will make more divided the Sounds: As if you should make a Cross Barrell hollow, thorow the Barrell of a Peece, it may be, it would give severall Sounds, both at the Nose, and at the Sides. But I conceive, that if it were possible, to bring to pass, that there should be no Air pent at the Mouth of the Peece the Bullet might flie with small, or no Noise. For first it is certain, there is no Noise in the Percussion of the Flame upon the Bullet. Next the Bullet, in piercing thorow the Air, maketh no Noise; As hath been said. And then, if there be no Pent Air, that striketh upon Open Air, there is no Cause of Noise; And yet the Flying of the Bullet will not be stayed. For that Motion (as hath been oft said) is in the Parts of the Bullet, and not in the Air. So as triall must be made by taking some small Concave of Minall, no more than you mean to fill with Powder; And laying the Bullet in the Mouth of it, half out into the Open Air.

[121] I heard it affirmed by a Man, that was a great Dealer in Secrets, but he was but vain; That there was a Conspiracy (which himself hindred,) to have killed Queen Mary, Sister to Queen Elizabeth, by a Burning-Glass when she walked in Saint James Park, from the Leads of the House. But thus much (no doubt) is true; That if Burning-Glasses could be brought to a great strength, (as they talk generally of Burning-Glasses, that are able to burn a Navy,) the Percussion of the Air alone, by such a Burning-Glass, would make no Noise; No more than is found in Coruscations, and Lightnings without Thunders.

[122] I suppose that Impression of the Air with Sounds, asketh a time to be conveighed to the Sense; As well as the Impression of Species visible. Or else they will not be heard. And therefore, as the Bullet moveth so swift, that it is Invisible; So the same Swiftness of Motion maketh it Inaudible: For we see, that the Apprehension of the Eie, is quicker then that of the Ear.

[123] All Eruptions of Air, though small and slight, give an Entity of Sound; which we call Crackling, Puffing, Spitting, &c. As in Bay-salt, and bay-leaves cast into the Fire; So in Chesnuts, when they leap forth of the Ashes; So in Green Wood laid upon the Fire, especially, Roots; So in Candles that spit Flame, if they be wet; So in Rasping, Sneezing, &c. So in a Rose leaf gathered together into the fashion of a Purse, and broken upon the Forehead, or Back of the Hand, as Children use.

[124] [Experiments in Consort touching Production, Conservation, and Delatio[n] of Sounds; And the office of the Air therein.] The Cause given of Sound, that it should be an Elision of the Air (whereby, if they mean any thing, they mean Cutting or Dividing, or else an Attenuating of the Air) is but a Terme of Ignorance: And the Motion is but a Catch of the Wit upon a few Instances; As the Manner is in the Philosophy Received. And it is common with Men, that if they have gotten a Pretty Expression by a Word of Art, that Expression goeth currant; though it be empty of Matter. This Conceit of Elision, appeareth most manifestly to be false, in that the Sound of a Bell, String, or the like, continueth melting sometime, after the Percussion; but ceaseth straight-waies, if the Bell, or String, be touched and stayed: whereas, if it were the Elision of the Air, that made the Sound, it could not bee, that the Touch of the Bell, or String, should extinguish so suddenly that Motion, caused by the Elision of the Air. This appeareth yet more manifestly, by Chiming with a Hammer upon the Out-side of a Bell; For the Sound will be according to the inward Concave of the Bell; whereas the Elision, or Attenuation of the Air cannot be but only between the Hammer and the Out-side of the Bell. So again if it were an Elision, a broad Hammer, and a Bodkin, struck upon Metall, would give a diverse Tone; as well as a diverse Loudness: But they do not so; For though the Sound of the one be Louder, and of the other Softer, yet the Tone is the same. Besides, in Eccho’s (whereof some are as loud as the Originall Voice,) there is no new Elision, but a Repercussion only. But that which convinceth it most of all, is; that Sounds are generated, where there is no Air at all. But these and the like Conceits, when Men have cleared their understanding, by the light of Experience, will scatter, and break up like a mist.

[125] It is certain, that Sound is not produced at the first, but with some Locall Motion of the Air, or Flame; or some other Medium; Not yet without some Resistance, either in the Air, or the Body Percussed. For if there be a meer Yeelding or Cession, it produceth no Sound; As hath been said. And therein Sounds differ from Light, and Colours; which pass through the Air, or other Bodies, without any Locall Motion of the Air; either at the first, or after. But you must attentively distinguish between the Locall Motion, of the Air, (which is but Vehiculum causæ, a Carrier of the Sounds,) and the Sounds themselves, Conveighed in the Air. For as to the former, we see manifestly, that no sound is produced (no not by Air it self against other Air, as in Organs, &c.) but with a perceptible Blast of the Air; and with some Resistance of the Air strucken. For, even all of Speech, (which is one of the gentlest Motions of Air,) is with Expulsion of a little Breath. And all Pipes have a Blast, as well as a Sound. We see also manifestly, that Sounds are carried with Wind: And therefore Sounds will be heard further with the Wind, than against the Wind: and likewise do rise and fall with the Intension or Remission of the Wind. But for the Impression of the Sound, it is quite another Thing; And is utterly without any Locall Motion of the Air, Perceptible; And in that resembleth the Species Visible: for after a Man hath lured, or a Bell is rung, we cannot discern any Perceptible Motion (at all) in the Air, along as the sound goeth; but only at the first. Neither doth the Wind (as farre as it carrieth a Voice,) with the Motion thereof, confound any of the Delicate, and Articulate Figurations of the Air, in variety of Words. And it a Man speak a good loudness, against the Flame of a Candle, it will not make it tremble much; though most, when those Letters are pronounced, which contract the mouth; as F, S, V, and some others. But Gentle Breathing, or Blowing without Speaking, will move the Candle farre more. And it is the more probable, that Sound is without any Locall Motion of the Air, because as it differeth from the Sight, in that it needeth a Locall Motion of the Air at first; So it paralleleth in so many other things with the Sight, and Radiation of Things invisible; which (without all question) induce no Locall Motion in the Air, as hath been said.

[126] Nevertheless it is true, that upon the Noise of Thunder, and great Ordnance; Glass windows will shake; and Fishes are thought to be frayed with the Motion, caused by Noise upon the water. But these Effects are from the Locall Motion of the Air, which is a Concomitant of the Sound, (as hath been said;) and not from the Sound.

[127] It hath been anciently reported, and is still received, that Extreme applauses, and shouting of people assembled in great Multitudes, have so rarified, and broken the Air, that Birds flying over, have fallen down, the Air being not able to support them. And it is beleeved by some, that great Ringing of Bells in populous Cities, hath chased away Thunder: and also dissipated Pestilent Air: All which may be also from the Concussion of the Air, and not from the Sound.

[128] A very great Sound, near hand, hath strucken many Deaf; And at the Instant they have sound, as it were, the breaking of a Skin or Parchment in their Ear: And my self standing near one that Lured loud, and shrill, had suddenly an Offence, as if somewhat had broken, or been dislocated in my Ear; And immediately after a loud Ringing; (Not an ordinary Singing, or Hissing, but farre louder, and differing:) so as I feared some Deafness. But after some half Quarter of an Hour it vanished. This Effect may be truly referred unto the Sound: for (as is commonly received) an overpotent Object doth destroy the Sense; And spirituall Species, (both Visible and Audible,) will work upon the Sensories, though they move not any other Body.

[129] In Delation of Sounds, the Enclosure of them preserveth them, and causeth them to be heard further. And we find in rowles of Parchment, or Truncks, the Mouth being laid to the one end of the rowl of Parchment, or Trunck, and the Ear to the other, the Sound is heard much further, then in the Open Air. The Cause is, for that the Sound spendeth, and is dissipated in the Open Air; but in such Concaves it is conserved, and contracted. So also in a Peece of Ordnance, if you speak in the Touch-hole, and another lay his Ear to the Mouth of the Peece, the Sound passeth, and is farre better heard, than in the Open Air.

[130] It is further to be considered, how it proveth and worketh, when the Sound is not enclosed all the Length of his way, but passeth partly through open Air; as where you speak some distance from a Trunck; or where the Ear is some distance from the Trunck, at the other End; or where both Mouth and Ear are distant from the Trunck. And it is tryed, that in a long Trunck, of some eight or ten foot, the Sound is holpen, though both the Mouth, and the Ear be a handfull, or more, from the Ends of the Trunck; And somewhat more holpen, when the Ear of the Hearer is near, than when the Mouth of the Speaker. And it is certain, that the Voice is better heard in a Chamber from Abroad, than Abroad from within the Chamber.

[131] As the Enclosure, that is Round about and Entire, preserveth the Sound; so doth a Semi-concave, though in a less degree. And therefore, if you divide a Trunck, or a Cane into two, and one speak at the one end, and you lay your Ear at the other, it will carry the Voice further, than in the Air at large. Nay further, if it be not a full Semi-concave; but if you do the like upon the Mast of a Ship, or a long Pole, or a Peece of Ordnance (though one speak upon the Surface of the Ordnance, and not at any of the Bores;) the Voice will be heard further, then in the Air at large.

[132] It would be tryed, how, and with what proportion of disadvantage, the Voice will be carried in an Horn, which is a line Arched; Or in a Trumpet, which is a line Retorted; Or in some Pipe that were Sinuous.

[133] It is certain, (howsoever it cross the Received Opinion) that Sounds may be created without Air, though Air be the most favourable Deferent of Sounds. Take a Vessel of Water, and knap a pair of Tongs some depth within the Water, and you shall hear the Sound of the Tongs well, and not much diminished; And yet there is no Air at all present.

[134] Take one Vessel of Silver, and another of Wood, and fill each of them full of Water, and then knap the Tongs together, as before, about an handfull from the Bottom, and you shall find the Sound much more Resounding from the Vessel of Silver, than from that of Wood: And yet if there be no water in the Vessel, so that you knap the Tongs in the Air, you shall find no difference between the Silver and the Wooden Vessel. Whereby, beside the main point of creating Sound without Air, you may collect two Things: The one, that the Sound communicateth with the Bottom of the Vessel: The other, that such a Communication passeth far better, thorow Water than Air.

[135] Strike any Hard Bodies together, in the midst of a Flame, and you shall hear the Sound with little difference, from the Sound in the Air.

[136] The Pneumatical Part, which is in all Tangible Bodies, and hath some Affinity with the Air; performeth, in some degree, the Parts of the Air; As when you knock upon an Empty Barrell, the Sound is (in part) created by the Air on the Out-side; And (in part) by the Air in the Inside; For the Sound will be greater or lesser, as the Barrell is more Empty, or more Full; But yet the Sound partipateth also with the Spirit in the Wood, thorow which it passeth from the Out-side to the Inside: And so it cometh to pass in the Chiming of Bels, on the Out-side; where also the Sound passeth on the Inside: And a number of other like Instances, whereof we shall speak more when we handle the Communication of Sounds.

[137] It were extreme Grossness to think, (as we have partly touched before,) that the Sound in Strings is made, or produced, between the Hand and the String, or the Quill and the String, or the Bow and the String: For those are but Vehicula motus, Passages to the Creation of the Sound, the Sound being produced between the String and the Air; And that not by any Impulsion of the Air from the first motion of the String; but by the Return or Result of the String, which was strained by the Touch, to his former Place: which Motion of Result is quick and sharp; Whereas the first Motion is soft and dull. So the Bow tortureth the String continually, and thereby holdeth it in a Continuall Trepidation.

[138] [Experiments in Consort, touching the Magnitude, and Exility, and Damps of Sounds.] Take a Trunck, and let one whistle at the one End, and hold your Eare at the other, and you shall find the Sound strike so sharp, as you can scarce endure it. The Cause is, for that Sound diffuseth it self in round, And so spendeth it Self; But if the Sound, which would scatter in Open Air, be made to go all into a Canalo; It must needs give greater force to the Sound. And so you may note, that Enclosures, do not only preserve Sound, but also encrease and sharpen it.

[139] A Hunters Horn, being greater at one end, than at the other, doth encrease the Sound more, than if the Horn were all of an equall Bore. The Cause is, for that the Air and Sound, being first contracted at the lesser End, and afterwards having more Room to spread at the greater End, do dilate themselves; And in coming out strike more Air; whereby the Sound is the Greater, and Baser. And even Hunters Horns, which are sometimes made straight, and not Oblique, are ever greater at the lower end. It would be tried also in Pipes, being made far larger at the lower End: Or being made with a Belly towards the lower End; And then issuing into a straight Concave again.

[140] There is in Saint James’s Fields, a Conduit of Brick, unto which joyneth a low Vault; And at the End of that, a Round House of Stone: And in the Brick Conduit there is a Window; And in the Round House, a Slit or Rift of some little breadth if you cry out in the Rift, it will make a fearefull roaring at the Window. The Cause is the same with the former; For that all Concaves, that proceed from more Narrow to more Broad, do amplifie the Sound at the Coming out.

[141] Hawks Bells, that have Holes in the Sides, give a greater Ring, than if the Pellet did strike upon Brass, in the Open Air. The Cause is the same with the first Instance of the Trunck; Namely, for that the Sound Enclosed with the Sides of the Bell, cometh forth at the Holes unspent, and more strong.

[142] In Drums, the Closeness round about, that preserveth the Sound from dispersing, maketh the Noise come forth at the Drum-Hole, far more loud, and strong, than if you should strike upon the like Skin, extended in the Open Air. The Cause is the same with the two precedent.

[143] Sounds are better heard, and further off, in an Evening, or in the Night, than at the Noon, or in the day. The Cause is, for that in the Day, when the Air is more Thin, (no doubt) the Sound pierceth better; But when the Air is more Thick (as in the Night) the Sound spendeth and spreadeth abroad less: And so it is a Degree of Enclosure. As for the Night, it is true also, that the Generall Silence helpeth.

[144] There be two kinds of Reflexions of Sounds; the one at Distance, which is the Eccho; Wherein the Originall is heard distinctly, and the Reflexion also distinctly, Of which we shall speak hereafter: The other in Concurrence, When the Sound Reflecting (the Reflexion being near at hand) returneth immediatly upon the Originall, and so iterateth it not, but amplifieth it. Therefore we see, that Musick is better in Chambers Wainscotted, than Hanged.

[145] The Strings of a Lute or Violl, or Virginals, do give a farre greater Sound, by reason of the Knot and Board, and Concave underneath, than if there were nothing but only the Flat of a Board, without that Hollow and Knot, to let in the Upper Air into the Lower. The Cause is, the Communication of the Upper Air with the Lower; And penning of both from Expence, or Dispersing.

[146] An Irish Harp hath Open Air on both sides of the Strings: And it hath the Concave or Belly, not along the Strings but at the End of the Strings. It maketh a more Resounding Sound, than a Bandora, Opharion, or Cittern, which have likewise Wire-Strings. I judge the Cause to be, for that Open Air on both Sides helpeth, so that there be a Concave; Which is therefore best placed at the End.

[147] In a Virginall, when the Lid is down, it maketh a more exile Sound, than when the Lid is open. The Cause is, for that all Shutting in of Air, where there is no competent Vent, dampeth the Sound: Which maintaineth likewise the former Instance; For the Belly of the Lute, or Violl, doth pen the Air somewhat.

[148] There is a Church at Glocester, (and as I have heard the like is in some other places;) where if you speak against a Wall, softly, another shall hear your Voice better a good way off, than hear hand. Enquire more particularly of the Frame of that place. I suppose there is some Vault, or Hollow, or Isle, behind the Wall, and some Passage to it towards the further end of that Wall, against which you speak; So as the Voice of him that speaketh, slideth along the Wall, and then entreth at some Passage, and communicateth with the Air of the Hollow; For it is preserved somewhat by the plain Wall; but that is too weak to give a Sound Audible, still it hath communicated with the back Air.

[149] Strike upon a Bow-string, and lay the Horn of the Bow near your Ear, and it will encrease the Sound, and make a degree of a Tone. The Cause is, for that the Sensory, by reason of the Close Holding, is percussed, before the Air disperseth. The like is, if you hold the Horn betwixt your Teeth. But that is a plain Delation of the Sound; from the Teeth, to the Instrument of Hearing; For there is a great Entercourse between those two Parts; As appeareth by this; That a harsh grating Tune setteth the Teeth on edge. The like falleth out, if the Horn of the bow be put upon the Temples; But that is but the Slide of the sound from thence to the Ear.

[150] If you take a Rod of Iron, or Brass, and hold the one end to your Ear, and strike upon the other, it maketh a far greater Sound, than the like Stroke upon the Rod, not made so Contiguous to the Ear. By which, and by some other Instances, that have been partly touched, it should appear; That Sounds do not only slide upon the Surface of a Smooth Body, but do also communicate with the Spirits, that are in the Pores of the Body.

[151] I remember in Trinity-Colledge in Cambridge, there was an Upper Chamber, which being thought weak in the Roof of it, was supported by a Pillar of Iron, of the bigness of ones Arm, in the middest of the Chamber; which if you had struck, it would make a little flat Noise in the Room where it was struck; But it would make a great Bomb in the Chamber beneath.

[152] The Sound which is made by Buckets in a Well, when they touch upon the Water; Or when they strike upon the side of the Well; Or when two Buckets dash the one against the other; These Sounds are deeper, and fuller, than if the like Percussion were made in the Open Air. The Cause is the Penning and Enclosure of the Air, in the Concave of the Well.

[153] Barrels placed in a Room under the Floor of a Chamber, make all Noises in the same Chamber, more full and Resounding.

So that there be five wayes (in generall,) of Majoration of Sounds: Enclosure Simple; Enclosure i’th’ Dilatation; Communication; Reflexion Concurrent; and Approach to the Sensory.

[154] For Exility of the Voice, or other Sounds: It is certain, that the Voice doth pass thorow Solid and Hard Bodies, if they be not too thick. And thorow Water; which is likewise a very Close Body; and such an one, as letteth not in Air. But then the Voice, or other Sound, is reduced, by such passage, to a great Weakness, or Exility. If therefore you stop the Holes of a Hawkes Bell, it will make no Ring, but a flat Noise, or Rattle. And so doth the Ætites or Eagles Stone, which hath a little Stone within it.

[155] And as for Water, it is a certain Triall: Let a man go into a Bath, and take a Pail, and turn the Bottome upward, and carry the Mouth of it (Even,) down to the Levell of the Water, and so press it down under the Water, some handfull and a an half, still keeping it even, that it may not tilt on either side, and so the Air get out: Then let him that is in the Bath, dive with his Head so far under Water, as he may put his Head into the Pail, and there will come as much Air bubling forth, as will make Room for his Head. Then let him speak, and any that shall stand without, shall hear his Voice plainly; but yet made extreme sharp and exile, like the Voice of Puppets: But yet the Articulate Sounds of the Words will not be confounded. Note that it may be much more hansomely done, if the Pail be put over the Mans head above Water, and then he cowre down, and the Pail be pressed down with him. Note that a Man must kneel or sit, that he may be lower than the Water, A man would think, that the Sicilian Poet had knowledge of this Experiment; For he saith, That Hercules’s Page Hylas went with a Water-pot, to fill it at a pleasant Fountain, that was near the Shore, and that the Nymphs of the Fountain fell in love with the Boy, and pulled him under Water, keeping him alive; And that Hercules missing his Page, called him by his Name aloud, that all the Shore rang of it; And that Hylas from within the Water, answered his Master; But (that which is to present purpose) with so small and exile a Voice, as Hercules thought he had been three Miles off, when the Fountain (indeed) was fast by.

[156] In Lutes, and Instruments of Strings, if you stop a String high, (whereby it hath less Scope to tremble) the Sound is more Trebble, but yet more dead.

[157] Take two Sawcers, and strike the Edge of the one against the Bottome of the other, within a Pail of Water; And you shall find, that as you put the Sawcers lower, and lower, the Sound groweth more flat; even while Part of the Sawcer is above the Water; But that Flatness of Sound is joyned with a harshness of Sound; which (no doubt) is caused by the inequality of the Sound, which cometh from the Part of the Sawcer under the Water, and from the Part above. But when the Sawcer is wholly under the Water, the Sound becometh more clear, but far more low; And as if the Sound came from a far off.

[158] A Soft Body dampeth the Sound, much more than a Hard: And if a Bell hath Cloth or Silk wrapped about it, it deadeth the Sound more, than if it were Wood. And therefore in Clericalls, the Keyes are lined; And in Colledges they use to line the Tablemen.

[159] Triall was made in a Recorder, after these severall manners. The Bottome of it was set against the Palm of the Hand; stopped with Wax round about, set against a Damask Cushion; Thrust into Sand; into Ashes; into Water, (half an Inch under the Water;) Close to the Bottome of a Silver Basin; And still the Tone remained: But the Bottome of it was set against a Wollen Carpet; A Lining of Plush; A Lock of Wooll, (though loosely put in;) Against Snow; And the sound of it was quite deaded, and but Breath.

[160] Iron Hot produceth not so full a Sound, as when it is Cold; For while it is hot, it appeareth to be more Soft, and less Resounding So likewise Warm Water, when it falleth, maketh not so full a Sound, as Cold: And I conceive it is softer, and nearer the Nature of Oil; For it is more slippery; As may be perceived, in that it scowreth better.

[161] A Bellowes, blown into the Hole of a Drum, and the Drum then strucken, maketh the Sound a little flatter, but no other apparent Alteration. The Cause is manifest; Partly for that it hindereth the Issue of the Sound; And partly for that it maketh the Air, being blown together, less moveable.

[163] [Experiments in Consort, touching the Loudness, or Softness of Sounds; and their Carriage at longer or shorter Distance.] The Loudness and Softness of Sounds, is a Thing distinct from the Magnitude and Exility of Sounds; For a Base String, though softly strucken, giveth the greater Sound; But a Trebble String, if hard strucken, will be heard much further off. And the Cause is, for that the Base String striketh more Air; and the Trebble less Air, but with a sharper Percussion.

[164] It is therefore the Strength of the Percussion, that is a Principall Cause of the Loudness or Softness of Sounds: As in knocking harder or softer, Winding of a Horn stronger or weaker; Ringing of a Hand-bell harder or softer, &c. And the Strength of this Percussion, consisteth, as much or more in the Hardness of the Body Percussed, as in the Force of the Body Percussing: For if you strike against a Cloth, it will give a less Sound; If against Wood, a greater; If against a Metall, yet a greater; And in Metals, if you strike against Gold; (which is the more pliant,) it giveth the flatter Sound; If against Silver or Brass, the more Ringing Sound. As for Air, where it is strongly pent, it matcheth a Hard Body. And therefore we see in discharging of a Peece, what a great Noise it maketh. We see also, that the Charge with Bullet; Or with Paper wet, and hard stopped; Or with Powder alone, rammed in hard; maketh no great difference in the Loudness of the Report.

[165] The Sharpness or Quickness of the Percussion, is a great Cause of the Loudness, as well as the Strength: As in a Whip or Wand, if you strike the Air with it; the Sharper and Quicker you strike it; the Louder Sound it giveth. And in playing upon the Lute, or Virginalls, the quick Stroke or Touch, is the Air speedily; whereas the Soft Striking doth rather beat, than cut.

[Experiments in Consort touching the Communication of Sounds.] The Communication of Sounds (as in Bellies of Lutes, Empty Vessels, &c.) hath been touched obiter, in the Majoration of Sounds: But it is fit also to make a Title of it apart.

[166] The Experiment for greatest Demonstration of Communication of Sounds, is the Chiming of Bells; where if you strike with a Hammer upon the Upper Part, and then upon the Midst, and then upon the Lower, you shall find the Sound to be more Trebble, and more Base, according unto the Concave, on the Inside: though the Percussion be only on the Outside.

[167] When the Sound is created between the Blast of the Mouth, and the Air of the Pipe, it hath nevertheless some Communication with the Matter of the Sides of the Pipe, and the Spirits in them contained; for in a Pipe, or Trumpet, of Wood, and Brass, the Sound will be diverse; So it the Pipe be covered with Cloth, or Silk, it will give a diverse Sound, from that it would do of it self; So, if the Pipe be a little wet on the Inside, it will make a differing Sound, from the Pipe dry.

[168] That Sound made within Water, doth communicate better with a hard Body thorow Water, than made in Air, it doth with Air; Vide Experimentum, 134.

[Experiments in Consort touching Equality, and Inequality of Sounds.] We have spoken before (in the Inquisition touching Musick,) of Musicall Sounds, whereunto there may be a Concord or Discord in two Parts; which Sounds we call Tones; And likewise of Immusicall Sounds; And have given the Cause, that the Tone proceedeth of Equality, and the other of Inequality. And we have also expressed there, what are the Equall Bodies that give Tones, and what are the Unequall that give none. But now we shall speak of such Inequality of Sounds, as proceedeth, not from the Nature of the Bodies themselves, but is Accidentall, Either from the Roughness, or Obliquity of the Passage; or from the Doubling of the Percutient; Or from the Trepidation of the Motion.

[169] A Bell, if it have a Rift in it, whereby the Sound hath not a clear Passage, giveth a Hoarse and Jarring Sound; So the Voice of Man, when by Cold taken the Wesill groweth rugged, and (as we call it) furred, becometh hoarse. And in these two Instances the Sound are Ingrate; because they are meerly Unequall: But, if they be Unequall in Equality, then the Sound is Gratefull, but Purling.

[170] All Instruments, that have either Returnes, as Trumpets; Or Flexions, as Cornets; Or are Drawn up, and put from, as Sackbuts, have a Purling Sound: But the Recorder, or Flute, that have none of these Inequalities, give a clear Sound. Nevertheless, the Recorder it self, or Pipe moistened a little in the Inside, soundeth more solemnly, and with a little Purling, or Hissing. Again, a Wreathed String, such as are in the Base Strings of Bandoraes, giveth also a Purling Sound.

[171] But a Lute-string, if it be meerly Unequall in his Parts, giveth a Harsh and Untuneable Sound; which Strings we call False, being bigger in one Place then in another; And therefore Wise-strings are never False. We see also, that when we try a False Lute-string, we use to extend it hard between the Fingers, and to fillip it; And if it giveth a double Species, it is True; But if it giveth a trebble, or more, it is False.

[172] Waters, in the Noise they make as they runne, represent to the Ear a Trembling Noise; And in Regals (where they have a Pipe, they call the Nightingale-Pipe, which containeth Water) the Sound hath a continuall Trembling: And Children have also little Things they call Cocks, which have Water in them; And when they blow, or whistle in them, they yeeld a Trembling Noise; Which Trembling of Water, hath an affinity with the Letter L. All which Inequalities of Trepidation, are rather pleasant, than otherwise.

[173] All Base Notes, or very Trebble Notes, give an Asper Sound; For that the Base striketh more Air, than it can well strike equally: And the Trebble cutteth the Air so sharp, as it returneth too swift, to make the Sound Equall: And therefore a Mean, or Tenor, is the sweetest Part.

[174] We know Nothing, that can at pleasure make a Musicall, or Immusicall Sound, by voluntary Motion, but the Voice of Man and Birds. The Cause is (no doubt) in the Weasill or Wind-Pipe, (which we call Aspera Arteria,) which being well extended, gathereth Equality; As a Bladder that is wrinckled, if it be extended, becometh smooth. The Extension is alwayes more in Tones, than in Speech: Therefore the Inward Voice or Whisper can never give a Tone: And in Ringing, [Singing,] there is (manifestly) a greater Working and Labour of the Throat, than in Speaking; as appeareth in the Thrusting out, or Drawing in of the Chin, when we sing.

[175] The Humming of Bees, is an Unequall Buzzing, and is conceived, by some of the Ancients, not to come forth at their Mouth, but to be an Inward Sound: but (it may be) it is neither; but from the motion of their Wings; For it is not heard but when they stirre.

[176] All Metalls quenched in Water, give a Sibilation or Hissing; (which hath an Affinity with the letter Z.) not withstanding the Sound be created between the Water or Vapour, and the Air. Seething also, if there be but small store of Water, in a Vessell, giveth a Hissing Sound; but Boyling in a full Vessell, giveth a Bubling Sound, drawing somewhat near to the Cocks used by Children.

[177] Triall mould be made, whether the Inequality, or Interchange of the Medium, will not produce an Inequality of Sound; as if three Bells were made one within another, and Air betwixt each; and then the outermost Bell were chimed with a Hammer, how the Sound would differ from a Simple Bell. So likewise take a Plate of Brass, and a Planck of Wood, and joyn them close together, and knock upon one of them, and see if they do not give an unequall Sound. So make two or three Partitions of Wood in a Hogshead, with Holes or Knots in them; And mark the difference of their Sound, from the Sound of an Hogshead, without such Partitions.

[178] [Experiments in Consort touching the more Trebble, and the more Base Tones, or Musicall Sounds.] It is evident, that the Percussion of the Greater Quantity of Air, causeth the Baser Sound; And the less Quantity, the more Trebble sound. The Percussion of the Greater Quantity of Air, is produced by the Greatness of the Body, Percussing; by the Latitude of the Concave, by which the Sound passeth; and by the Longitude of the same Concave. Therefore we see that a Base string, is greater than a Treble; A Base Pipe hath a greater bore then a Trebble; And in Pipes, and the like, the lower the Note Holes be, and the further off from the Mouth of the Pipe, the more Base Sound they yeeld; and the neerer the Mouth the more Trebble. Nay more, if you strike an Entire Body, as an Andiron of Brass, at the Top, it maketh a more Trebble Sound; and at the Bottome a Baser.

[179] It is also evident, that the Sharper or Quicker Percussion of Air causeth the more Treble Sound, and the Slower or Heavier, the more Base Sound. So we see in Strings; the more they are wound up, and strained; (And thereby give a more quick Start back;) the more Trebble is the Sound. And the slacker they are, or less wound up, the Baser is the Sound. And therefore a bigger String more strained, and a lesser String, less strained, may fall into the same Tone.

[180] Children, Women, Eunuchs have more small and shrill Voices, than Men. The Reason is, not for that Men have greater Heat, which may make the Voice stronger, (for the strength of a Voice or Sound, doth make a difference in the Loudness or Softness, but not in the Tone;) but from the Dilation of the Organ; which (it is true) is likewise caused by Heat. But the Cause of Changing the Voice, at the yeares of Puberty, is more obscure. It seemeth to be, for that when much of the Moisture of the Body, wich did before irrigate the Parts, is drawn down to the Spermaticall vessels; it leaveth the Body more hot then it was; whence cometh the Dilation of the Pipes: For we see plainly, all Effects of Heat do then come on; As Pilosity, more Roughness of the Skin, Hardness of the Flesh, &c.

[181] The Industry of the Musician, hath produced two other Means of Straining, or Intension of Strings, besides their Winding up. The one is the Stopping of the String with the Finger; As in the Necks of Lutes, Viols, &c, the other is the Shortness of the String; As in Harps, Virginalls &c. Both these have one, and the same reason; For they cause the String to give a quicker Start.

[182] In the Straining of a String, the further it is strained, the less Superstraining goeth to a Note; For it requireth good Winding of a String, before it will make any Note at all: And in the Stops of Lutes, &c. the higher they go, the less Distance is between the Frets.

[183] If you fill a Drinking Glass with Water, (especially one Sharp below, and Wide above,) and Fillip upon the Brim, or Out side; And after, empty Part of the Water, and so more and more, and still try the Tone by Fillipping; you shall find the Tone fall, and be more Base, as the Glass is more Empty.

[Experiments in Consort touching the Proportion of Trebble and Base Tones.] The Just and Measured Proportion of the Air Percussed, towards the Baseness or Trebbleness of Tones, is one of the greatest Secrets in the Contemplation of Sounds. For it discovereth the true Coincidence of Tones into Diapasons: Which is the Return of the same Sound. And so of the Concords and Discords, between the Unison, and Diapason; Which we have touched before, in the Experiments of Musick; but think fit to resume it here, as a principall Part of our Enquiry touching the Nature of Sounds. It may be found out in the Proportion of the Winding of Strings; In the Proportion of the Distance of Frets; And in the Proportion of the Concave of Pipes, &c. But most commodiously in the last of these.

[184] The therefore the Winding of a String once about, as soon as it is brought to that Extension, as will give a Tone; And then of twice about; And thrice about, &c. And mark the Scale or Difference of the Rice of the Tone: Whereby you shall discover, in one, two Effects; Both the Proportion of the Sound towards the Dimension of the Winding; And the Proportion likewise of the Sound towards the String, as it is more or less strained. But note that to measure this, the way will be, to take the Length in a right Line of the String, upon any Winding about of the Peg.

[185] As for the Stops, you are to take the Number of Frets; And principally the Length of the Line, from the first Stop of the String, unto such a Stop as shall produce a Diapason to the former Stop, upon the same String.

[186] But it will best (as it is said) appear, in the Bores of Wind-Instruments: And therefore cause some half dozen Pipes, to be made, in length and all things else, alike, with a single, double, and so on to a sextuple Bore; And so mark what Fall of Tone every one giveth: But still in these three last Instances, you must diligently observe, what Length of String, or Distance of Stop, or Concave of Air, maketh what Rise of Sound. As in the last of these (which (as we said) is that, which giveth the aptest demonstration,) you must set down what Encrease of Concave goeth to the making of a Note higher; And what of two Notes; And what of three Notes; And so up to the Diapason: For then the great Secret of Numbers and Proportions, will appear: It is not unlikely, that those that make Recorders, &c. know this already: for that they make them in Sets. And likewise Bell-founders in fitting the tune of their Bells. So that Enquiry may save Triall, Surely, it hath been observed by one of the Ancients, that an Empty Barrell knocked upon with the finger, giveth a Diapason to the Sound of the like Barrell-full; But how that should be, I do not well understand; For that the knocking of a Barrell, Full or Empty, doth scarce give any Tone.

[187] There is required some sensible Difference in the Proportion of creating a Note, towards the Sound it self, which is the Passive: And that it be not too near, but at a distance. For in a Recorder, the three uppermost Holes, yeeld one Tone; which is a Note lower than the Tone of the first three. And the like (no doubt) is required in the Winding or Stopping of Strings.

[Experiments in Consort touching Exteriour and Interiour Sounds.] There is another Difference of Sounds, which we will call Exteriour, and Interiour. It is not Soft, nor Loud: Nor it is not Base, nor Treble: Nor it is not Musicall, nor Immusicall: Though it be true, that there can be no Tone in an Interiour Sound: But on the other side, in an Exteriour Sound, there may be both Musicall and Immusicall. We shall therefore enumerate them, rather than precisely distinguish them; Though (to make some Adumbration of that we mean the Interiour is rather an Impulsion or Contusion of the Aire, than an Elision or Section of the same. So as the Percussion of the one, towards the other, differeth, as a Blow differeth from a Cut.

[188] In Speech of Man, the Whispering, (which they call Susurrus in Latine,) whether it be louder or softer, is an Interiour Sound; But the Speaking out, is an Exteriour Sound; And therefore you can never make a Tone, nor sing in Whispering; But in Speech you may: So Breathing, or Blowing by the Mouth, Bellowes, or Wind, (though lowd) is an Interiour Sound; But the Blowing thorow a Pipe, or Concave, though soft) is an Exteriour. So likewise the greatest Wind; if they have no Coarctation, or blow not hollow, give any Interiour Sound; The Whistling or hollow Wind yeeldeth a Singing, or Exteriour Sound; The former being pent by some other Body; The latter being pent in by his own Destiny: And therefore we see, that when the Wind bloweth hollow, it is a Sign of Rain. The Flame, as it moveth within it self, or is blown by a Bellowes, giveth a Murmur or Interiour Sound.

[189] There is no Hard Body, but struck against another Hard Body, will yeeld an Exteriour Sound, greater or lesser: Insomuch as if the Percussion be over-soft, it may induce a Nullity of Sound; But never an Interiour Sound; As when one treadeth so softly, that he is not heard.

[190] Where the Air is the Percutient, pent, or not, pent, against a Hard Body, it never giveth an Exteriour Sound; As if you blow strongly with a Bellowes against a Wall.

[191] Sounds (both Exteriour and Interiour,) may be made, as well by Suction, as by Emission of the Breath: As in Whistling, or Breathing.

[192] [Experiments in Consort touching Articulations of Sounds.] It is evident and it is one of the strangest Secrets in Sounds: that the whole Sound is not in the whole Air only; But the whole Sound is also in every small Part of the Air. So that all the curious Diversitie of Articulate Sounds of the Voice of Man, or Birds, will enter into a small Crany, Inconfused.

[193] The Unequall Agitation of the Winds, and the like, though they be materiall to the to the Carriage of the Sounds, further or less way; yet they do not confound the Articulation of them at all, within that distance that they can be heard; Though it may be, they make them to be heard less Way, than in a Still; as hath been partly touched.

[194] Over-great Distance confoundeth the Articulation of Sounds; As we see, that you may hear the Sound of a Preachers voice, or the like, when you cannot distinguish what he saith. And one Articulate Sound will confound another; as when many speak at once.

[195] In the Experiment of Speaking under Water, when the Voice is reduced to such an Extreme Exility, yet the Articulate Sounds, (which are the Words) are not confounded; as have been said.

[196] I conceive, that an Extreme Small, or an Extreme Great Sound, cannot be Articulate; But that the Articulation requireth a Mediocrity of Sound: For that the Extreme Small Sound confoundeth the Articulation by Contracting; And the Great Sound, by Dispersing: And although (as was formerly said) a Sound Articulate, already created, will be contracted into a small Crany; yet the first Articulation requireth more Dimension.

[197] It hath been observed, that in a Room, or in a Chapell, Vaulted below, and Vaulted likewise in the Roof, a Preacher cannot be heard so well, as in the like Places not so Vaulted. The Cause is, for that the Subsequent Words come on, before the Precedent Words vanish: And therefore the Articulate Sounds are more confused, though the Gross of the Sound be greater.

[198] The Motions of the Tongue, Lips, Throat, Palate, &c. which go to the Making of the severall Alphabeticall Letters, are worthy Enquiry, and pertinent to the present Inquisition of Sounds: But because they are subtill, and long to describe, we will referr them over, and place them amongst the Experiments of Speech. The Hebrews have been diligent in it, and have assigned, which Letters are Labiall, which Dentall, which Guturall, &c. As for the Latines, and Grecians, they have distinguished between Semi-vowels, and Mutes; And in Mutes, between Mutæ Tenues, Mediæ, and Aspiratæ; Not amiss; But yet not diligently enough. For the speciall Strokes, and Motions, that create those Sounds, they have little enquired: As that the Letters, B. P. F. M. are not expressed, but with the Contracting, or Shutting of the Mouth; That the Letters N. and B. cannot be pronounced, but that the Letter, N. will turn into M. As Hecatonba, will be Hecatomba. That M. and T. cannot be pronounced together; but P. will come between; as Emtus, is pronounced Emptus; And a number of the like. So that if you enquire to the full; you will find, that to the Making of the whole Alphabet, there will be fewer Simple Motions required, than there are Letters.

[199] The Lungs are the most Spongy Part of the Body; And therefore ablest to contract, and dilate it self; And where it contracteth it self, it expelleth the Air; which thorow the Artire, Throat, and Mouth, maketh the Voice: But yet Articulation is not made, but with the help of the Tongue, Palat, and the rest of those they call Instruments of voyce.

[200] There is found a Similitude, between the Sound that is made by Inanimate Bodies, or by Animate Bodies, that have no Voyce Articulate; and divers Letters of Articulate Voyces: And commonly Men have given such Names to those Sounds, as do allude unto the Articulate Letters. As Trembling of Water hath Resemblance with the Letter L: Quenching of Hot Metalls, with the Letter Z: Snarling of Dogs, with the Letter R: The Noise of Scritch-Owles, with the Letter Sh: Voyce of Cats, with the Diphthong Eu: Voyce of Cuckoes, with the Diphthong Ou: Sounds of Strings, with the Letter Ng: So that if a Man, (for Curiosity, or Strangeness sake,) would make a Puppet or other Dead Body, to pronounce a Word; Let him consider, on the one Part, the Motion of the Instruments of Voyce; and on the other part the like Sounds made in Inanimate Bodies; And what Conformity there is that causeth the Similitude of Sounds; And by that he may minister light to that Effect.

---

NATURALL HISTORY.
III. Century.

[201] [Experiments in Consort touching the Motions of Sounds, in what Lines they are Circular, Oblique, Straight; Upwards, Downwards; Forwards, Backwards.] All Sounds (whatsoever) move Round; That is to say; On all Sides; Upwards; Downwards; Forwards; and Backwards. This appeareth in all Instances.

[202] Sounds do not require to be conveyed to the Sense, in a Right Line, as Visibles do, but may be Arched; Though it be true, they move strongest in a Rightness of the Line; Which nevertheless is not caused by the Rightness of the Line, but by the Shortness of the distance; Linea recta brevissima. And therefore we see, if a Wall be between, and you speak on the one Side, you hear it on the other; Which is not because the Sound Passeth thorow the Wall; but Archeth over the Wall.

[203] If the Sound be Stopped and Repercussed, it cometh about on the other Side, in an Oblique Line. So, if in a Coach, one side of the Boot be down, and the other up; And a Begger beg on the Close Side; you would think that he were on the Open Side. So likewise, if a Bell or Clock, be (for Example) on the North side of a Chamber; And the Window of that Chamber be upon the South; He that is in the Chamber will think the Sound came from the South.

[204] Sounds, though they spread round, (that that there is an Orbe, or Sphericall Area of the Sound;) yet they move strongest, and go furthest in the Fore-Lines, from the first Locall Impulsion of the Air. And therefore in Preaching, you shall hear the Preachers Voice, better, before the Pulpit, than behind it, or on the Sides, though it stand open. So a Harquebuz, or Ordinance, will be further heard, forwards, from the Mouth of the Peece, than backwards, or on the Sides.

[205] It may be doubted, that Sounds do move better Down-wards, than Upwards. Pulpits are placed high above the people. And when the Ancient Generals spake to their Armies, they had ever a Mont of Turfe cast up, whereupon they stood: But this may be imputed to the Stops and Obstacles, which the voice meeteth with, when one speaketh upon the levell. But there seemeth to be more in it: For it may be, that Spirituall Species, both of Things Visible, and Sounds do move better Downwards, than Upwards. It is a strange Thing that to Men standing below on the Ground, those that be on the Top of Pauls, seem much less than they are, and cannot be known; But to Men above, those below seem nothing so much lessened, and may be known: yet it is true, that all things to them above, seem also somewhat contracted, and better collected into Figure: as Knots in Gardens shew best from an Upper window, or Tarras.

[206] But to make an exact Triall of it, let a Man stand in a Chamber, not much above the Ground, and speak out at the window, thorow a Trunk, to one standing on the Ground, as softly as he can, the other laying his Ear close to the Trunk: Then via versa, let the other speak below keeping the same Proportion of Softness; And let him in the Chamber lay his Ear to the Trunk. And this may be the aptest Meanes, to make a Judgement, whether Sounds descend, or ascend, better.

[207] [Experiments in Consort touching the Lasting and Perishing of Sounds; And touching the Time they require to the Generation or Delation.] After that Sound is created, (which is in a moment,) we find it continueth some small time, melting by little and little. In this there is a wonderfull Errour amongst Men, who take this to be a Continuance of the First Sound: whereas (in truth) it is a Renovation, and not a Continuance: For the Body percussed, hath by reason of the Percussion, a Trepidation wrought in the Minute Parts; and so reneweth the Percussion of the Air. This appeareth manifestly, because that the Melting Sound of a Bell, or of a String strucken, which is thought to be a Continuance, ceaseth as soon as the Bell or String are touched. As in a Virginall, as soon as ever the Jack falleth, and toucheth the String, the Sound ceaseth; And in a Bell, after you have chimed upon it, if you touch the Bell, the Sound ceaseth. And in this you must distinguish that there are two Trepidations: The one Manifest, and Locall; As of the Bell, when it is Pensile: The other Secret, of the Minute Parts; such as is described in the ninth Instance. But it is true, that the Local helpeth the Secret greatly. We see likewise that in Pipes, and other wind Instruments, the Sound lasteth no longer, than the breath bloweth. It is true that in Organs, there is a confused Murmur for a while, after you have played; But that is but while the Bellowes are in Falling.

[208] It is certain, that in the Noise of great Ordnance, where many are shot off together, the Sound will be carried, (at the least) twenty Miles upon the land, and much further upon the Water. But then it will come to the Ear; Not in the Instant of the Shooting off, but it will come an Hour, or more later. This must needs be a Continuance of the First Sound; For there is no Trepidation which should renew it. And the Touching of the Ordnance would not extinguish the Sound the sooner: So that in great Sounds the Continuance is more then Momentany.

[209] To try exactly the time wherein Sound is Delated, Let a Man stand in a Steeple, and have with him a Taper; And let some veil be put before the Taper; And let another Man stand in the Field a Mile off. Then let him in the Steeple strike the Bell; And in the same instant withdraw the Veile; And so let him in the Field tell by his Pulse what distance of Time there is between the Light seene, and the Sound heard: for it is certain that the Delation of Light is in an Instant. This may be tried in far greater Distances, allowing greater Lights and Sounds.

[210] It is generally known and observed, that Light, and the Object of Sight, move swifter than Sound; For we see the Flash of a Peece is seen sooner, than the Noise is heard. And in Hewing Wood, if one be some distance off, he shall see the Arme lifted up for a second Stroke, before he hear the Noise of the first. And the greater the Distance, the greater is the Prevention: As we see in Thunder, which is farre off; where the Lightning precedeth the Crack a good space.

[211] Colours, when they represent themselves to the Eie, fade not, nor melt not by Degrees, but appear still in the same strength; But Sounds melt, and vanish, by little and little. The Cause is, for that Colours participate nothing with the Motion of the Air; but Sounds do. And it is a plain Argument, that Sound participateth of some Locall Motion, of the Air, (as a Cause Sine quâ non,) in that, it perisheth so suddenly; For in every Section, or Impulsion of the Air, the Air doth suddenly restore and reunite it self; which the Water also doth, but nothing so swiftly.

[Experiments in Consort touching the Passage and Interceptions of Sounds.] In the Trials of the Passage, or Not Passage of Sounds, you must take heed, you mistake not the Passing by the sides of a Body, for the Passing thorow a Body: and therefore you must make the Intercepting Body very close; For Sound will pass thorow a small Chinck.

[212] Where Sound passeth thorow a Hard, or Close Body (as thorow Water, thorow a Wall; thorow Metall, as in Hawkes Bels stopped, &c.) the Hard or Close Body, must be thinne and small; For else it deadeth and extinguisheth the Sound utterly. And therefore, in the Experiment of Speaking in Air under Water, the voice must not be very deep within the Water: For then the Sound pierceth not. So if you speak on the further side of a Close Wall, if the Wall be very thick, you shall not be heard: And if there were an Hogshead empty, whereof the Sides were some two Foot thick, and the Bung-hole stopped: I conceive the Resounding Sound, by the Communication of the Outward Air, with the Air within, would be little or none: but only you shall hear the Noise of the Outward Knock, as if the Vessell were full.

[213] It is certain, that in the Passage of Sounds thorow Hard Bodies, the Spirit or Pneumaticall Part of the Hard body it self, doth cooperate; But much better, when the Sides of that Hard Body are struck, than when the Percussion is only within, without Touch of the Sides. Take therefore a Hawkes Bell, the holes stopped up, and hang it by a thread, within a Bottle-Glass; And stop the Mouth of the Glass, very close with Wax, and then shake the Glass, and see whether the Bell give any Sound at all, or how weak? But note, that you must in stead of the Thread, take a Wire: or else let the Glass have a great Belly; lest when you shake the Bell, it dash upon the Sides of the Glass.

[214] It is plain that a very Long, and Down-right Arch, for the Sound to pass, will extinguish the Sound quiet; So that that Sound, which would be heard over a Wall, will not be heard over a Church; Nor that Sound, which will be heard, if you stand some distance from the wall, will be heard if you stand close under the Wall.

[215] Soft and Foraminous Bodies, in the first Creation of the Sound, will dead it; For the striking against Cloth, or Furre, will make little Sound; As hath been said: But in the Passage of the Sound, they will admit it better than Harder Bodies; As we see, that Curtaines, and Hangings, will not stay the Sound much; But Glass-windowes, if they be very Close, will check a Sound more, than the like Thickness of Cloth. We see also, in the Rumbling of the Belly, how easily the Sound passeth thorow the Guts, and Skin.

[216] It is worthy the Enquiry, whether Great Sounds, (As of Ordnance, or Bels) become not more Weak and Exile, when they pass thorow Small Cranies. For the Subtilties of Articulate Sounds, (it may be) may pass thorow. Small Cranies, not confused; But the Magnitude of the Sound (perhaps,) not so well.

[217] [Experiments in Consort touching the Medium of Sounds.] The Mediums of Sounds are Air; Soft and Porous Bodies; Also Water, And Hard Bodies refuse not altogether to be Mediums of Sounds. But all of them are dull and unapt Deferents, except the Air.

[218] In Air, the Thinner or Drier Air, carrieth not the Sound so well, as the more Dense; As appeareth in Night Sounds; And Evening Sounds; And Sounds in moist Weather, and Southern Winds. The reason is already mentioned in the Title of Majoration of Sounds; Being, for that Thin Air is better pierced; but Thick Air preserveth the Sound better from Waste; Let further Triall be made by Hollowing in Mists, and Gentle Showers: For (it may be) that will somewhat dead the Sound.

[219] How farre forth Flame may be a Medium of Sounds, (especially of such Sounds as are created by Air, and not betwixt Hard Bodies) let it be tried, in Speaking where a Bonfire is between; But then you must allow for some disturbance, the Noise that the Flame it self maketh.

[220] Whether any other Liquors, being made Mediums, cause a diversity of Sound from Water, it may be tried: As by the Knapping of the Tongs; Or Striking the Bottome of a Vessell, filled either with Milk, or with Oil; which though they be more light, yet are they more unequall Bodies than Air.

Of the Natures of the Mediums, we have now spoken; As for the Disposition of the said Mediums, it doth consist in the Penning, or not Penning of the Air; Of which we have spoken before, in the Title of Delation of Sounds: It consisteth also in the Figure of the Concave, through which it passeth; Of which we will speak next.

[Experiments in Consort what the Figures of the Pipes or Concaves, or the Bodies deferent conduce to the Sounds.] How the Figures of Pipes, or Concaves, through which Sounds pass; Or of other Bodies deferent: conduce to the variety and Alteration of the Sounds: Either in respect of the Greater Quantity, or less Quantity of Air, which the Concaves receive; Or in respect of the Carrying of Sounds longer or shorter way; Or in as falling into other Titles. But those Figures, which we now are to speak of, we intent to be, as they concern the Lines, through which Sound passeth; As Straight; Crooked; Angular; Circular; &c.

[221] The Figure of a Bell partaketh of the Pyramis, but yet coming off, and dilating more suddenly. The Figure of a Hunters Horne, and Cornet, is oblique; yet they have likewise Straight Hornes: which if they be of the same Bore with the Oblique, differ little in Sound: save that the Straight require somewhat a stronger Blast. The Figure of Recorders, and Flutes, and Pipes are straight; But the Recorder hath a less Bore, and a greater; Above, and below. The Trumpet hath the Figure of the Letter S: which maketh that Purling Sound, &c. Generally, the Straight Line hath the cleanest and roundest Sound, And the Crooked the more Hoarse, and Jarring.

[222] Of a Sinuous Pipe, that may have some four Flexions, Triall would be made. Likewise of a Pipe, made like a Cross, open in the middest. And so likewise of an Angular Pipe: And see what will be the Effects of these severall Sounds. And so again of a Circular Pipe; As if you take a Pipe perfect Round, and make a Hole whereinto you shall blow; And another Hole not farre from that; But with a Traverse or Stop between them; So that your Breath may go the Round of the Circle, and come forth at the second Hole. You may trie likewise Percussions of Solid Bodies of severall Figures; As Globes, Flats, Cubes, Crosses, Triangles, &c. And their Combinations; As Flat against Flat: And Convex against Convex: And Convex against Flat, &c. And mark well the diversities of the Sounds. I my self have tried, that a Bell of Gold yeeldeth an excellent Sound, not inferior to that of Silver, or Brass, but rather better: yet we see that a piece of Money of Gold soundeth farre more flat than a piece of Money of Silver.

[223] The Harp hath the Concave, not along the Strings, but across the Strings; And no Instrument hath the Sound so Melting, and Prolonged, as the Irish Harp. So as I suppose, that if a Virginall were made with a double Concave; the one all the length as the Virginall hath; the other at the End of the Strings, as the Harp hath; It must needs make the Sound perfecter, and not so Shallow, and Jarring. You may trie it, without any Sound-Board along, but only Harp-wise, at one End of the Strings: Or lastly with a double Concave, at Each end of the Strings one.

[224] [Experiments in Consort, touching the Mixture of Sounds.] There is an apparent Diversity between the Species Visible, and Audible, in this; That the Visible doth not mingle in the Medium, but the Audible doth. For if we look abroad, we see Heaven, a number of Starres, Trees, Hills, Men, Beasts, at once. And the Species of the one doth not confound the other. But if so many Sounds come from severall Parts, one of them would utterly confound the other. So we see, that Voices or Consorts of Musick do make an Harmony by Mixture, which Colours do not. It is true nevertheless, that a great Light drowneth a smaller, that it cannot be seen; As the Sunne that of a Gloworm; as well as Great Sound drowneth a lesser. And I suppose likewise, that if there were two Lanthornes of Glass, the one a Crimsin, and the other an Azure, and a Candle within either of them, those Coloured Lights would mingle and cast upon a White Paper a Purple Colour. And even in Colours, they yeeld a faint and weak Mixture: For white walls make Roomes more lightsome than black, &c. But the Cause of the Confusion in Sounds, and the Inconfusion in Species Visible; is, For that the Sight worketh in Right Lines, and maketh severall Cones; And so there can be no Coincidence in the Eie, or Visuall Point: But Sounds that move in Oblique and Arcuate Lines, must needs encounter, and disturb the one the other.

[225] The sweetest and best Harmony is, when every Part of Instrument, is not heard by it self, but a Conflation of them all; Which requireth to stand some distance off. Even as it is in the Mixture of Perfumes; Or the Taking of the Smels of severall Flowers in the Air.

[226] The Disposition of the Air, in other Qualities, except it be joyned with Sound, hath no great Operation upon Sounds: For whether the Air be lightsome or dark, hot or cold, quiet or stirring, (expect it be with Noise) sweet-smelling, or stinking; or the like; it importeth not much: Some petty Alteration or difference it may make.

[227] But Sounds do disturb and alter the one the other: Sometimes the one drowning the other, and making it not heard; Sometimes the one jarring and discording with the other, and making a Confusion; Sometimes the one Mingling and Compounding with the other, and making an Harmony.

[228] Two Voices of like lowdness, will not be heard twice as farre, as one of them alone; And two Candles of like light, will not make things seem twice as farre off, as one. The Cause is profound; But it seemeth that the Impressions from the Objects of the Senses, do mingle respectively, every one with his kind; But not in proportion, as if before demonstrated: And the reason may be, because the first Impression, which is from Privative to Active (As from Silence to Noise, or from Darkness to Light,) is a greater Degree, than from Less Noise, to More Noise, or from Less Light to More Light. And the Reason of that again may be; For that the Air, after it hath received a Charge, doth not recive a Surcharge, or greater Charge, with like Appetite, as it doth the first Charge. As for the Encease of Verture generally, what Proportion it beareth to the Encrease of the Matter, it is a large Field, and to be handled by it self.

[229] [Experiments in Consort touching Melioration of Sounds.] All Reflexions Concurrent, do make Sounds Greater; But if the Body that createth, either the Originall Sound, or the Reflexion, be clean and smooth, it maketh them Sweeter. Triall may be made of a Lute, or Violl, with the Belly of polished Brass in stead of Wood. We see that even in the Open Air, the Wire String is sweeter, than the String of Guts. And we see that for Reflexion, Water excelleth; As in Musick near the Water; Or in Eccho’s.

[230] It hath been tried, that a Pipe a little moistened on the inside, but yet so as there be no Drops left, maketh a more solemn Sound, than if the Pipe were dry: But yet with a sweet Degree of Sibilation, or Purling; As we touched it before in the title of Equality. The Cause is, for that all Things Porous, being superficially wet, and (as it were) between dry and wet, become a little more Even and Smooth; But the Purling (which must needs proceed of Inequality,) I take to be bred between the Smoothness of the inward Surface of the Pipe, which is wet; And the Rest of the Wood of the Pipe, unto which the Wet cometh note, but it remaineth dry.

[231] In Frosty Weather, Musick within doors soundeth better. Which may be by reason, not of the Disposition of the Air, but of the Wood or String of the Instrument, which is made more Crispe, and so more porous and hollow: And we see that Old Lutes sound better than New, for the same reason. And so do Lute-strings that have been kept long.

[232] Sound is likewise Meliorated by the Mingling of Open Air with Pent Air; Therefore Triall may be made, of a Lute or Violl with a double Belly; Making another Belly with a Knot over the Strings; yet so, as there be Room enough for the Strings, and Room enough to play below that Belly. Triall may be also of an Irish Harp, with a Concave on both Sides; yet so, as there be Room enough for the Strings, and Room enough to play below that Belly. Triall may be also of an Irish Harp, with a concave on both Sides; whereas it useth to have it but on one Side. The doubt may be, lest it should make too much Resounding, whereby one Note would overtake another.

[233] If you sing in the Hole of a Drum, it maketh the Singing more sweet. And so I conceive it would, if it were a Song in Parts, sung into severall Drums; And for handsomness and strangeness sake, it would not be amiss to have a Curtain between the Place, where the Drums are, and the Hearers.

[234] When a Sound is created in a Wind-Instrument, between the Breath and the Air, yet if the Sound be communicate with a more equall Body of the Pipe, it meliorateth the Sound. For (no doubt) there would be a differing Sound in a Trumpet, or Pipe of Wood; And again in a Trumpet or Pipe of Brass. It were good to Recorders and Hunters Horns or Brass, what the Sound would be.

[235] Sounds are meliorated by the Intension of the Sense, where the Common Sense is collected most, to the particular Sense of Hearing, and the Sight suspended: and therefore, Sounds are sweeter, (as well as greater,) in the Night, than in the Day; And I suppose, they are sweeter to blind Men, than to Others; And it is manifest, that between Sleeping and Waking, (when all the Senses are bound and suspended) Musick is farre sweeter, than when one is fully waking.

[236] [Experiments in Consort touching the Imitation of Sounds.] It is a Thing strange in Nature, when it is attentively considered; How Children, and some Birds, learn to imitate Speech. They take no Mark (at all) of the Motion of the Mouth of Him that speaketh; For Birds, are as well taught in the Dark, as by Light. The Sounds of Speech are very Curious and Exquisite: So one would think it were a Lesson hard to learn. It is true, that it is done with time, and by little and little, and with many Essays and Proffers: But all this dischargeth not the Wonder. It would make a Man think (though this which we shall say may seem exceeding strange) that there is some Transmission of Spirits; and that the Spirits of the Teacher put in Motion, should work with the Spirits of the Learner, a Pre-disposition to offer to Imitate; And so to perfect the Imitation by degrees. But touching Operations by Transmission of Spirits, (which is one of the highest secrets in Nature,) we shall speak in due place; Chiefly when we come to enquire of Imagination. But as for Imitation, it is certain, that there is in Men, and other Creatures, a pre-disposition to Imitate. We see how ready Apes and Monkies are, to imitate all motions of Man: And in the Catching of Dottrells, we see, how the Foolish Birds playeth the Ape in Gestures: And no Man (in effect) doth accompany with others, but he learneth (ere he is aware,) some Gesture, or Voice, or Fashion of the other.

[237] In Imitation of Sounds, that Man should be the Teacher, is no Part of the Matter; For Birds will learn one of another; And besides, you shall have Parrets, that will not only imitate Voices, but Laughing, Knocking, Squeaking of a Doore upon the Hinges, or of a Cart-wheele; And (in effect) any other Noise they hear.

[238] No Beast can imitate the Speech of Man, but Birds only; For the Ape it self, that is so ready to imitate otherwise, attaineth not any degree of Imitation of Speech. It is true, that I have known a Dog, that if one howled in his Ear, he would fall a howling a great while. What should be the Aptness of Birds, in comparison of Beasts, to imitate the Speech of Man, may be further enquired. We see that Beasts have those Parts, which they count the Instruments of Speech, (as Lips, Teeth, &c,) liker unto Man, than Birds. As for the Neck, by which the Throat passeth; we see many Beasts have it, for the Length, as much as Birds. What better Gorge, or Attire, Birds have, may be further enquired. The Birds that are known to be Speakers, are, Parrets, Pyes, Jayes, Dawes, and Ravens. Of which Parrets have an adunque Bill, but the rest not.

[239] But I conceive, that the Aptness of Birds, is not so much in the Conformity of the Organs of Speech, as in their Attention. For Speech must come by Hearing, and Learning; And Birds give more heed, and mark Sounds, more than Beasts; Because naturally they are more delighted with them, and practise them more; As appeareth in their Singing. We see also, that those that teach Birds to sing, do keep them Waking, to encrease their Attention. We see also, that Cock-Birds, amongst Singing-Birds, are ever the better Singers; which may be, because they are more lively, and listen more.

[240] Labour, and Intention to imitate Voices, doth conduce much to Imitation: And therefore we see, that there be certain Pantomimi, that will represent the voices of Players or interludes, so to life, as if you see them not, you would think they were those Players themselves; And so the Voices of other Men that they hear.

[241] There have been some, that could counterfeit the Distance of Voices, (which is a Secondary Object of Hearing) in such sort; As when they stand fast by you, you would think the Speech came from a farre off, in a fearfull manner. How this is done, may be further enquired. But I see no great use of it, but for Imposture, in counterfeiting Ghosts or Spirits.

[Experiments in Consort touching the Reflexion of Sounds.] There be three Kindes of Reflexion of Sounds; A Reflexion Concurrent; A Reflexion Iterant, which we call Eccho; And a Super-reflexion, or an Eccho of an Eccho, whereof the first hath been handled in the Title of Magnitude of Sounds: The Latter two we will now speak of.

[242] The Reflexion of Species Visible, by Mirrours, you may command; Because passing in Right Lines, they may be guided to any point: But the Reflexion of Sounds is hard to master; Because the Sound filling great Spaces in Arched Lines, cannot be so guided: And therefore we see there hath not been practised, any Meanes to make Artificiall Eccho’s. And no Eccho already known returneth in a very narrow Room.

[243] The Naturall Eccho’s are made upon Walls, Woods, Rocks, Hills, and Banks; As for Water, being near, they make a Concurrent Eccho; but being further off, (as upon a large River) they make an Iterant Eccho: For there is no difference between the Concurrent Eccho, and the Iterant, but the Quickness, or Slowness of the Return. But there is no doubt, but Water doth help the Delation of Eccho; as well as it helpeth the Delation of Originall Sounds.

[244] It is certain, (as hath been formerly touched,) that if you speak thorow a Trunk, stopped at the further end; you shall find a Blast return upon your Mouth, but no Sound at all. The Cause is, for that the Closeness, which preserveth the Originall, is not able to preserve the Reflected Sound: Besides that Eccho’s are seldome created, but by loud Sounds. And therefore there is less hope of Artificiall Eccho’s in Air, pent in a narrow Concave. Nevertheless it hath been tried, that one leaning over a Well, of 25 Fathome deep, and speaking, though but softly, (yet not so soft as a whisper,) the Water returned a good Audible Eccho. It would be tried, whether Speaking in Caves, where there is no Issue, save where you speak, will not yeeld Eccho’s, as Wells do.

[245] The Eccho cometh as the Originall Sounds doth, in a round Orbe of Air: It were good to trie the Creating of the Eccho, where the Body Repercussing maketh an Angle of Incidence, from the Object to the Glass, and from the Glass to the Eie. And if you strike a Ball side-long, not full upon the Surface, the Rebound will be as much the contrary way; Whether there be any such Resilience in Eccho’s, (that is, whether a Man shall hear better, if he stand aside the Body Repercussing, than if he stand where he speaketh; And again by Standing further off, than he that speaketh; And so knowledge would be taken, whether Eccho’s, as well as Originall Sounds, be not strongest near hand.

[246] There be many Places, where you shall hear a number of Eccho’s one after another: And it is, when there is Variety of Hills or Woods, some nearer some further off: So that the Returne from the further, being last created, will be likewise last heard.

[247] As the Voice goeth round, as well towards the Back, as towards the Front of him that speaketh: So likewise doth the Eccho; For you have many Back-Eccho’s to the Place where you stand.

[248] To make an Eccho, that will report, three or four, or five Words, distinctly, it is requisite, that the Body Repercussing, be a good distance off: For if it be near, and yet not so near, as to make a Concurrent Eccho, it choppeth with you upon the sudden. It is requisite likewise, that the Air be not much pent. For Air, at a great distance, pent, worketh the same effect with Air, at large, in a small distance. And therefore in the Triall of Speaking in the Well, though the Well was deep, the Voice came back, suddenly; And would bear the Report but of two Words.

[249] For Eccho’s upon Eccho’s there is a rare Instance thereof in a Place, which I will now exactly describe. It is some three or four Miles from Paris, near a Town called Pont-Charenton; And some Bird-bolt shot, or more, from the River of Seane. The Roome is a Chappell, of small Church. The Walls all standing, both at the Sides, and at the Ends. Two Rowes of Pillars, after the manner of Isles of Churches, also standing; The Roof all open, not so much as any Emboument near any of the walls left. There was against every Pillar, a Stack of Billets, above a Mans Height; which the Waterman, that bring Wood down the Seane, in Stacks, and not in Boats, laid there (as it seemeth) for their ease. Speaking at the one End, I did hear it return the Voice thirteen severall times; And I have heard of others, that it would return sixteen times: For I was there about three of the Clock in the afternoon: And it is best, (as all of the Eccho’s are) in the Evening. It is manifest, that it is not Eccho’s from severall places, but a Tossing of the Voice, as a Ball to and fro; Like to Reflexions in Looking glasses; where if you place one Glass before, and another behind, you shall see the Glass behind with the Image, within the Glass before; And again the Glass before and that and divers such Super-Reflexions, till the species speciei that last die. For it is every Return weaker, and more shady. In like manner, the Voice in that Chappell, create speciem speciei, and maketh succeeding Super-Reflexions; For it melteth by degrees, and every Reflexion is weaker than the former: So that, if you speak three Words, it will (perhaps) some three times report you the whole three Words; And then the two latter Words for some times; And then the last Word alone for some times; Still fading, and growing weaker. And whereas in Eccho’s of one Return, it is much to hear four or five Words; In this Eccho so many Returnes, upon the matter, you hear above twenty Words for three.

[250] The like Eccho upon Eccho, but only with two Reports, hath been observed, to be, if you stand between a House, and a Hill, and lure towards the Hill. For the House will give a Back Eccho; One taking it from the other, and the latter the weaker.

[251] There are certain Letters, that an Eccho will hardly express; as S, for one, Especially being Principall in a Word. I remember well, that I went to the Eccho at Pont-Charenton, there was an Old Parisian, that took it to be the Work of Spirits, and have good Spirits. For, (said he) call Satan, and the Eccho will not deliver back to the Devils name; But will say, Vat’en; Which is as much in French, as Apage, or Avoid. And thereby I did hap to find, that an Eccho would not return S, being but a Hissing and an Interiour Sound.

[252] Eccho’s are some more sudden, and chop again, as soone as the Voice is delivered; As hath been partly said: Others are more deliberate, that is give more Space between the Voice, and the Eccho; which is caused by the locall Nearness, or Distance: Some will report a longer Train of Words; And some a shorter: Some more loud (full as loud as the Originall, and sometimes more loud;) And some weaker and fainter.

[253] Where Eccho’s come from severall Parts, at the same distance, they must needs make (as it were) a Quire of Eccho’s, and so make the Report greater, and even a Continued Eccho; which you shall find in some Hills, that stand encompassed, Theatre-like.

[254] It doth not yet appear, that there is Refraction in Sounds, as well as in Species Visible. For I do not think, that if a Sound should pass through divers Mediums, (as Air, Cloth, Wood) it would deliver the Sound, in a differing Place, from that unto which it is deferred; which is the Proper Effect of Refraction. But Majoration which is also the Work of Refraction, appeareth plainly in Sounds, (as hath been handled at full;) But it is not by Diversity of Mediums.

[Experiments in Consort touching the Consent and Dissent between Visibles and Audibles.] We have obiter, for Demonstrations sake, used in divers Instances, the Examples of the Sight, and Things Visible, to illustrate the Nature of Sounds. But we think good now to prosecute that Comparison more fully.

---

CONSENT OF VISIBLES
and Audibles.

[255] Both of them spread themselves in Round, and fill the whole Floare or Orbe, unto certain Limits: And are carried a great way. And do languish and lessen by degrees, according to the Distance of the objects from the Sensories.

[256] Both of them have the whole Species in every small portion of the Air or Medium, So as the Species do pass through small Cranies, without Confusion: As we see ordinarily in Levels, as to the Eie; and in Cranies, or Chinks, as to the Sound.

[257] Both of them are of a sudden and easie Generation and Delation; And likewise perish swiftly, and suddenly; As if you remove the Light; Or touch the Bodies that give the Sound.

[289] Both of them do receive and carry exquisite and accurate Differences; As of Colours, Figures, Motions, Distances, in Visibles; And of Articulate Voices, Tones, Songs, and Quaverings, in Audibles.

[259] Both of them in their Vertue and Working, do not appear to emit any Corporall Substance into their Mediums, or the Orbe of their Vertue; Neither again to rise or stir any evident locall Motion in their Mediums, as they pass; But only to carry certain Spirituall Species. The perfect knowledge of the Cause whereof, being hitherto scarcely attained, we shall search and handle in due place.

[260] Both of them seem not to generate or produce any other Effect in Nature, but such as appertaineth to their proper Objects, and Senses, and are otherwise Barren.

[261] But Both of them in their own proper Action, do work three manifest Effects. The First, in that the Stronger pieces drowneth the Lesser; As the Light of the Sun, the light of a Gloworm; The Report of an Ordnance, the Voice; The Second, in that an Object of Surcharge or Excess destroyeth the Sense; As the Light of the Sun the Eie, a violent Sound (near the Ear) the Hearing: The Third, in that both of them will be reverberate; As in Mirrours; And in Eccho’s.

[262] Neither of them doth destroy or hinder the Species of the other, although they encounter in the same Medium; As Light or Colour hinder not Sound; Nor è contrà.

[263] Both of them affect the Sense in Living Creatures, and yeeld Objects of Pleasure and Dislike: Yet nevertheless, the Objects of the do also (if it be well observed) affect and work upon dead Things; Namely such, as have some Conformity with the Organs of the two Senses; As Visibles work upon a Looking-glass, which is like the Pupill of the Eie; And Audibles upon the Places of Eccho, which resemble, in some sort, the Caverne and structure of the Ear.

[264] Both of them do diversly work, as they have their Medium diversly disposed. So a Trembling Medium (as Smoak) maketh the Object seem to tremble; and a Rising or Falling Medium (as Winds) maketh the Sounds to rise, or fall.

[265] To Both, the Medium, which is the most Propitious and Conducible, is Air, For Glass or Water, &c. are not comparable.

[266] In Both of them, where the object is Fine and Accurate, it conduceth much to have the Sense Intentive, and Erect; Insomuch as you contract your Eie, when you would see sharply; And erect your Ear, when you would heat attentively; which in Beasts that have Eares moveable, is most manifest.

[267] The Beames of Light, when they are multiplyed, and conglomerate, generate Heat; which is a different Action, from the Action of Sight: And the refaction of the Air; which is an Action materiate, differing from the Action of Sound; If it be true (which is anciently reported) that Birds, with great shouts, have fallen down.

---

DISSENT OF VISIBLES
and Audibles.

[268] The Species of Visibles seem to be Emissions of Beames from the Object seen; Almost like Odours, save that they are more Incorporeall: But the Species of Audibles seem to Participate more with Locall Motion, like Percussions, or Impressions made upon the Air. So that whereas all Bodies do seem to work in two manners; Either by the Communication of their Natures; Or by the Impressions and Signatures of their Motions; The Diffusion of Species Visible seemeth to participate more of the former Operation; and the Species Audible of the latter.

[269] The Species of Audibles seem to be carried more manifestly thorow the Air, than the Species of Visibles; For (I conceive) that a Contrary strong Wind will not much hinder the Sight of Visibles, as it will do the Hearing of Sounds.

[270] There is one Difference, above all others, between Visibles and Audibles, that is the most remarkable; as that whereupon many smaller Differences do depend: Namely, that Visibles, (except Lights,) are carried in Right Lines; and Audibles in Arcuate Lines. Hence it cometh to pass, that Visibles do not intermingle, and confound one another, as hath been said before; But Sounds do. Hence it cometh, that the Solidity of Bodies doth not much hinder the Sight, so that the Bodies be clear, and the Pores in a Right Line, as in Glass, Chrystall, Diamonds, Water, &c. But a thin Scarfe, or Handkerchiefe, though they be Bodies nothing so solid, hinder the Sight: Whereas (contrariwise) these Porous Bodies do not much hinder the Hearing, but solid Bodies do almost stop it, or at the least attenuate it. Hence also it cometh, that to the Reflexion of Visibles, small Glasses suffice, but to the Reverberation of Audibles, are required greater Spaces, as hath likewise been said before.

[271] Visibles are seen further off, than Sounds are heard; Allowing nevertheless the Rate of their Bigness: For otherwise a great Sound will be heard further off, than a small Body seen.

[272] Visibles require (generally) some Distance between the Object, and the Eie, to be better seen; Whereas in Audibles, the nearer the Approach of the Sound is to the Sense, the better. But in this there may be a double Errour. The one because to Seeing, there is required Light; And any thing that toucheth the Pupill of the Eie (all over,) excludeth the Light. For I have heard of a Person very credible, (who himself was cured of a Cataract in one of his Eies,) that while the Silver Needle did work upon the Sight of his Eie, to remove the Filme of the Cataract, he never saw any thing more cleare or perfect, than that white Needle: Which (no doubt,) was, because the Needle was lesser than the Pupill of the Eie, and so took not the Light from it. The other Errour may be, for that the Object of Sight doth strike upon the pupill of the Eie, directly without any interception; whereas the Cave of the Eare doth hold off the Sound a little from the Organ: And so nevertheless there is some Distance required in both.

Visibles are swiftlier carried to the Sense, than Audibles: As appeareth in Thunder and Lightning; Flame and Report of a Peece; Motion of the Aire in Hewing of Wood. All which have been set down heretofore but are proper for this Title.

[274] I conceive also, that the Species of Audibles, do hang longer in the Air than those of Visibles: For although even those of Visibles, do hang some time, as we see in Rings turned, that shew like Spheres; In Lute-strings fillipped; A Fire-brand carried along, which leaveth a Train of Light behind it; and in the Twilight; And the like: Yet I conceive that Sounds, stay longer, because they are carried up and down with the Wind: And because of the Distance of the Time, in Ordnance discharged, and heard twenty Miles off.

[275] In Visibles, after great Light, it you come suddenly into the Dark; Or contrariwise, out of the Dark into a Glaring light, The Eie is dazled for a time, and the Sight confused; But whether any such Effect be after great Sounds, or after a deeper Silence, may be better enquired. It is an old Tradition, that those that dwell near the Cataracts of Nilus, are strucken deaf: But we find no such effect, in Cannoniers, nor Millers, nor those that dwell upon Bridges.

[277] It seemeth that the Impression of Colour is so weak, as it worketh not but by a Cone of Direct Beames, or Right Lines; whereof of the Basis is in the Object, and the Verticall Point in the Eie; So as there is a Corradiation and Conjunction of Beames; And those streames so sent forth, yet are not of any force to beget the like borrowed or second Beames, except it be by Reflexions, whereof we speak not. For the Beames pass, and give little Tincture to that Air, which is Adjacent; which if they did, we should see Colours out of a Right line. But as this in Colours, so otherwise it is in the Body of Light. For when there is a Skreen between the Candle and the Eie, yet the Light passeth to the Paper whereon one writeth; So that the Light is seen where the Body of the Flame is not seen; And where any Colour (if it were placed where the Body of the Flame is) would not be seen. I judge that Sounds is of this Latter Nature: For when two are placed on both sides of a Wall, and the Voice is heard, I judge it is not only the Originall Sound, which passeth in an Arched Line; But the Sound, which passeth above the Wall in a Right Line, begetteth the like Motion round about it, as the first did, though more weak.

[278] [Experiments in Consort touching the Sympathy or Antipathy of Sounds, one with another.] All Concords and Discords of Musick (no doubt) Sympathies and Antipathies of Sounds. And so (likewise) in that Musick, which we call Broken Musick, or Consort Musick; Some Consorts of Instruments are sweeter than others; (A Things not sufficiently yet observed:) As the Irish Harp, and Base Viall agree well, &c. But the Virginalls and the Lute; Or the Welch-Harp; and Irish-Harp; Or the Voice and Pipes alone, agree not so well; But for the Melioration of Musick there is yet much left (in this Point of Exquisite Consorts) to try and enquire.

[279] There is a common Observation, that if a Lute, or Viall, be layed upon the Back, with a small Straw upon one side of the Strings; And another Lute or Viall be laid by it; And in the other Lute, or Viall, the Unison to that String be strucken; it will make the String move; Which will appeare both to the Eie, and by the Straws falling off. The like will be, if the Diapason or Eight to that String be strucken, either in the same Lute, or Viall, or in others lying by; But in none of these there is any Report of Sound, that can be discerned, but only Motion.

[280] It was devised, that a Viall should have a Lay of Wire-Strings below, as close to the Belly as a Lute; And then the Strings of Guts mounted upon a Bridge, as in Ordinary Vialls; To the end, that by this meanes, the upper Strings strucken, should make the lower resound by Sympathy, and so make the Musick the better; Which, if it be to purpose, then Sympathy worketh as well by Report of Sound, as by Motion. But this device I conceive to be of no use, because the upper Strings; which are stopped in great variety, cannot maintain a Diapason or Unison, with the Lower, which are never stopped. But if it should be of use at all; it must be in Instruments which have no Stops; as Virginalls, and Harps; wherein triall may be made of two Rowes of Strings, distant the one from the other.

[281] The Experiment of Sympathy may be transferred (perhaps) from Instruments of Strings to other Instruments of Sounds. As to try if there were in one Steeple, two Bells of Unison, whether the striking of the one would move the other, more then if it were another Accord: And so in Pipes, (if they be of equall Bore, and Sound,) whether a little Straw or Fether would move in the one Pipe, when the other is blown at an Unison.

[282] It seemeth both in Ear, and Eie, the Instrument of Sense hath a Sympathy or Similitude with that which giveth the Reflexion; (As hath been touched before.) For as the Sight of the Eye is like a Chrystall, or Glass, or Water; So is the Ear a sinuous Cave, with a hard Bone, to stop and reverberate the Sound: Which is like to the Places that report Eccho’s.

[283] [Experiments in Consort touching the Hindring or Helping of the Hearing.] When a Man Yawneth, he cannot Hear so well. The Cause is for that the Membrane of the Ear is extended; And so rather casteth off the Sound, than draweth it to.

[284] We Hear better when we hold our Breath, than contrary; Insomuch as in all Listening to attain a Sound a farre off, Men hold their Breath. The Cause is, For that in all Expiration, the Motion is Outwards; and therefore, rather driveth away the voice, than draweth it: And besides we see, that in all Labour to do things with any strength, we hold the Breath: And listening after any Sound, that is heard with difficulty, is a kind of Labour.

[285] Let it be tried, for the Help of the Hearing, (and I conceive it likely to succeed,) to make an Instrument like a Tunnell; The narrow Part whereof may be of the Bigness of the Hole of the Ear; And the Broader End much larger, like a Bell at the Skirts; And the length half a foot, or more. And let the narrow End of it be set close to the Ear: And mark whether any Sounds abroad in the open Air, will not be heard distinctly, from further distance, than without that Instrument; being (as it were) an Ear-Spectacle. And I have heard there is in Spain, an Instrument in use to be set to the Ear, that helpeth somewhat those that are Thick of Hearing.

[286] If the Mouth be shut Close, nevertheless there is yeelded by the Roof of the mouth, a Murmur. Such as is used by dumb Men: But if the Nostrills be likewise stopped, no such Murmur can be made; Except it be in the Bottome of the Pallate towards the Throat. Whereby it appeareth manifestly, that a Sound in the Mouth, except such as aforesaid, if the Mouth be stopped, passeth from the Pallate through the Nostrills.

[287] [Experiments in Consort, touching the Spirituall and Fine Nature of Sounds.] The Repercussion of Sounds, (which we call Eccho,) is a great Argument of the Spirituall Essence of Sounds. For if it were Corporeall, the Repercussing should be created in the same manner, and by like Instruments, with the Originall Sound: But we see what a Number of Exquisite Instruments must concurre in Speaking of Words, whereof there is no such Matter in the Returning of them; But only a plain Stop, and Repercussion.

[288] The Exquisite Differences of Articulate Sounds, carried along in the Air, shew that they cannot be Signatures or Impressions in the Air, as hath been well refuted by the Ancients. For it is true, that Seals make excellent Impressions: And so it may be thought of Sounds in their first Generation: But then the Delation and Continuance of them without any new Sealing, shew apparently they cannot be Impressions.

[289] All Sounds are suddenly made, and do suddenly perish; But neither that, not the Exquisite Differences of them, is Matter of so great Admiration: For the Quaverings, and Warblings in Lutes, and Pipes, are as swift; And the Tongue, (which is no very fine Instrument,) doth in Speech, make no fewer Motions, than there be Letters in all the Words, which are uttered. But that Sounds should not only be so speedily generated, but carried so farre every way, in such a momentary time, deserveth more Admiration. As for Example; If a Man stand in the Middle of a Field, and speak aloud, he shall be heard a Furlong in round; And that shall be in Articulate Sounds; And those shall be Entire in every little Portion of the Air; And this shall be done in the Space of less than a Minute.

[290] The Sudden Generation and Perishing of Sounds, must be one of these two Wayes. Either that the Air suffereth some Force by Sound, and then restoreth it self; As Water doth; Which being divided, maketh many Circles, till it restore it self to the naturall Consistence: Or otherwise, that the Air doth willingly imbibe the Sound as gratefull, but cannot maintain it; for that the Air hath (as it should seeme) a secret and hidden Appetite of Receiving the Sound at the first; But then other Gross and more Materiate Qualities of the Air straightwaies suffocate it; Like unto Flame, which is generated with Alacrity, but straight quenched by the Enmity of the Air, or other Ambient Bodies.

There be these Differences (in generall) by which Sounds are divided; 1. Musicall, immusicall; 2. Treble, Base; 3. Flat, Sharpe; 4. Soft, Loud; 5. Exteriour, Interiour; 6. Clean, Harsh or Purling; 7. Articulate, Inarticulate.

We have laboured (as many appear in this Inquisition of Sounds, dilligently) Both because Sound is one of the most Hidden Portions of Nature, (as we said in the beginning:) And because it is a Vertue which may be called Incorporeal, and Immateriate; whereof there be in Nature but few. Besides, we were willing, (now in these our first Centuries,) to make a Patterne or President of an Exact Inquisition; And we shall do the like hereafter in some other Subjects which require it. For we desire that Men should learn and perceive, how severe a Thing the true Inquisition of Nature is; And should accustome themselves, by the light of Particulars, to enlarge their Mindes, to the Amplitude of the World; and not reduce the World to the Narrowness of their Mindes.

[291] [Experiment Solitary touching the Orient Colours, in Dissolution of Metals.] Metalls give Orient and Fine Colours in Dissolutions; As Gold giveth an excellent Yellow; Quick-silver an excellent Green; Tinne giveth an excellent Azure: Likewise in their Putrefactions, or Rusts; As Vermilion Verdegrease, Bise, Cirrus, &c. And likewise in their Vitrifications. The Cause is, for that by their Strength of Body, they are able to endure the Fire, or Strong Waters, and to be put into an Equall Posture; And again to retain Part of their principall Spirit; Which two Things, (Equall Posture, and Quick Spirits) are required chiefly, to make Colours lightsome.

[292] [Experiment Solitary touching Prolongation of Life.] It conduceth unto Long Life, and to the more Placide Motion of the Spirits, which thereby do less prey and consume the Juyce of the Body; Either that Mens Actions be free and Voluntary; that nothing be done Invitâ Minerva, but Secundum genium: Or on the other side, that the Actions of Men be full of Regulation, and Commands within themselves: For then the Victory and Performing of the Command, giveth a good Disposition to the Spirits; Especially if there be a Proceeding from Degree to Degree; For then the Sense of Victory is the greater. An example of the former of these, is in a Countrey life: And of the latter, in Monkes and Philosophers, and such as do continually enjoyne themselves.

[293] [Experiment Solitary touching Appetite of Unison in Bodies.] It is certain, that in all Bodies, there is an Appetite of Unison, and Evitation of Solution of Continuity: And of this Appetite there be many Degrees; But the most Remarkable, and fit to be distinguished, are three. The first in Liquours; The second in Hard Bodies: And the third in Bodies Cleaving or Tenacious. In Liquours; this Appetite is weak. We see in Liquours, the Thredding of them in Stillicides, (as hath been said) The Falling of them in Round Drops, (which is the form of Union;) And the Staying of them for a little time, in Bubbles and Froth. In the second Degree or Kind, this Appetite is in a Medium between the other two: For such Bodies do partly follow the Touch of another Body; And partly stick and continue to themselves; And therefore they roap, and draw themselves in Threds; as we see in Pitch, Glew, Birdlime, &c. But note, that all Solid Bodies are Cleaving, more or less: and that they love better the Touch of somewhat that is Tangible, than of Air. For Water, in small quantity, cleaveth to any Thing that is Solid; And so would Metall too, if the weight drew it not oft. And therefore Gold Foliate, or any Metall Foliate, cleaveth: But those Bodies which are noted to be Clammy, and Cleaving, are such, as have a more indifferent Appetite (at once,) to follow another Body; And to hold to themselves. And therefore they are commonly Bodies ill mixed; And which take more pleasure in a Forrain Body, than in preserving their own Consistence; And which have little predominance in Drought or Moisture.

[294] [Experiment Solitary, touching the like Operations of Heat, and Time.] Time, and Heat, are Fellows in many Effects. Heat drieth Bodies, that do easily expire; As Parchment, Leaves, Roots, Clay, &c. And, so doth Time or Age arefie; As in the same Bodies, &c. Heat dissolveth and melteth Bodies, that keep in their Spirits; As in divers Liquefactions; And so doth Time, in some Bodies of a softer Consistence: As is manifest in Honey, which by Age waxeth more liquid; And the like in Sugar; And so in old Oyl, which is ever more clear and more hot in Medicinable use. Heat cause the Spirits to search some Issue out of the Body, as in the Volatility of Metals; And so doth Time; As in the Rust of Metals. But generally Heat doth that in small time, which Age doth in long.

[295] [Experiment Solitary, touching the differing Operations of Fire, and Time.] Some Things which pass the Fire are softest at first, and by Time grow hard; As the Crumme of Bread. Some are harder when they come from the Fire, and afterwards give again, and grow soft, as the Crust of Bread, Bisket, Sweet Meats, Salt, &c. The Cause is, for that in those things which wax Hard with Time, the Work of the Fire is a Kind of Melting: And in those that wax soft with Time, (contrariwise,) the work of the Fire is a Kind of Baking; And whatsoever the Fire baketh, Time doth in some degree dissolve.

[296] [Experiment Solitary, touching Motions by Imitation.] Motions pass from one Man to another, not so much by Exciting Imagination; as by Invitation; Especially if there be an Aptness or Inclination before. Therefore Gaping, or Yawning; and Stretching do pass from Man to Man; For that that causeth Gaping or Stretching is, when the Spirits are a little Heavy, by and Vapour, or the like. For then they strive drowzy, and desirious to sleep; Or before the Fit of an Ague; do use to Yawn and Stretch; And do likewise yeeld a Voice or Sound, which is an Interjection of Expulsion: So that if another be apt and prepared to do the like, he followeth by the Sight of another. So the Laughing of another maketh to Laugh.

[297] [Experiment Solitary, touching Infectious Diseases.] There be some known Diseases that are Infectious; And others that are not. Those that are Infectious, are; First, such as are cheifly in the Spirits, and not so much in the Humours; And therefore pass easily from Body to Body: Such as Pestilences, Lippitudes: and such like. Secondly, such as Taint the Breath; Which we see passeth manifestly from Man to Man; And not invisible, as the Affects of the Spirits do: Such are Consumptions of the Lungs, &c. Thirdly, such as come forth to the Skin; And therefore taint the Air, or the Body Adjacent; Especially if they consist in an Unctuous Substance, not apt to dissipate; Such are Scabs, and Leprosie. Fourthly, such as are meerly in the Humours, and not in the Spirits, Breath, or Exhalations: And therefore they never infect, but by Touch only; And such a Touch also, as cometh within the Epidermis; As the venome of the French Pox; And the Biting of a Mad Dog.

[298] [Experiment Solitary, touching the Incorporation of Powders, and Liquours.] Most Powders grow more Close and Coherent by Mixture of Water than by Mixture of Oyl, though Oyl be the thicker Body; as Meal, &c. The Reason is the Congruity of Bodies; which if it be more, maketh a Perfecter Imbibition, and Incorporation; Which in most Powders is ore between Them and Water, then between Them and Oyl: But Painters Colours ground, and Ashes, do better incorporate with Oyl.

[299] [Experiments Solitary, touching Excercise of the Body.] Much Motion and Exercise is good for some Bodies; And Sitting, and less Motion for others. If the Body be Hot, and Void of Superfluous Moistures, too much Motion hurteth: And it is an Errour in Physitians, to call too much upon Exercise. Likewise men ought to beware, that they use not Exercise and Spare Diet, then little Exercise. The Benefits that come of Exercise are, First, that it sendeth Nourishment into the Parts more forcibly. Secondly, that it helpeth to Excerne by Sweat, and so maketh the Parts assimilate the more perfectly. Thirdly, that it maketh the Substance of the Body more Solid and Compact; And so less apt to be Consumed and Depredated by the Spirits. The Evils that come of Exercise, are: First, that it maketh the Spirits more Hot and Predatory. Secondly, that it doth absorbe likewise, and attenuate too much the Moisture of the Body. Thirdly, that it maketh too great Concussion, (especially if it be violent,) of the Inwards Parts; which delight more in Rest. But generally Exercise, if it be much, is no Friend to Prolongation of Life; Which is one Cause, why Women live longer than Men, because they stirre less.

[300] [Experiments Solitary, touching Meats that induce Satiety.] Some Food we may use long, and much, without Glutting; As Bread, Flesh that is not fat, or ranck, &c. Some other, though pleasant,) Glutteth sooner; As Sweet Meats, Fat Meats, &c. The Cause is, for that Appetite consisteth in the Emptiness of the Mouth of the Stomack; Or possessing it with somewhat that is Astringent; And therefore Cold and Dry. But things that are Sweet and Fat, are more Filling: And do swimme and hang more about the Mouth of the Stomach; And go not down so speedily: And again turn sooner to Choler, which is hot, and ever abateth the Appetite. We see also, that another Cause of Satiety, is an Over-Custome; and of Appetite is Novelty: And therefore Meats, if the same be continually taken, induce Loathing. To give the reason of the Distaste of Satiety, and of the Pleasure in Novelty; and to distinguish not only in Meats and Drinks, but also in Motions, Loves, Company, Delights, Studies, what they be that Custome maketh more gratefull; And what more tedious; were a large Field. But for Meats, the Cause is Attraction, which is quicker, and more excited towards that which is new, than towards that whereof there remaineth a Relish by former use. And (generally) it is a Rule, that whatsoever is somewhat Ingrate at first, is made Gratefull by Custome, But whatsoever is too Pleasing at first, groweth quickly to satiate.

---

Bacon, Francis
Sylva Sylvarum; Or, A Natural History […]
London: William Lee (for Thomas Williams), 7th ed., 1658, 29-66.

---