\section{To Beccaria, July 13, 1762}

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DATE:&1762, July 13 \\
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FROM:& BF (London) \\
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TO:& Beccaria (Italy) \\
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PBF:&10:126 ff\\
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\begin{Intro}
[note from PBF 5,395:

Giambatista Beccaria (1716\EnDash{}1781), of the teaching order of Piarists, professor of experimental physics at Turin since 1748, learned about BF's discoveries in June 1752, and by July 2 had drawn electricity from the atmosphere by means of a conductor on his house. His experimentation proceeded so rapidly and successfully that the next year he published \Title{Dell'elettricismo artificale e naturale}, which contained (pp. 144\EnDash{}8) a letter to Nollet rebutting his attack on BF'S work. Priestley [preeminent scientist of the time] (History of Electricity, London, 167, p. 339) praised his work in the highest terms: ``All that was done by the French and English electricians, with respect to lightning and electricity, fell far short of what was done by Signior Beccaria at Turin. A letter of Dec. 24, 1757, is the earliest surviving piece in the BF-Beccaria correspondence.'']. 

BF describes how he came to invent the armonica and describes how to build and play one:
\end{Intro}

Reverend Sir, 

I once promised myself the pleasure of seeing you at Turin, but as that is not now likely to happen, being just about returning to my native country, America, I sit down to take leave of you (among others of my European friends that I cannot see) by writing. 

I thank you for the honourable mention you have so frequently made of me in your letters to Mr. Collinson and others, for the generous defence you undertook and executed with so much success, of my electrical opinions; and for the valuable present you have made me of your new work, from which I have received great information and pleasure.  I wish I could in return entertain you with any thing new of mine on that subject; but I have not lately pursued it. Nor do I know of any one here that is at present much engaged in it.

Perhaps, however, it may be agreeable to you, as you live in a musical country, to have an account of the new instrument lately added here to the great number that charming science was before possessed of: As it is an instrument that seems peculiarly adapted to Italian music, especially that of the soft and plaintive kind, I will endeavour to give you such a description of it, and of the manner of constructing it, that you, or any one of your friends may be enabled to imitate it, if you incline so to do, without being at the expence and trouble of the many experiments I have made in endeavouring to bring it to its present perfection. 

You have doubtless heard the sweet tone that is drawn from a drinking-glass, by passing a wet finger round its brim. One Mr. Pockeridge, a gentleman from Ireland, was the first who thought of playing tunes, formed of these tones. He collected a number of glasses of different sizes, fixed near each other on a table, and tuned them by putting into them water, more or less as each note required. The tones were brought out by passing his finger round their brims. He was unfortunately burnt there, with his instrument, in a fire which consumed the house he lived in. Mr. E. Delaval, a most ingenious member of our Royal Society, made one in imitation of it, with a better choice and form of glasses, which was the first I saw or heard. Being charmed by the sweetness of its tones, and the music he produced from it, I wished only to see the glasses disposed in a more convenient form, and brought together in a narrower compass, so as to admit of a greater number of tunes, and all within reach of hand to a person sitting before the instrument, which I accomplished, after various intermediate trials, and less commodious forms, both of glasses and construction, in the following manner. 

The glasses are blown as near as possible in the form of hemispheres, having each an open neck or socket in the middle.\footnote{The illustration appears at this point in \Title{Exper.and Obser.}, 1769 edit., p.429. From PBF 10:127, footnote}  
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	Armonica Glass
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		\caption[Armonica glass]{Armonica glass}
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The thickness of the glass near the brim about a tenth of an inch, or hardly quite so much, but thicker as it comes nearer the neck, which in the largest glasses is about an inch deep, and an inch and half wide within, these dimensions lessening as the glasses themselves diminish in size, except that the neck of the smallest ought not to be shorter than half an inch. The largest glass is nine inches diameter, and the smallest three inches. Between these there are twenty-three different sizes, differing from each other a quarter of an inch in diameter. To make a single instrument there should be at least six glasses blown of each size; and out of this number one may probably pick 37 glasses, (which are sufficient for three octaves with all the semitones) that will be each either the note one wants or a little sharper than that note, and all fitting so well into each other as to taper pretty regularly from the largest to the smallest. It is true there are not 37 sizes, but it often happens that two of the same size differ a note or half note in tone, by reason of a difference in thickness, and these may be placed one in the other without sensibly hurting the regularity of the taper form. 

The glasses being chosen and every one marked with a diamond the note you intend it for, they are to be tuned by diminishing the thickness of those that are too sharp. This is done by grinding them around the neck towards the brim, the breadth of one or two inches, as may be required; often trying the glass by a well-tuned harpsichord, comparing the tone drawn from the glass by your finger, with the note you want, as sounded by that string of the harpsichord. When you come near the matter, be careful to wipe the glass clean and dry before each trial, because the tone is something flatter when the glass is wet, than it will be when dry; and grinding a very little between each trial, you will thereby tune to great exactness. The more care is necessary in this, because if you go below your required tone, there is no sharpening it again but by grinding somewhat off the brim which will afterward require polishing, and thus increase the trouble. 

The glasses being thus tuned, you are to be provided with a case for them, and a spindle on which they are to be fixed. My case is about three feet long, eleven inches every way wide within at the biggest end, and five inches at the smallest end; for it tapers all the way, to adapt it better to the conical figure of the set of glasses. This case opens in the middle of its height, and the upper part turns up by hinges fixed behind. The spindle which is of hard iron, lies horizontally from end to end of the box within, exactly in the middle, and is made to turn on brass gudgeons at each end. It is round, an inch diameter at the thickest end, and tapering to a quarter of an inch at the smallest . A square shank comes from its thickest end through the box, on which shank a wheel is fixed by a screw. This wheel serves as a fly to make the motion equable, when the spindle, with the glasses, is turned by the foot like a spinning wheel. My wheel is of mahogany, 18 inches diameter, and pretty thick, so as to conceal near its circumference about 25 lb of lead. An ivory pin is fixed in the face of this wheel, and about 4 inches from the axis. Over the neck of this pin is put the loop of the string which comes up from the moveable step to give it motion. The case stands on a neat frame with four legs. 
To fix the glasses on the spindle, a cork is first to be fitted in each neck pretty tight, and projecting a little without the neck, that the neck of one may not touch the inside of another when put together, for that would make a jarring. These corks are to be perforated with holes of different diameters, so as to suit that part of the spindle on which they are to be fixed. When a glass is put on, by holding it stiffly between both hands, while another turns the spindle, it may be gradually brought to its place. But care must be taken that the hole be not too small, lest, in forcing it up the neck should split; not too large, lest the glass, not being firmly fixed, should turn or move on the the spindle so as to touch and jar against its neighboring glass. The glasses thus placed one in another, the largest on the biggest end of the spindle which is to the left hand; the neck of this glass is towards the wheel, and the next goes into it in the same position, only about an inch of its brim appearing beyond the brim of the first; thus proceeding, every glass when fixed shows about an inch of its brim (or three quarters of an inch, or half an inch, as they grow smaller) beyond the brim of the glass that contains it; and it is from these exposed parts of each glass that the tone is drawn, by laying a finger upon one of them as the spindle and glasses turn around. 
My largest glass is G, a little below reach of a common voice, and my highest G, including three compleat octaves. To distinguish the glasses the more readily to the eye, I have painted the apparent parts of the glasses within side\footnote{That is, he painted them on the \textit{inside}}, every semitone white, and the other notes of the octave with the seven prismatic colours, viz. C, red; D, orange; E, yellow; F, green; G, blue; A, indigo; B, purple; and C, red again; so that glasses of the same colour (the white excepted) are always octaves to each other. 

This instrument is played upon, by sitting before the middle of the set of glasses as before the keys of a harpsichord, turning them with the foot, and wetting them now and then with a sponge and clean water. The fingers should be first a little soaked in water, and quite free from all greasiness; a little fine chalk upon them is sometimes useful, to make them catch the glass and bring out the tone more readily. Both hands are used, by which means different parts are played together. Observe, that the tones are best drawn out when the glasses turn from the ends of the fingers, not when they turn to them. 

The advantages of this instrument are, that its tones are incomparably sweet beyond those of any other; that they may be swelled and softened at pleasure by stronger or weaker pressures of the finger, and continued to any length; and that the instrument, being once well tuned, never again wants tuning. 

In honour of your musical language, I have borrowed from it the name of the instrument, calling it the Armonica. 

With great esteem and respect, I am, Etc. 

 B. Franklin 
