Muove si dolce e si soave guerra lu singando i pensier bel tà mortale, ch’a volo un cor non spiegheria mai l’ale per sollevarsi peregrin da terra, se non scendesse a risvegliarlo Amore, per sollevarsi pellegrin da terra se non scendesse a risvegliarlo Amore. Two other interesting works by teachers of the old school are ‘Observations on the Florid Song’ (1723), by Pietro Francesco Tosi, and _Riflessioni Pratiche sul Canto Figurato_ (1776), by Giovanni Battista Mancini. Both these writers devote themselves mainly to a discussion of vocal embellishments and _fiorituri_, just as did Caccini so many years earlier. What little they say about the management of the voice shows that the old idea of reliance on instinctive vocal guidance had not weakened in their day. Another highly valuable work, the latest which can be considered of original value in throwing light on the old Italian method, is the _Méthode de Chant du Conservatoire de Musique_ (Paris, 1803). This method was drawn up by the most eminent musicians in Paris at that time, including even Cherubini and Méhul. They and several others of almost equal rank were commissioned by the revolutionary government to devise an official system of vocal education. Yet there is nothing revolutionary about the method, for it does not depart in any important particular from the system of instruction described by Tosi and Mancini. Particular interest attaches to the _Méthode_ because it was the first complete practical work on its subject ever published. Tosi and Mancini did not include a single exercise or musical illustration in their books, but contented themselves with verbal descriptions of the portamento, messa di voce, appoggiatura, etc. The _Méthode_ on the other hand consists almost entirely of a collection of exercises, scales, vocalises, and arias, carefully graded according to difficulty. These were collected from many sources by the most celebrated vocal teacher in Paris at that time, Bernardo Mengozzi, the head of the vocal department at the Conservatoire. Everything necessary for the thorough cultivation of the voice according to Mengozzi’s conception of the subject was included in the _Méthode_. A student was expected to start with the first exercise and study each one consecutively, the voice steadily progressing until technical perfection was assured with the mastery of the last aria. No distinction was made between voices, high and low, male and female, for all were put through the same course of study. Cherubini thought so highly of the _Méthode_ that he took a copy with him on his visit to Vienna in 1805 for the purpose of himself presenting it to Beethoven.