Everyone who purposes to follow the arduous career of the vocal or dramatic artist would do well to realize early the importance of learning the art of conserving energy, or making the most of all that Nature has given him. When a man or woman is small, and has less breath power than some others, it becomes more important that they observe the laws of contrast, rest, etc., in their public efforts. A _forte_ has much the same effect, if it be preceded by darker, quieter tones, as if it were really louder. In like manner, a pause may often serve a very good purpose in preparing the ear of the listener for an effect that should be telling, yet a difficult one for a person of limited physical powers. In reality, all the best art recognizes, mostly unconsciously, the peculiarities of our physical and mental nature. A continuous _forte_, for example, ceases to be a _forte_, in reality, since the ear and the mind weary under it, and all the effect of contrast is lost. As we have more than once said, good art is physiological--in harmony with the laws of the body, as well as of the mind. It follows that each one should study especially how to make the wisest, the most effective, use of his powers, for what is best for one may not be so for another. A singer or speaker, by reason of a voice somewhat small in volume, may seem to be shut out from certain buildings. This need rarely be the case. The artist must simply the more carefully consider how he shall vary his effects, how so use his powers that they shall suffice. A loud voice may be a very bad one for the hearer, and may annoy and weary rather than please. When a building is large, nearly all effects should be increased--_e.g._, all pauses lengthened, the _tempo_ taken a little slower, the contrasts made stronger, etc.,--rather than the volume of tone increased. The method of attack becomes of the utmost importance; all low or soft passages should be sung or uttered with the greatest distinctness, all final letters most perfectly finished. It is especially important for a speaker to be aware of his favorite--_i.e._, most easy and natural--pitch, and also that pitch which best adapts his voice to a certain building. Many forget that sound does not, in reality, travel very rapidly, and that allowance must be made for this, so that one tone shall not break on the ear before another has had time to be attended to--one idea to be grasped before another is presented.