The great Italian singing masters of the old school, who, like the father of Persiani, could manufacture a great voice out of average raw material, studied the physiology of the vocal organs, and one of their first instructions to their pupils was that they should sing against the roof of the mouth, then throw the head back and open the mouth, so that the sound should reverberate forwards, clear of the teeth and lips. For the first year or two the pupil had to sing only “la, la,” for several hours per day, until the faculty of doing this effectually and habitually was acquired. The popular notion that sound rises has probably originated from the fact that in our common experience the sounds are produced near to some kind of floor, which reflects the sounds upwards, and thus adds the reflected sound to that which is directly transmitted, and thereby the general result is materially augmented. But if we would economize sound most effectively, we must have not only a reflecting floor, but also a reflecting roof and reflecting walls on all sides of the concert room. These are the conditions that were wanting in the original structure of the Crystal Palace transept, for then the sound of the singer’s voice could travel upwards to that lofty arch and sidewise in all directions, almost as freely as in the open air. This defect has been remedied to a very great extent by the velarium stretched across from the springing of the great arch of glass and iron, and forming a ceiling to the concert-room part of the building. Besides this, a wall of drapery is stretched across each side of the transept, and the orchestra has its special walls, roof, and back. There are other minor arrangements for effecting lateral reverberation; that is, for returning the sound into the auditorium proper instead of allowing it to wander feebly throughout the building. The general result of these arrangements is to render that portion of the building in which the reserved seats are placed a really luxurious and efficient concert-room, of magnificent proportions; but, very unfortunately and inevitably, these conditions, which are so favorable for the happy eight or nine thousand who can afford reserved seats, render the position of the other half-dozen thousand outsiders more disappointing and vexatious than ever. For my own part I would rather spend a holiday afternoon in the mild atmosphere and the quiet, soothing gloom of a coal-pit than be teased and irritated by a strained listening to the indefinite roar of a grand choir, and the occasional dying vibrations of Sims Reeves’ “top A.”