be to hold our breath by muscular contraction of the outlet in the throat. This is precisely what we do in straining, and in lifting heavy weights, &c.; but it should never be done in breathing for vocal purposes. Here it must, on the contrary, be our endeavour to train, to the highest possible degree, the powerful muscles of the chest and of the abdomen, instead of throwing the labour intended for them upon the comparatively weak and delicate muscles governing the outlet of the windpipe.

To make the way in which respiration is carried on clearer still, I quote the following interesting and lucid account from Huxley's "Elementary Physiology," fourth edition, p. 104. He compares the breathing apparatus to "a sort of bellows without a valve," in which the chest and the lungs represent the body of the bellows, while the windpipe is the pipe; "and the effect of the respiratory movement is just the same as that of the approximation and separation of the handles of the bellows, which drive out and draw in the air through the pipe. There is, however, one difference between the bellows and the respiratory apparatus, of great importance in the theory of respiration, though frequently overlooked, and that is, that the sides of the bellows can be brought close together so as to force out all, or nearly all, the air which they contain, while the walls of the chest, when approximated as much as possible, still enclose a very considerable cavity; so that even after the most violent expiratory effort, a very large quantity of air is left in the lungs."

Respiration, consequently, consists of two acts—namely, inspiration and expiration. Inspiration may be produced in three different ways—(1) By pushing the chest forward and flattening the midriff, so as to compel the lungs to descend and to increase in volume in order to fill the empty space created by this movement; (2) by extending the ribs sideways; and (3) by drawing up the upper parts of the chest—namely, the collar bones (pl. III, C C) and the shoulder blades. In scientific works the first is called diaphragmatic or abdominal,[B] the second lateral or costal, and the third clavicular or scapular breathing. As, however, these terms convey no meaning to the general reader, I prefer to speak of—(1) Midriff Breathing; (2) Rib Breathing; (3) Collar-bone Breathing. In taking a full, deep inspiration, midriff breathing and rib breathing take place almost together and assist each other—that is to say, the midriff contracts and flattens, and immediately afterwards the ribs extend sideways; with this difference, however, that in men the action of the midriff takes a larger share in the work than the ribs, while in woman, on the contrary, the movement of the ribs is greater than that of the midriff.

Plate IV.

DIAGRAMS ILLUSTRATING THE VARYING CAPACITY OF THE CHEST, ACCORDING TO THE METHOD IN WHICH THE LUNG IS INFLATED.

From Mr. Lennox Browne's "Medical Hints on the Production and Management of the Singing Voice," by permission of Messrs Chappell and Co.

The combined forms of midriff and rib breathing are the right method of inspiration, while collar-bone breathing is absolutely wrong, and should never be made use of. The reasons of this are not far to seek. The lower part of each lung is large and broad, while the upper part is cone-shaped, and very much smaller. It is self-evident, therefore, that by downward and sideways expansion (enlarging the lower part of the lungs) you will inhale a much greater quantity of air than by drawing up the collar-bones. This consideration alone should suffice to prove the utter falseness of collar-bone breathing. Collar-bone breathing has also the additional disadvantage of causing much fatigue, because all the parts surrounding the upper region of the lungs are hard and unyielding, so that a great amount of resistance has to be overcome (the "lutte vocale" of French authors), while the very opposite is the case with the lower part of the lungs.

Mr. Lennox Browne, who was, I believe, the first to direct the attention of English readers to this matter, says,[C] "Clavicular [collar-bone] breathing is a method of respiration totally vicious, and to be avoided. By it the whole lower part of the chest is flattened and drawn in, instead of being distended; consequently the lower or larger part of the lungs is not inflated. It is a method never exercised by nature in a state of health, but only when, from disease, either the abdominal or chest muscles cannot act; and it is the method least efficacious in filling, as it is the one calculated to most fatigue the chest; for it compresses the vessels and nerves of the throat, and this leads to engorgement and spasmodic action of the muscles."

We may well pause here and give another moment to the consideration of this most important subject. The lungs, as we have seen, are the bellows of our vocal organ; they supply the air which is the motive power on which the voice depends. Without air no tone can be produced. Nay, more, life itself must cease without it. Breathing goes on regularly while the voice is silent; but in speaking and singing both inspiration and expiration have to be regulated according to the nature of the phrases to be spoken or sung. If the speaker does not know