If one who had a naturally sound throat at the outset finds that after vocal exercise he experiences either a soreness or an undue weariness of parts, he should conclude, if he is living under healthy conditions, that the methods he is employing are incorrect, and seek the natural remedy. Proper vocal exercise should, in those with healthy vocal organs, always improve them and the condition of the whole man. The author has met those who have been ruined vocally for life by the use of certain methods recommended by would-be professional guides. Why should not all who assume the responsibility of guiding speakers and especially singers be required by the state to show that they have not only a knowledge of music and vocal technique, but also at least a moderate amount of practical knowledge of the anatomy and physiology of the vocal organs, with some elementary information on general physiology? If the injury done by incompetent teachers were realized, we feel certain that the above proposition would not be questioned. A common cause of congestion of the digestive organs, with which, of course, other parts sympathize physiologically, is _constipation_, very often the result of insufficient exercise, and injurious in many ways. Speakers and singers very generally ride to and from their engagements, so that there is special reason why they should see to it that some time is set aside for general exercise, as walking in the open air, which would of itself work against that tendency to grow fat which is the physical curse that seems to fall on artists above most others. It seems scarcely necessary to point out how important it is for those who propose to take up the life of the stage or the platform to look to hardening themselves against catching cold, by friction of the skin, cold bathing, etc. The use of a sponge-bath of cold salt and water to the upper parts of the body, especially the neck and chest, will prove valuable in many cases, but the enervating effects of hot water should be avoided by all. The remarks made in regard to Wagner's music on page 257 have been among the very few to which exception has been taken by my reviewers. To those who disagree with me on the merits of the case I have nothing to say, but some have assumed that the writer was speaking out of pure theory, in real ignorance of Wagner's works. I wish to set that class of critics right. I have spent a great many seasons in Germany, and have heard Wagner's works under a great variety of circumstances, and have heard them also in several other countries. I have also had the opportunity of getting behind the scenes in a way that falls to the lot of few, so I think I am entitled to speak with rather more than the usual authority.