The monotony of the first portion of this training evidently became very wearisome in time, for Señor Garcia would afterwards recall how one day, after being made to sing an endless variety of ascending scales, his desire for a change became so great that he could not resist bursting out, "Oh dear! mayn't I sing down the scale even once?" The training of those days was indeed a hard one, but it turned out artists who had a very wonderful command over their voices. After a time Manuel began to find these severe studies irksome. He seems, moreover, to have had no particular vocation for the lyrical stage, and the bent of his mind, even at that early period, had a leaning towards science. As a boy, he had a soprano voice of beautiful quality, and it has been asserted that during the stay in Italy he was appointed to a place in the cathedral choir. Absolute verification of this statement is practically impossible to obtain, though there seems no reason for doubting its truth. On the other hand, there is a strong likelihood that it may have been confused with the fact that the _elder_ Garcia (whose name was also Manuel) was in the chapel choir. From this time the training of his voice continued practically without intermission, under his father's tuition, till his twentieth year. It was largely due to the fact that work was not stopped during that dangerous period at the commencement of puberty, that he assigned the break-down of his voice in after years. The elder Garcia took the greatest delight and pride in the early education and musical training of his son, and among many other valuable lessons, he impressed upon him that a singer must not only know how to use his voice, but must, above all, be a thorough musician. As we have already seen, Manuel was taken to see Ansani, who gave him a few lessons. In addition to this, much help was received from Zingarelli, when the elder Garcia was too busy to take him. His intelligent brain could therefore make a blend of Spanish and Italian methods. To this he added in after life his own observations on the human voice, and applied the scientific theories which he formed and eventually corroborated by means of his laryngoscope. It was by the wise combination of this knowledge that he was able to evolve the magnificent Method which produced Jenny Lind. Zingarelli was a man whose name is worth pausing over for a moment, for some episodes of his life are of considerable interest. In 1804 he had succeeded Guglielmi as Maestro di Cappella of the Sistine Chapel in Rome.