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A replacement bridge from Stew-Mac is under 20 bucks.  However, it requires quite a bit of hand work to position, glue, re-ream the bridge-pin holes, fit the saddle....
This would normally be at least a couple of hours work at shop rates...
I would think you'd be looking at a minimum of a hundred bucks or so.

Bridges don't normally break, though they often pull away from the guitar on older instruments.  How did you manage to break it?

First... If you are having trouble with barre chords near the nut, it's likely the nut that needs adjusting rather than the saddle.
Both need to be optimized.     
Best thing to do is to take the instrument to a qualified repairman; an "action job" should not be too expensive.   
Lots cheaper than the "just buy a new guitar" advice...

If you are determined to do the work yourself, PLEASE go to the excellent Frets.com page to see what's involved:

http://www.frets.com/FRETSPages/pagelist.html#Musician

Check the "Instrument Setup" section.

I build and play cigar-box instruments, I'm kind of surrounded by them as I type....

For information, plans, lessons, videos, or anything else on the subject, visit:

http://www.cigarboxnation.com/

The ultimate source for all things cigar box....

They are great fun to build and to play.  My current favorite axe is a resonator 4-string with a piezo pickup; sounds great either acoustically or through an amp.

ou could always look for one of those old Coral electric sitars....

Indian music is very complex and has a long tradition of both classical and folk styles.  To some degree, it's used in a religious context, as a sort of meditation. 
When Ravi Shankar came over and started playing some of the big festivals, everyone was knocked out. 
Our local folkie shop usually has a sitar or two on the wall...

If you're interested in the wide variety of cigar-box instruments, check out the definitive site:
http://www.cigarboxnation.com/

Cigar Box Nation.   Videos, audio recording, building tips, etc, etc.

The very nature of these critters is individual and quirky, so everyone has their own approach.  I've seen resonator guitars made using commercial cones and covers (usually the ones made for resonator mandolins or ukuleles) to all sorts of improvised items.
I built mine using the aluminum top for a Girl-Scout cooking set as the resonator.

Some of the guys do have plans up for building "basic" instruments.

Time for the old 12-string joke...."You spend half your time tuning, and the other half playing out of tune..."

Properly-built 12-strings don't need to be de-tuned; as the guys note it's to reduce string tension on the neck.   
I really do like the sound a good 12 produces; sort of instant orchestration.  Some guys get into all sorts of weird tunings with the things, and some even ignore the idea of playing each pair of strings as if it were one...They play all the strings individually! 

Listen to some Leo Kottke to see what the instrument is capable of.

Of course, some of us go the cheezy route with good effect....I usually play my cigar-box resonator guitar (about 25 bucks total plus a couple weeks of labor) through my Danelectro "Honeytone" amp.  (about 20 bucks).

Sounds good to me....

All depends what you're after.

Such injuries are very common and have sidelined many professional musicians.    Almost always they are over-use injuries; your case of playing four hours daily is certainly too much for you at this point.
The old medic here would recommend the standard first try treatment course of R.I.C.E.

That's Rest, Ice, Compression, and Elevation.

First, (painful though it is to quit for a while) quit doing what you're doing.  Give yourself several days at least of no playing at all.    Second, use ice compresses to reduce inflammation and swelling.   (a good non-steriodal anti-inflammatory drug like ibuprofen or naproxen will help as well) Keep the hurting part elevated.
A week or so of this should dramatically improve things.   If not, it's a trip to the doc....

Then, try scaling back.  Practice an hour a day, or altenate your strumming with some finger-picking or scale work.

Good advice from mekidsmom.   I just down-scaled from a dreadnaught to an "O" sized instrument (Yamaha APX-500) because of shoulder problems.
It hurt to wrap my arm around that big dreadnaught for more than a few minutes, and I didn't want to play standing up all the time.

The small-bodied Yamaha is just fine and has good electrics if I need more volume.    There were a good half-dozen smaller guitars at Guitar Center; I really liked the Dean I looked at but it was out of my price range.

In the string-band context, a bass-heavy guitar was often preferred; the guitar taking the place of the bass for the most part.   I remember going to a fiddle contest once and one band had a guitar picker with an old rosewood Martin that just "cut through" like crazy.  You could hear that thumping boom over the other instruments.

Great for live playing.   However, drove a lot of recording engineers nuts back then.   A lot of players preferred the more-balanced instruments for recording.

Our ancestors lavished decoration on their instruments; pick up any book on the history of the guitar and you'll see all sorts of things that have been tried over the many years of development.
However, there's a very strong "traditional" element amongst musicians...I remember reading about the furor created when the first picker showed up at the Grand Old Opry with an electric....
Not to mention Bob Dylan...

I would imagine the single most popular type of acoustic sold is a very standard dreadnaught steel string with very little in the way of ornamentation.

There's a certain amount of function too; a lot of weird shaping and such can make the instrument difficult to build and possibly affect tone.