It is not easy for us to put ourselves mentally in the position of a vocalist, thoroughly familiar with the empirical knowledge of the voice, and yet ignorant of the first principles of vocal mechanics. In all probability the early masters were not even aware that tone is produced by the action of the breath on the larynx. They did not know that different qualities and pitches result from special adjustments and contractions of the throat muscles. Yet they were keenly aware of all the muscular sensations resulting from these contractions. We can well imagine how interesting these vocalists of the early transition period must have found the description of the cartilages and muscles of the throat. It seems to us but a short step from the study of vocal mechanics to the application of the results of this study in the formulating of a practical system of vocal instruction. Yet it required more than sixty years for the vocal profession to travel so far. Even then the true bearing of this development of Voice Culture was but dimly realized. In 1800 the mechanical management of the voice was not even thought of. This is conclusively proved by a most important work, the _Methode de Chant du Conservatoire de Musique_, published in Paris in 1803. There can be no question that this Methode represents the most enlightened and advanced thought of the vocal profession of that day. Not only does it contain everything then known about the training of the voice; it was drawn up with the same exhaustive care and analytical attention to detail that were devoted to the formulation of the metric system. To mechanical rules less than one page is devoted. Respiration is the only subject to receive more than a few lines. A system of breathing with flat abdomen and high chest is outlined, and the student is instructed to practise breathing exercises daily. Five lines are contained in the chapter headed "De l'emission du son," and these five lines are simply a warning against throaty and nasal _quality_. The pupil is told to stand erect, and to open the mouth properly. But a foot-note is given to the rule for the position of the mouth which shows how thoroughly the mechanical rule was subordinated to considerations of tone quality. "As there is no rule without exceptions, we think it useful to observe at what opening of the mouth the pupil produces the most agreeable, sonorous, and pure quality of tone in order to have him always open the mouth in that manner." In the main the Methode outlines a purely empirical system of instruction, based on the guidance of the voice by the ear. There can be no question that the idea of mechanical management of the voice was introduced later than 1803.