When the vowel _a_, as in _man_, was sung, I could, after long-continued practice, plainly see how the arytenoid cartilages quickly rose with their summits in their mucous membranous case and approached to mutual contact. In like manner, the _chordæ vocales_, or inferior vocal chords, approached each other so closely that scarcely any space between them was observable. The superior or false vocal ligaments formed the ellipse described by Garcia in the upper part of the glottis. [Representation in the mirror of the vocal organ in giving out sound.] a. Superior or false vocal ligaments, or chords. b. Epiglottis. c. Inferior or true vocal ligaments. d. Arytenoid cartilages. e. Capitula Santorini. When, in using the laryngoscope upon myself, I slowly sang the ascending scale, this movement of the vocal chords and arytenoid cartilages was repeated at every tone. They separated and appeared to retreat, in order to close again anew, and to rise somewhat more than before. This movement of the arytenoid cartilages may best be compared to that of a pair of scissors. With every higher tone the vocal ligaments seemed more stretched and the glottis somewhat shorter.--[The glottis is a term applied to the space occupied by the vocal chords (the lips of the glottis): when separated, we say the glottis is open, when they touch, that it is closed.]--At the same time, when I sang the scale upward, beginning with the lowest tones, the vocal ligaments seemed to be moved in their whole length and breadth by large, loose vibrations, which extended even to all the rest of the interior of the larynx.