"On a certain occasion," the doctor writes, "I delivered a lecture at the Royal Institution of Great Britain on the culture of the singing voice. In the course of my remarks I attacked the dogmatic way in which the question of the registers was treated by different authorities, and showed there and then, by the aid of some excellent photographs of the larynx during the emission of tone, that the mechanism of the registers, even in relation to the same kind of voice, may in some cases be totally different from others. "The lecture had a humorous sequel, for among my audience were a number of the best known singing teachers in London. When I had finished, one of these, well known for his obstinate dogmas, came up to me in a state of visible annoyance and said, 'You should not speak on things that you know nothing about.' A second expressed his recognition of the fact that I had taken up arms against the theorists, and then proceeded to describe an entirely new theory on the register formation discovered by himself. "But, last of all, Garcia came up to me with a smile, and remarked, 'Good heavens, how much I must have taught during my life that is wrong!'" In 1882 Margaret Macintyre and Marie Tempest commenced studying under the maestro. The former, a daughter of General Macintyre, was to be the best known of Garcia's pupils at Dr Wyld's London Academy of Music, where he taught for some twenty years. The prima donna during her training there carried off in turn the Bronze, Silver, and Gold Medals of the Academy. During the last year she had the honour of singing the soprano _rôle_ in the performance of Liszt's oratorio "St Elizabeth," given at the London Academy Concert in the St James's Hall in honour of the composer's presence in London. Two years later she appeared as Michaela in "Carmen," winning instant success. Moreover, as we have already seen, she shared with Miss Thudicum the _rôle_ of Rebecca in the production of "Ivanhoe," while shortly afterwards she took part in the Handel Festival of 1891. After this she sang with the greatest success as prima donna in the Grand Opera seasons at Milan, Moscow, and St Petersburg. Marie Tempest arrived at the Royal Academy of Music in the Easter term of 1882, and remained there three years under Garcia, carrying off the Bronze, Silver, and Gold Medals of the Institution. The Academy was specially prolific of talent at this time, for among the students during these years were Eleanor Rees, Miss Thudicum, Edward German, Courtice Pounds, and several others who were to attain wide fame in the musical world. Of her studies under Garcia Miss Tempest told me a couple of very characteristic anecdotes.