shape themselves for a note that is wrong, and, when the note issues from between the singer's lips, it is wrong--wrong from start to finish, from mind to lips. Thus again is illustrated the intimate connection between psychology and physiology in voice-production, and the necessity of having every function concerned therein so thoroughly trained that every act from mental concept to sounding voice is correctly performed through a habit so thoroughly acquired that it has become second nature. In common parlance one might say to the student of song, "Get the correct voice-habit and keep it up," for that really is what it amounts to, only it is necessary that great stress should be laid on the word "correct." It now becomes necessary to describe the larynx, and this I will endeavor to accomplish without puzzling the reader with too many technical terms. The study of the larynx was made possible by the invention of the laryngoscope in 1855 by Manuel Garcia, a celebrated singing-master. It is a simple apparatus--which, however, does not detract from but rather adds to its value as an invention--and has been a boon to the physician in locating and curing affections of the throat. Its essentials are a small mirror fixed at an obtuse angle to a slender handle. Introduced into the mouth it can be placed in such position that the larynx is reflected in the mirror and thus can be observed by the operator. Those who have had their throats examined with the laryngoscope will recall that the operator wears a reflector over his right eye. Through a central perforation in the reflector he views the image, which is seen the more clearly for the light thrown upon the laryngoscopal mirror by the reflector. It would be possible after comparatively little practice with the apparatus for a singer to examine his own larynx. But it would be most inadvisable for him to do so. Either he soon would become "hipped" on the subject of innumerable imaginary throat troubles, or his voice-production would become mechanical, which is very different from the spontaneous adjustment of the vocal tract described above. [Illustration: FIG. 2. THE GLOTTIS AND VOCAL CORDS VIEWED FROM BELOW N. B.--Vocal cords approximated] [Illustration: FIG. 3. THE GLOTTIS AND VOCAL CORDS VIEWED FROM ABOVE 1, Glottis. 2, True Cords. 3, False Cords. 4, Epiglottis. 5, Base of Tongue. N. B.--Glottis open for inspiration] [Illustration: FIG. 4. THE GLOTTIS AND VOCAL CORDS VIEWED FROM ABOVE 1, Glottis. 2, True Cords. 3, False Cords. 4, Epiglottis. 5, Base of Tongue. N. B.--Vocal cords approximated] [Illustration: FIG. 5. VERTICAL TRANSVERSE SECTION OF THE LARYNX 1, The Glottis (_i. e._, the opening between the opposed edges of the Vocal Cords). 2, True Vocal Cords. 3, False Vocal Cords. 4, Epiglottis. (N. B.--In singing, the "true cords" are closely approximated.) V, Ventricles. T, Thyroid Cartilage. C, Cricoid Cartilage. W, Windpipe or Trachea.