of rest. After that, wait a quarter of an hour; then take breakfast, and half or three-quarters of an hour after it begin the exercises with the vocal organs. The exercise (whether singing or speaking) should never be performed continuously for more than ten minutes; allow a pause of five minutes and begin anew. When, through several weeks' exercise, the muscles have been brought up to a certain point of endurance, the time should be extended to a quarter of an hour, the interval of rest remaining five minutes. In the first four weeks the total duration of the daily exercise must not exceed an hour in the forenoon and an hour in the afternoon. After four weeks another half hour may be added, and at the end of eight weeks the exercises may be made as long as one's powers will readily allow; the moment, however, that any unpleasant sensation begins to manifest itself, the exercise should be suspended.

In regard to the method of the exercises, it is merely necessary to observe here that they should be performed, if possible, at regular hours of the day; that one should begin with the less difficult, and gradually proceed to those which are more exerting; for it is only through their gradually increased activity, combined with the constantly recurring intervals of rest, that the muscles can bẹ

effectually strengthened, as we have seen when treating of these organs. After a meal, the singer or actor should not begin until the main work of digestion has been accomplished; that is, after two or two and one-half hours.

The following extract from Angelini Buontempis' "History of Music," bears witness to the extreme care which the Italian singing schools, founded by Pope Sylvester at the beginning of the fourth century and carefully fostered by the church, bestowed on the perfecting of their pupils :

"The pupils of the Roman school were obliged to practice difficult intonations for one hour daily in order to attain facility of execution; another hour. was employed in the practice of trills; another hour for rapid passages; another hour in the study of literature, and still another hour in the improvement of taste and expression—all in the presence of the master, who took care that the pupils sang before a looking-glass, in order that they might learn to avoid every sort of grimace or wrong movement of the muscles, such as wrinkling the forehead, winking the eyes, or distorting the mouth. All this was the occupation of the morning only. In the afternoon a half-hour was devoted to the theory of sound; another half-hour to simple counterpoint; one hour to the study of the rules of composition, which the master gave them, and their application on paper; another hour to literature, and the rest of the day was given to playing on the piano, to the construction of a psalm, a motet, or any other sort of work in accordance with the pupil's taste and talent. These were the usual exercises on days when the scholars were not permitted to leave the school. On the other hand, however, when they had permission to go out, they frequently went to the Porta Angelica, near Mount Marius, there to sing against the echo, for the purpose of learning, by the answer, their own errors. At other times they were employed to sing at public performances in the churches of Rome, or they went thither for the purpose of hearing the many masters who flourished under the papal government (1624–1644) in order to work at home, after these models."

In all that has been stated, we believe to have fully explained the system of inspiration and expiration, and by a close and scrupulous observance of the rules laid down, the orator and the singer will meet with certain success. As, however, a strict

compliance with all the details is not always persisted in, at least at the outset, and as, after all, there might arise some perplexity in regard to inspiration, we have deemed it necessary to provide for such a contingency, by a few special instructions, which, however, are to be applied only in cases of such perplexity.

SECTION 24.

WHAT TO DO IF, THROUGH CARELESSNESS, THE LUNGS ARE EMPTIED TOO SOON.

If, in spite of all due care, it should happen, that, as is generally said, the breath gives out, and we are compelled to inspire before the last two or three words of the sentence, and by this spoil every thought and destroy every effect (as, unfortunately, so frequently happens), there is but one remedy; it is the following:

In our system of inspiration, the activity of the abdominal muscles is of the utmost importance, and in such an emergency it is these alone that can save us from the disagreeable division of a sentence and the complete spoiling of the effect.

In case that the supply of air gives out, and we are unable to draw any more air from the lungs by the action of the ribs, we must bring the abdominal

muscles into greater activity; and, by pressure upon the abdominal organs which, forced upward, exercise a pressure upon the lungs, enable ourselves to force as much air from the lungs, as we still require for the remaining words.

It is wonderful how this manipulation, which is the only correct one, helps us over every obstacle; we must, however, not abuse it, but apply it only on the most urgent occasions; otherwise we must strictly conform to the prescribed rules.

SECTION 25.

WEARING APPAREL IN REGARD TO BREATHING.

Singers and speakers should always see that their attire allows the necessary play to the organs of respiration. With concert singers, declaimers and public speakers this is at all times practicable; but it is not always so in the case of dramatic performers. Among the various kinds of costumes which they have to put on, there are some the cut of which is not favorable to free respiration, inasmuch as they compress one or the other of the groups of respiratory muscles

The actor can easily avoid this by making himself acquainted in time with his costume and causing any

necessary alterations to be made. Many a fine effect has been lost to the dramatic artist by his having become aware too late that his attire greatly compressed his respiratory organs.

Such considerations, however, will weigh lightly with our ladies, whose figures resemble a wasp rather than a human being, and with our beaux, who are so thoroughly of opinion, that "the smaller the waist, the greater the work of art;" and we, therefore, advise the former, as long as they persist in lacing, to see to it that not all the groups of respiratory muscles are thereby affected.

Whoever desires a healthy development of the lungs, must be careful to relieve the respiratory organs from all pressure.

We have now reached the end of our "System of Correct Breathing in Singing and Speaking.”

I may incur the reproach that my rules lead to pedantry and stiff. ness. "Who," it may be asked, "will or who can follow these rules with such strictness? They are too complicated!"

To this my answer is: No rule, however simple, will ever attain the desired result, unless we practice it with the greatest perseverance, with the utmost patience; until it has become second nature, until it can no longer be noticed, because warm, fresh life has taken the place of the cold, lifeless rule.