No one should attempt it unless he understands perfectly the anatomy of the muscles that are used and compose the vocal apparatus, their placement and uses. Instructors should be perfect singers themselves and able to give an example of every tone as accurately as it can be produced by the human voice. A teacher who cannot produce a perfect tone has not the right to teach. Why should the proper training of the voice continue to be the least progressive of all professions, and why should there be less care and work used in the development of the most beautiful gift that has been given to mankind, the human voice? While this gift has not been equally bestowed on every one, yet there is not a being who could not sing if he were properly taught. It is not the great-voiced singer that gives the most beautiful song. While he is to be admired for his grand tones and magnificent work, it has taken years of technique to produce those tones through perfect knowledge of breath control. Teachers of the eighteenth century required many years of hard study from the pupils before they were considered competent to illustrate the art of tone production and before the masters considered them singers or sent them forth as exponents of their art. Why all this work to acquire the art of producing beautiful tones? We must use intelligent understanding in the use of this instrument which is such a rare gift to us. Thrice happy are those who are able to give to listening humanity the full comprehensive and soulful touch of song which the individual instrument is capable of producing. There is so much more in singing than the mere possession of a beautiful voice. The singer must be able to supplement the beauty of the voice with intelligence in the exposition of the song. But few realize how much skill this demands. No amount of intelligence will enable a person rightly to interpret a song if he has not learned the elements of singing or has not a complete command of the technique of his art. The most important element of beautiful song is the lung capacity, and thereon hangs the whole success; control of the breathing muscles. One has infinite gradations of the power of this column of air to produce the result in exquisite variations over the power and the coloring of his tones. Attack and management of the air column is an art in itself--a correct poise of the larynx. Upon the art of directing this column of air the quality of the tones depends. The greatest marvel is that those whom I have had to instruct do not know the first elements of breathing. To breathe to live and to breathe to be a singer are as far apart as the poles. Not one in twenty knows what lung capacity they have. The general rule is to breathe through the nose. That is all right if he is a gymnast or a ball player, but singing is just the opposite of this sort of breathing. Everything is relaxed and natural, the breath is inhaled through partly opened lips, slowly, evenly and