being an artist, while the literary man has no consideration at all. He will even advise them to embrace his profession, as the singer has plenty of money as well as fame, while the man of letters is very apt to die of hunger. If the singer is a bass, he should constantly sing tenor passages as high as he can. If a tenor, he ought to go as low as he can in the scale of the bass, or get up, with a falsetto voice, into the regions of the contralto, without minding whether he sings through his nose or his throat. He will pay his court to all the principal _cantatrici_ and their protectors; and need not despair, by means of his talent and exemplary modesty, to acquire the title of a count, marquis, or chevalier. "The _prima donna_ receives ample instructions in her duties both on and off the stage. She is taught how to make engagements and to screw the manager up to exorbitant terms; how to obtain the "protection" of rash amateurs, who are to attend her at all times, pay her expenses, make her presents, and submit to her caprices. She is taught to be careless at rehearsals, to be insolent to the other performers, and to perform all manner of musical absurdities on the stage. She must have a music-master to teach her variations, passages and embellishments to her airs; and some familiar friend, an advocate or a doctor, to teach her how to move her arms, turn her head, and use her handkerchief, without telling her why, for that would only confuse her head. She is to endeavour to vary her airs every night; and though the variations may be at cross purposes with the bass, or the violin part, or the harmony of the accompaniments, that matters little, as a modern conductor is deaf and dumb. In her airs and recitatives, in action, she will take care every night to use the same motions of her hand, her head, her fan, and her handkerchief. If she orders a character to be put in chains, and addresses him in an air of rage or disdain, during the symphony she should talk and laugh with him, point out to him people in the boxes, and show how very little she is in earnest. She will get hold of a new passage in rapid triplets, and introduce it in all her airs, quick, slow, lively, or sad; and the higher she can rise in the scale, the surer she will be of having all the principal parts allotted her," &c., &c.