cleanse the pores of the skin—a matter of great importance.

The Hair.—The same rule of extreme cleanliness applies to the hair, and for the same reason, viz., its intimate connection with the circulation of the blood and the pores of the skin. Keep the hair well brushed, and have it frequently cut and shampooed. Avoid "pomatums," washes, and greasy messes of every kind: their smell is objectionable and their effect is generally to dirty the head. Moreover, the public have the good taste to object to the appearance of an artist before them who is evidently "got up" with pains for the occasion. A person who is habitually as clean as he can be, need never fear to appear in public, and may spare himself the disgusting application of "grease" to his head to make himself fit to be seen.

If a moustache is worn, let it be kept within bounds, and not allowed to fall over the mouth, where it would affect the tone of the voice. Do not cut it straight along the lip, but train it right and left, allowing it to grow naturally and uncut. The advantages of the moustache are two: it acts to a certain extent as a respirator, and protects the mouth and throat as the eyelash does the eye, and it helps to conceal any slight distortion of the mouth in singing. This, I confess, is a doubtful advantage:—there ought to be no distortion, and if any were seen, it might, perhaps, be corrected. However, I give the opinion for what it is worth.

The Teeth.—The teeth play such an important part in the production of the voice that every care should be taken to preserve them sound and in good condition—to say nothing of the part which they play in facial expression, a point to which every singer should attend. A bad state of the teeth at once affects the stomach, and that again the voice, so that no apology is needed for drawing the student's attention to this matter. Clean the teeth the first thing in the morning, and the last thing at night. Use a moderately hard brush, better too soft than too hard, with cold water, or better still, just lukewarm. Avoid all "dentifrices" and advertised nastinesses in the way of powders and "fragrant" washes. A mixture of powdered (not "prepared") chalk and orris-root, in the proportion of about three to two, is the best thing to use, and any chemist will make that up for you. Remember to brush the teeth inside and along the top, as well as outside; and if you find this difficult with the ordinary-shaped brush, get one of those which are sold for the purpose. If you find, in spite of your care, that your teeth become discoloured, the cause is probably that your stomach is out of order. In that case, go straight to a doctor, for the consequence of such derangement is that "tartar" is formed on the teeth, and this grows, and pushes back the gums, altering the form of the cavity of the mouth, and so affecting the tone of the voice.

Exercise.—Be as much as you can in the open air. Take moderate walking exercise, but of course do not tire yourself before singing or practising. For male singers, rowing, riding, football and cricket (but without the shouting so often incidental to these games), racquets or tennis, and above all an hour or two weekly in a gymnasium, are excellent things; while for ladies, walking, riding, lawn-tennis, "la grace," and calisthenics are equally useful. If you live in a town, always walk in preference to taking a conveyance, when time and weather permit it.

Never breathe through your mouth in walking, especially at night, or on coming out into the open air after singing. Keep the lips closed, and inhale the air through the nostrils. This is easily acquired, and to be able to do this will be found of great service in taking breath for singing; but out of doors it is most important, for the immediate rush of cold or damp air to the delicate organs of the throat, especially when the latter have been excited by the exertion of singing, is dangerous. It is a good plan, and a profitable use of the time, to practise breathing when walking, by filling the lungs, and utilizing each inspiration for as long a distance as possible.

Dress.—Nothing can be said in favour of our climate for singing. With proper precautions, however, a great deal of trouble arising from this cause may be averted. In summer, as well as in winter, for instance, the writer would strongly urge the wearing of moderately thick-soled boots or shoes. Then, again, the neck and chest should never be exposed alike to a June sun and a December frost; but, instead, it should be moderately and reasonably covered. Great care should be taken never to get wet, especially wet or damp feet.

In going out of hot rooms into the open air much pains should be exercised to keep the chest and throat covered up with an overcoat or cloak—however warm the weather may be. In very severe winter weather the singer will derive much comfort by wearing a flannel chest-protector. Sitting about in gardens, and on lawns, in the evenings on even the warmest days, is not a safe indulgence for the student who is in earnest in the pursuit of his art.

One caution is necessary as to "wrapping up," however. Do not over-do it. The constant use of a "comforter" renders the throat delicate and susceptible. All you have to fear is damp, not cold, in the atmosphere. A comforter, closely wound round the throat, promotes perspiration, and the risk of chill in removing it is greater than in not wearing it at all. Common sense must guide every one. It is impossible to make a rule for all.

Diet.—As to diet: avoid everything that is at all indigestible. Live well, and take plenty of varied nourishment. The singer's system must be well nourished. Chocolate and coffee are better than tea; the latter is too astringent, and affects the nerves too much, if taken in abundance. Sugar, in moderation, should always be used with those beverages, and they should never be taken very hot. Bread is better than toast, but avoid hot or very new bread. Eggs and butter are good. Meat should be plainly cooked and not too well done. Pork tries the digestion too severely to be a desirable food for a singer, and the same may be said of veal. Fish is good for the singer, and he should if possible let it form a part of his daily menu. Creams and pastry are simply poison, and cheese should only be taken in great moderation. Fruit is an excellent thing if judiciously used. But here, again, hard and fast rules are impossible, because constitutions vary. Only remember the old proverb, "We must eat to live, and not live to eat."

Never practise or sing upon an empty stomach, or soon after a meal: either of these habits will unfairly tax your digestive organs, and in so doing damage your voice. After a meal, all the energy of the body is required for the stomach; in a healthy person the extremities will generally be cold after a full meal, and the reason is that the digestive organs are using all the heat and blood that the body can give for their special work. Nature thus points to a rest of every other organ at that time, and you must not fight against Nature by attempting any such severe physical strain as the practice of the voice demands.

All acids and astringents are bad for a healthy throat and stomach. Vinegar, highly-flavoured sauces, almonds and raisins, nuts of every kind should be avoided. Some of these are useful as remedies in relaxed throat, or congestion of the throat, no doubt; but I am speaking simply of what is desirable for a person in a state of health. In cases of cold, hoarseness, or indisposition of any kind, my prescription is, "Don't doctor yourself, but (as Abernethy said) 'Take advice.'" Be very careful and abstemious in the use of spirits. Brandy is decidedly injurious, it heats and inflames the throat, and