The other great issue with physiologists in connection with the voice is that of breathing. Clavicular breathing, costal breathing, diaphragmatic breathing, etc.--these are some of the terms in common use, and the "modes" of breathing commonly practised. Each of these modes is supposed to be practised separately and at the will of the performer. They are praised and recommended or condemned according to the special view of the practitioner. Systems are based on these special modes and schools arise therefrom. What one "school" practises is condemned by another. And how could it be otherwise, _all_ being wrong? Being homogeneous entities, whose wholesome existence is based upon a harmonious coöperation of all parts, we cannot practise breathing from a special part without every other part more or less participating. The act of breathing being our most vital performance, every other part would suffer if it were confined to any special part. Our entire system, therefore, must participate therein; the hemisphere of the abdomen no less than that of the thorax; both hemispheres coöperating with each other and with other streams introduced into our system through the pores and every other opening in the body. For a moment, and for an especial expression, one part may prevail over another; but the true artist will always breathe in such a manner that after such an effort all parts will again harmonize and balance one another. He will have such control over his breathing powers that he can at any time throw the balance of power into one direction; but he will never let any one direction _continue_ to prevail over any other. Every theory heretofore advanced in respect to our mode of breathing, being based upon false premises, is wrong in the abstract, and impossible of practical execution. If I have expressed myself strongly, it is because I feel strongly the injury which has been wrought by this so-called "science" of the laryngoscopists. It has in thousands of instances hindered the natural development of the voice, and has in many other directions done incalculable harm; while it has in _no_ direction ever done any good. It has oppressed the intellect, depressed the spirit, and suppressed the soul of singers. Let me add but this: What would be the use of the most scientifically constructed stove, filled with the most appropriate fuel, if the flame were wanting to set fire to this fuel? Supposing the laryngoscopists to comprehend the intricate construction of the stove (the body), the highly sensitive and complicated apparatus of the fuel (the instrument of the voice)--both of which, however, they are greatly in the dark about--the flame would still be wanting to set fire to this fuel and fill the stove with the holy glow of song. This flame (the life, the spirit) they do not even pretend to be able to furnish. They only give us the stove and the fuel, which remain forever dark, cold, lifeless, inert.