Transcriber’s Notes
Obvious typographical errors have been silently corrected. Variations
in hyphenation have been standardised but all other spelling and
punctuation remains unchanged.
Italics are represented thus _italic_.
_In preparation._
A Hand-book of Bodily Exercises, based upon A. Ravenstein’s
“Volks-Turnbuch,” and edited by E. G. Ravenstein, F.R.G.S., &c.,
President of the German Gymnastic Society of London, and John Hulley,
Director of the Athletic Club, Liverpool. In one volume, 8vo, pp. 400,
and 700 woodcuts.
This will be the most complete work on Gymnastics and all descriptions
of bodily exercises ever published in the English language.
CONTENTS: History of Gymnastics—Constitution of Gymnastic
Societies—On the manner of conducting the Exercises—Distribution
into Squads—Training of Instructors—Gymnastic Festivals and
Competitions—Sanitary Rules—Exercises without apparatus—(free
exercises, walking, running, co-operative and facto-gymnastical
exercises, wrestling, boxing, &c.)—Exercises with portable apparatus
(wands, dumb-bells, clubs, bars, &c.)—Exercises at fixed apparatus
(rack, parallel bars, horse, buck, climbing and escalading, leaping and
vaulting, swings, &c.).
LONDON: N. TRÜBNER & CO., 60, PATERNOSTER ROW.
JACKSON’S
GYMNASTICS FOR THE FINGERS AND WRIST,
BEING
A SYSTEM OF GYMNASTICS,
BASED ON ANATOMICAL PRINCIPLES,—FOR DEVELOPING AND
STRENGTHENING THE MUSCLES OF THE HAND; FOR MUSICAL,
MECHANICAL, AND MEDICAL PURPOSES.
With thirty-seven Diagrams.
LONDON:
N. TRÜBNER & CO., 60, PATERNOSTER ROW.
1865.
[_Right of Translation reserved._]
The whole of the Engravings contained in this work were executed for
the author by Berndt, in Berlin, July, 1864.
The apparatus referred to in this work may be had, price 3s. 6d., of
Messrs Metzler & Co., 36 to 38, Great Marlborough Street, W.
JOHN CHILDS AND SON, PRINTERS.
PREFACE.
The subject of this little work develops, on anatomical and
physiological principles, a system of Gymnastics for the Fingers
and Wrist, the object of which is—, to lay a solid and scientific
foundation for the acquisition of technical skill in the fingers
and wrist, as applied to the playing on musical instruments and to
finger-work generally.
For a detailed account of the circumstances under which this system
was discovered, I refer to the Introductory Remarks, wherein I have
explained the process of reasoning and the series of experiments,
which enabled me to arrive at the results I have now the pleasure of
submitting to the consideration of my countrymen; more especially to
all those among them who are engaged in musical pursuits, or any other
work requiring the constant use of the fingers.
I may simply state that both the scientific principles and the
practical utility of this system of Gymnastics—, after having been
subjected to the test of numerous experiments—, have met with the
approval of the highest anatomical, musical, and gymnastic authorities
of Germany; at whose special solicitation I was induced to make these
discoveries known by means of public and private lectures—, delivered
gratis in the German language in many German cities—, during a journey
undertaken at my own expense, in the course of the summer of 1864.
I gladly avail myself of this opportunity to return my best thanks
to Professors Hyrtl, Virchow, Hermann Meyer, and Griesinger; to
Drs Richter, C. C. Carus, J. V. Carus, Berend, and Angerstein; to
Professors Moscheles, Kullak, Stern, Geyer, Kittl, Joachim, and
Lauterbach; to Capellmeister Taubert, Ferdinand Hiller, Lachner,
Strauss, Abenheim, Täglichsbeck, and Meyer; to Concertmeister F.
Schubert, Carl Baermann, Scholtz, Singer, Grün, and many others whom
space precludes me from mentioning here,—for the assistance they have
given me, and for the kind and favourable reception which they, the
press, and the public generally, gave to my lectures.
And I indulge the hope that this little work may meet with the same
approval from the medical, musical, and gymnastic authorities in this
country, and be a means of practical utility among those for whom it is
more particularly intended.
In all the gymnastic establishments throughout Europe and the civilized
world, gymnastic exercises have been introduced for every part of
the body _except for the Fingers_, notwithstanding that it is these
important members of the human frame—with the mental organs—which
chiefly distinguish Man from the Brute creation.
Therefore I venture to dedicate to the public—, “Gymnastics for the
development of the Muscles, Ligaments, and Joints of the Fingers and
Hand”—, specially adapted to
Musicians of all classes,
Authors, and all who are occupied much in writing,
Artists and Draughtsmen,
Printers and Compositors,
Lithographers and Engravers on steel and copper,
Workers in ivory and wood,
Watch-makers and fine Mechanicians.
Spinners and Weavers, for
All female handiwork, for
Surgical and anatomical processes, for the treatment of rheumatism,
contortions, and other diseases of the Fingers and Hand,—and for
All those who require a flexible Hand, or who earn their bread with
their Fingers.
EDWIN W. JACKSON.
_September_, 1865.
CONTENTS.
PAGE
PREFACE.
INTRODUCTORY REMARKS ON THE ORIGIN OF THIS
SYSTEM OF GYMNASTICS FOR THE FINGERS AND WRIST 1
CHAP.
I. ANATOMY OF THE HAND. ON LIGAMENTS, TENDONS, ETC. 16
II. THE MUSCLES OF THE HAND AND OF THE FINGERS 22
III. EFFECTS OF THIS GYMNASTIC TREATMENT ON
THE MUSCLES, LIGAMENTS, AND JOINTS OF
THE FINGERS AND THE HAND 29
IV. NEGLECT HITHERTO OF THE HAND AND FINGERS 35
V. THE FINGER-JOINTS ARE THE LEAST EXERCISED,
AND THE WEAKEST 39
VI. THE PRINCIPAL DIFFICULTY DOES NOT CONSIST
IN THE READING OF MUSIC, BUT IN
THE WEAKNESS OF THE FINGERS 41
VII. MUSIC IS THE ART WHICH MAKES THE HIGHEST
DEMANDS ON THE MUSCLES OF THE FINGERS. MOVING
THE FINGERS UP AND DOWN INSUFFICIENT 44
VIII. ARTISTS AND TEACHERS OF MUSIC 46
IX. FREE GYMNASTIC EXERCISES FOR THE FINGERS AND THUMB 49
X. FREE GYMNASTIC EXERCISES FOR THE THUMB 55
XI. FREE GYMNASTIC EXERCISES FOR THE WRIST 58
XII. MECHANICAL FINGER-EXERCISES 63
XIII. MECHANICAL FINGER-EXERCISES (CONTINUED) 70
XIV. MECHANICAL FINGER-EXERCISES (CONTINUED) 80
XV. BOARD FOR STRETCHING THE MUSCLES, ESPECIALLY
THOSE OF THE THUMB AND THE LITTLE FINGER 84
XVI. ON STRINGED INSTRUMENTS IN PARTICULAR.
THE WRIST OF THE RIGHT HAND 86
XVII. CONTINUATION 89
XVIII. CONTINUATION. STACCATO 92
XIX. CONCLUDING REMARKS 95
INTRODUCTORY REMARKS
ON THE ORIGIN OF THIS SYSTEM OF GYMNASTICS FOR THE FINGERS AND WRIST.
If any one should desire to know how and in what manner I, as a private
individual, came to hit upon these discoveries, I answer simply:
Six years ago I took my family, principally consisting of daughters, to
Germany, to have them educated there, and especially to obtain for them
good instruction in music. I soon found that the method of teaching the
pianoforte then in general use was very fatiguing and trying to the
nerves; at the same time, as Germany stands at the head of the musical
world, that method, as a matter of course, must be considered the best
which we at present know. In order to investigate that system more
minutely, I visited several musical schools and conservatories for
music in Germany, inquiring what was the very best method known for
strengthening the fingers and wrist, for bringing them into order and
preparing them to play the pianoforte? The answer I everywhere received
was as follows: “The chief difficulties and impediments to be overcome
in teaching the piano, the violin, and almost all other musical
instruments, are muscular, and lie in the joints of the fingers and
wrists; and the very best method of rendering them strong and flexible
is frequently and perseveringly to move the fingers up and down on the
instrument, preserving the hand in the same position. This movement,
together with the usual finger-exercises, if continued for five or six
years, and diligently carried out, is usually sufficient to render the
joints and muscles of the fingers agile and flexible, and to bring the
fingers generally into order.”
I inquired further, “Are those exercises not very fatiguing?” to which
I was answered, “They certainly are very trying to the muscles and
nerves;” and whether “the health of the students, male and female, did
not suffer thereby?” to which the reply was, that it did, and that,
indeed, it was sometimes necessary for them to discontinue playing for
some months; but then they added, “It must be remembered that learning
to play the piano was in itself at all times attended with very
considerable difficulties.”
I observed that this result was really lamentable; and inquired whether
there did not exist any other method for obtaining the same end and
becoming proficient on the piano? To this I received a negative answer,
and was again told, “After all possible experiments, it is the opinion
of all artists and teachers at the present time, in all cities in
Europe, that the method alluded to is _the most effective_ of any we
know for imparting quickness and flexibility to the joints of the
fingers and wrist.”
Now on observing that my daughters suffered in the same manner, I said
to myself, “There must surely be something wrong here.” And here I
would mention the fact that when I was 12 or 13 years of age I learnt
the violin, and afterwards for upwards of 35 years discontinued it.
But later in life, desiring to accompany my children, I was induced
to take up the violin again. I then found that, although I was in
all other respects exceedingly strong and healthy and capable of
all athletic exercises, my fingers and hand in a few minutes became
painfully fatigued. The same result followed whenever I took the violin
in hand,—in fact, I found that my fingers were the only weak parts of
my body. This happened a few years ago, about the same time when the
above-mentioned inquiries took place, exciting in me great surprise and
an earnest desire to search into the cause. I thought to myself, “There
must underlie some unknown hidden cause to account for this phenomenon.
I will thoroughly probe the matter.” For this purpose I now put myself
in the way of those individually who earn their bread by the sweat of
their brow, viz., the smith, the joiner, the bricklayer, the labourer,
the peasant, the gardener, the wood-cutter, the miner, &c. &c. I found
that all these persons work with their _arms_, and thereby acquire
muscle like steel and arms like giants; but that none of them work with
their _fingers_.
After this I visited boys’ and girls’ schools, and also observed them
in their families; and there I found again that nearly all of them in
their work made _no use_ of the _fingers_. The same observation I made
with the educated classes, of every age and sex.
This discovered to me the fact that the muscles of the fingers are
_extremely little exercised_ in the ordinary occupations of life; and
must, therefore, on physiological ground, be weak; a fact of much
importance.
I then repaired to the most renowned gymnastic establishments of the
Continent, and begged to be shown all the varied gymnastic exercises
practised on the body, from the crown of the head to the sole of the
foot, and when all these various movements had been exhibited before
me, I inquired “But where are your gymnastic exercises for the
_fingers_?” “We have none.” “Why?” “We never thought of it.” “But they
require them surely as much or more than all!” “It has never occurred
to us; we did not know the fingers required gymnastics, and they have
been entirely overlooked.” This disclosed to me another great fact;
namely, that the fingers are the _only active members_ of the human
body to which a properly constituted system of gymnastic exercises has
NOT been applied.
I thereupon visited houses and institutions where men _do_ work with
their fingers, viz., where carvers in wood and ivory, in steel, copper,
and stone, painters and draughtsmen, watchmakers and fine mechanists,
spinners and weavers, printers and compositors, &c., drive their trade,
and after that, people who are in the habit of writing much, and even
the whole day, such as authors, copyists, clerks, stenographers,
lithographers, as well as sempstresses and workwomen;—in short, all
those who have much finger-work, or earn their living by their fingers.
And here I observed all kinds of finger diseases, such as stiffness of
the joints and limbs, writers’ cramp, hands and forearms debilitated
in the highest degree, paralyzed limbs, nervous weakness, &c. Then
I said to myself, “A light begins to dawn upon me. I find, _first_,
that the fingers are the least exercised, in the ordinary occupations
of life, of all the active members of the body; _secondly_, that they
are on that account relatively and physiologically the weakest; and,
_thirdly_, that they are also the _only_ active members which are not
gymnastically trained and treated. I must consider the matter now
ANATOMICALLY, PHYSIOLOGICALLY, and GYMNASTICALLY.”
And I forthwith began to make all sorts of artistic and mechanical
experiments, for the purpose of gymnastically exercising, stretching,
and developing the muscles, the ligaments, and joints of the fingers
and hands in all directions, so as to strengthen and prepare them for
playing the piano and the violin, as well as other instruments, and for
all kinds of finger-work and handicraft.
In doing so I studied the physiology of the muscles and ligaments, and
directed especial attention to the _transverse metacarpal ligament_.
In comparing this anatomy with the difficulties experienced, I sought
to discover a means more particularly of stretching the _ligaments_ or
bands which run _transversely_ across the hands and knuckles. This I
succeeded in effecting, and then I discovered, to my astonishment, that
the moment I had applied my gymnastic movements to these stout and very
obstinate elastic bands, the _muscles_ became instantaneously looser,
and moved with greatly increased freedom and agility. In a word, the
_muscles were set free_.
At the same time I tried on _myself_ various simple, natural, free
movements with the joints of the fingers, in order to examine them
practically and physiologically, and thus to found a system on solid
principles. And I may here be permitted to state as the result,
in my own case, that though at that time 54 years of age, after I
had diligently practised the course of gymnastic exercises herein
described, a comparatively short time, every day, my fingers and wrists
became so strong and flexible that I was able to play, and can now
play upon the violin many hours daily in succession without fatigue.
I caused the same to be tried by many other persons also, of different
ages. Then I found, to my surprise, in each case that, in the absence
of proper gymnastic exercises, these most important parts of the human
frame, owing to their being so unpractised in the ordinary occupations
of life, and being consequently so weak, are not equal to the least
work or exertion beyond the usual movements of daily life, and that
whenever anything beyond the ordinary routine is required of them, they
are found to be utterly incapable of fulfilling the task.
Then I said to myself, “I now see as clear as sunlight whence arise the
extraordinary difficulties of learning to play the piano and violin.
They arise from the very fact that an art the most difficult, from a
muscular point of view, which we know of, has to be performed with the
_least practised_ and, proportionately, the _weakest of muscles_. The
impediments and difficulties in almost all cases can be referred to
the muscles; and it is this weakness which must be overcome.”
Upon this I repaired to anatomical, chirurgical, and medical
institutions, in order to study still further the anatomy of the
hand, the fingers, and the arm. I found that the muscles, the
ligaments, and the tendons of the fingers and hands consist of elastic
masses, intersecting the hand, and running TRANSVERSELY as well
as LONGITUDINALLY; and I especially discovered, after a number of
experiments, that the TRANSVERSE LIGAMENTS, _unless they be exercised,
remain quiet and stiff, and impede to a certain extent the movements
and activity of the muscles_, when the latter are more than ordinarily
exerted; that in order practically to exercise and stretch them, and
particularly the TRANSVERSE ligaments and tendons, and to render them
strong and supple, it is necessary not only to move the fingers up and
down, but laterally also; that, in short, both muscles and ligaments
ought to be practised gymnastically; and that the fatigue and the
danger to health, the nervous weakness and the disgust often observed
in musical students, arise from the following causes:
_Firstly_, that the muscles, tendons, and ligaments of the hand and
fingers are, proportionately, the least practised, and, consequently,
as stated before, the weakest;
_Secondly_, that they have never been gymnastically trained or treated;
_Thirdly_, that the methods now in use for strengthening those weak
muscles and rendering them flexible are insufficient and erroneous;
_Fourthly_, that the _transverse ligaments have never been stretched_;
thus on these several grounds hampering the learning of music with
unnatural difficulties, and with exertions of the muscular and nervous
system injurious to health;
_Fifthly_, that so soon as the muscles are properly and gymnastically
exercised, and the ligaments and tendons stretched, the fingers set at
liberty move glibly and freely over the instrument; and,
_Sixthly_, that all this is readily accounted for on the simplest,
though till now unexplained, anatomical and physiological grounds.
And as regards the different persons and classes already mentioned,
who earn their living with their fingers, it would have been easy to
prevent the various diseases of the same to which they are exposed,
if the joints of their fingers and hands had previously been daily
practised, strengthened, and prepared by transversal and longitudinal
gymnastic exercises. And more than this, those sad infirmities
might, in most cases, either have been entirely cured or at any rate
alleviated by the above muscular treatment. Besides, a continuance of
the same diseases would be easily obviated, if such treatment were
resorted to.
Then I asked myself, “Is any one to blame that the facts just mentioned
have not been previously known and acted upon?” No one. It certainly is
not the fault of the artist and teacher, because their task, so great
in itself, did not necessarily lead them to direct their attention to
this speciality of gymnastics. Nor could anatomists and physicians,
nor other learned men, in treating problems more nearly, and perhaps
more important in themselves, be expected to have thought of it. As we
are frequently indebted to chance for the most important discoveries,
so it has been with this one. For my part, I lay claim to very little.
The idea had taken hold of me that a hiatus and a want in the method of
learning and practising music, also in finger-work of various kinds,
existed, and I set to work to fill up the former and to satisfy the
latter. For several years I have indefatigably pursued this work in
Germany, and after multifarious trials, experiments, and exercises,
I have happily achieved the following simple system of gymnastics,
whose aim and object, as regards _music_, after full and complete
proof, are; by strengthening the muscles and stretching the ligaments
through careful training, to impart to them flexibility and agility,
to shorten considerably the time of study, and facilitate the work of
both teachers and students; whilst as regards all classes generally who
work with their fingers, it is calculated to a great extent to render
their work more easy, and in case of disease of the fingers and hands,
to prevent it, to cure it, or at the least to diminish its injurious
consequences.
Having been requested by the highest anatomical and artistic
authorities in Germany to give publicity to this method and to explain
it personally, I undertook, in 1864, at my own expense, from love
of the art, a journey through many towns of the Continent, where,
as already stated, I delivered, in the German language, a number of
private and public lectures on the subject. And here I desire specially
to crave the forgiveness of my kind German friends, if, in delivering
those lectures, I did not at all times express myself in accents of
the purest German, since I only commenced the study of that difficult
language,—for the first time in my life,—six years ago, after I had
attained the age of 52 years. The exposition of this method having met
with cordial approval, I now offer the result of my labours to artists,
musical students, and to all friends of music, as well as to all those
who work much with their fingers, or who suffer from finger disease;
also to anatomists, physiologists, surgeons, and gymnasts; indulging
the hope that, if applied correctly and carefully, they will go far
towards removing the evils to which I have alluded, and be of much
practical usefulness and advantage.
CHAPTER I.
ANATOMY OF THE HAND. ON LIGAMENTS, TENDONS, &c. &c.
The skeleton of the hand, consisting of 27 bones and moved by 40
muscles, most ingeniously combines firmness with pliant flexibility,
is equally fit for rough work and the most subtle occupation, and
corresponds in its well-balanced mechanism with that mental superiority
through which man, amongst all creatures the poorest in means of
defence, becomes the ruler of living and inanimate nature. The hand,
fixed to the end of a long articulated column of bones, and, through
its skin-covering, particularly in the cavity, endowed with high
sensibility, raises itself to the importance of an organ of feeling,
which, moveable in all directions, apprizes us of the extent of
matter, and of its physical qualities.
The most ancient forms of measurement have, therefore, been taken from
the length of the several subdivisions of the hand. The capability
of the hand of assuming the hollow shape of a spoon, and of being
stretched like a shovel, determines its use for gathering and for
turning up matter. The curvature of the fingers forms a strong and
broad hook, which renders excellent service in climbing; and the thumb,
whose position enables it to be placed opposite all the other fingers,
acts in conjunction with the latter like a pair of pincers, capable of
seizing and feeling smaller objects. The thumb being easily moveable
and strong at the same time, is a privilege of the human hand. It
powerfully opposes itself against the other fingers into the _fist_,
for the seizing and holding of heavy objects. In doing this the thumb
indeed performs almost as much as the remaining fingers taken together;
it represents one half of a pair of pincers, wherefore _Albin_ has
called it _Manus parva_.
The unequal length of the fingers is well adapted for the taking hold
of spherical forms, and the fingers being bent towards the hollow of
the hand and held together, encloses an empty space, which is shut by
the thumb serving as a lid. The wrist of the hand, having a circular
shape, and being composed of several bones, is much less exposed to
the danger of being broken, than if one single curved bone were to
take its place. Its cavity, which by _strong transversal ligaments_ is
transformed into a ring, protects the bending tendons of the fingers
from pressure and friction. The firm connection between the middle hand
and the wrist renders possible the actions of _stemming_ and _hurling_
with the hands, and the longitudinal curve of the separate bones of
the middle hand, as well as their lying one at the side of the other,
and convexly towards the back of the hand, facilitates the forming of
the cavity of the hand. The great moveability of the fingers, and the
many possible combinations of their relative positions, have made them
the instruments of language by signs. The deep slits separating them
allow of folding the hands, in order to press with double force, and
the bending of the two last finger-joints, which can only take place
at an angle, imparts to the clenched fist a force which once usurped
the place of right. How necessary the joint action of both hands is for
certain performances is proved by the old proverb: _Manus manum lavat_.
In short, all the thousandfold occupations of the hand which necessity
commands and the mind develops, and which are an exclusive prerogative
of man, become practicable through the wonderful structure of this
instrument.[1]
As regards the system of the gymnastic training of the fingers in
particular, which I am now placing before the public, it is founded on
an important fact, namely, the action of the LIGAMENTS AND TENDONS.
It has been acknowledged at all times, that if a muscle is to be
made both stronger and quicker in its movements, it should be
exercised; that the ligaments and tendons play, in these exercises,
an indispensable part, has hitherto (to use the words of a celebrated
German physiologist), hardly been sufficiently acknowledged or
explained. It is further known, that the principal method now in use
of strengthening and rendering flexible the joints and muscles of
the fingers in playing the piano, consists in alternately raising
and dropping the fingers, and that this method requires very great
exertion, and consumes very much time. Now, I have found, by means
of many different experiments and exercises, which I have made with
the hand and the fingers, that the tight ligaments and skin-folds,
intersecting the hand _transversely_, unless they be exercised, and
if they be allowed to remain firm, for this very reason, _impede the
movements of the muscles_ whenever they are more than ordinarily
exerted; while, on the contrary, the stretching of the _transversal
ligaments_ produces a remarkable influence on the moveability of the
fingers and the hand, facilitates the work of the _muscles_, and
imparts to them freedom, steadiness, and precision.
By placing the cylinders to be used for this purpose between the
fingers for only a very short time, and thereby exercising the
_ligaments_ of the hand, both _transversely_ and longitudinally, the
movement of the fingers is at once rendered much easier and quicker.
This result can only be explained by the fact that the ligaments
and folds of the hand, having been stretched by the cylinders, have
become loosened, and, therefore, as I said before, impede less the
muscles in their fatiguing work. If, on the other hand, all the
muscles, ligaments, and tendons are put into motion in both directions,
longitudinally and transversely, they soon become strong and flexible.
FOOTNOTES:
[1] Joseph Hyrtl: Lehrbuch der Anatomie. 4te Auflage. Wien, 1855.
Erasmus Wilson, F.R.S., System of Human Anatomy. 8th Edition. London,
1862.