These remarks are quite as applicable to America as to England. We hear singers every week to whom we can listen attentively for five minutes without being able to tell what language they are singing in. Most of these singers were trained by the Italian method: And yet we are told every day that this Italian method, which has so little regard for the distinctively vocal side of singing, is the only true method for the voice. It is time to call a halt in this matter, time to ask if the Italian method is really the one best adapted for teaching pupils to sing in English. That it is the best and only method for singing in Italian, and for interpreting the style hitherto cultivated by the Italians, no one will deny. But whether it is the proper method for those who wish to sing in English, French, or German, and to devote themselves to the modern dramatic style, is quite another question, which must be, partly at least, answered in the negative. A careful examination of the situation, leaving aside all national prejudice, will show us that each of the two principal methods, as exemplified by Italian and German singers, has its dark and its bright side, and that the cosmopolitan American style of the future ought to try to combine the advantages of both, while avoiding their shortcomings. The dark side of Italian singing has been sufficiently dwelt upon; let us now consider the bright side. Italy owes much of her fame as the cradle of artistic song and "The Lord's own Conservatory," to climatic and linguistic advantages. Thanks to the mild climate, men and women can spend most of their time in the open air, and their voices are not liable to be ruined by constantly passing from a dry, overheated room into the raw and chilly air of the streets. The Italians are a plump race, with well-developed muscles, and their vocal chords share in the general muscular health and development; so that the average voice in Italy has a much wider compass than in most other countries; and an unctuous ease of execution is readily acquired. Their language, again, favors Italian singers quite as much as their climate. It abounds in the most sonorous of the vowels, while generally avoiding the difficult U, and the mixed vowels Oe and Ue, as well as the harsh consonants, which are almost always sacrificed to euphony. And where the language hesitates to make this sacrifice, the vocalists come to the rescue and facilitate matters by arbitrarily changing the difficult vowel or consonant into an easy one. In this they are encouraged by the teachers, who habitually neglect the less sonorous vowels and make their pupils sing all their exercises on the easy vowel A. No wonder, then, that the tones of an Italian singer commonly sound sweet: he makes them up of nothing but pure sugar. Characterization, dramatic effect, variety of emotional coloring, are all bartered away for sensuous beauty of tone; and hence the distinctive name for Italian