As if facility of execution or technical skill were not the mere beginning of vocal culture--the fashioning of the instrument, as it were, with which the singer must subsequently learn the higher arts of expressing human emotions in tones, of phrasing intelligently, and of pronouncing distinctly, so that the poetic qualities of the text may be appreciated. In looking over specimens of the vocal music written by Porpora and his contemporaries, we find passages in which a single syllable is extended over one hundred and fifty-eight, and even a hundred and seventy-five, notes. A more atrocious maltreatment of the text, and misconception of the true function of the human voice, could not be imagined. As Mr. H.C. Deacon remarks, "The passages in much of the music of that date, especially that of Porpora, are really instrumental passages ... and possessing but little interest beyond the surprise that their exact performance would create." People did not ask themselves whether it was worth while for singers to go through the most arduous training for five years, for the sake of learning to execute runs which any fiddler or flute-player could learn to play in a few weeks. Look at the fioriture which, to this day, Mme. Patti sings in "Lucia," "Semiramide," etc. She is the only living being who can sing them with absolute correctness and smoothness. Not another singer can do it--whereas _every member of her orchestra can play them at sight_. Does not this show, once and for all, that this style of singing (which still has numerous admirers) is instrumental, is unvocal, unsuited to the human voice, and should be abandoned forever? Rossini showed his real opinion of it by writing his best and most mature work in a different style; and Verdi has done the same in "Aida" and "Otello," in which there is hardly a trace of colorature, while the style often approaches to that of genuine dramatic song.