cal. The vocal organs are the most
sensitive of any in the human economy: they betray at once the mental
condition of the individual. Joy is a great tonic, and acts on the
vocal cords and mucous membrane as does an astringent; a brilliant and
clear quality of voice is the result. Grief or Fear, on the other
hand, being depressing emotions, lower the vitality, and the
debilitating influence communicates to the voice a dull and sombre
character.

On this question of colour in the voice, the masterly writer and
critic Legouve says: "Certain particular gifts are necessary if the
speech is to possess colour. The first of these is Metal in the voice.
He who has it not will never shine as a colourist. The metal may be
gold, silver or brass; each has its individual characteristic. A
golden voice is the most brilliant; a silvery voice has the most
charm; a brassy voice the most power. But one of the three
characteristics is essential. A voice without metallic ring is like
teeth without enamel; they may be sound and healthy, but they are not
brilliant.... In speech there are several colours--a bright, ringing
quality; one soft and veiled. The bright, strident hues of purple and
gold in a picture may produce a masterpiece of gorgeous colouring; so,
in a different manner, may the harmonious juxtaposition of greys,
lilacs and browns on a canvas by Veronese, Rubens, or Delacroix.

"Last of all is the velvety voice. This is worthless if not allied
with one of the three others. In order that a velvety voice may
possess value it must be reinforced (_doublee_) with 'metal.' A
velvety voice is merely one of cotton."[1]

[Footnote 1: These admirably expressed views illustrate and exemplify
the principles I laid down in a _conference_ (Paris, 1902) on
Voice-Production (_Pose de la Voix_), wherein I demonstrated the
possibility of acquiring, by the aid of the resonating cavities, a
greater sonority, more in conformity with the demands and necessities
of present-day music.]

It may be of interest to notice that the quality which in France is
designated "timbre," is called by the Italians "_metallo di voce_,"
or, "metal of the voice." Those who heard Madame Sarah Bernhardt
fifteen or twenty years ago will readily understand why her countless
friends and admirers always spoke of her matchless organ as "_la voix
d'or_."

The late Sims Reeves, the famous tenor, was a perfect master of all
varieties and shades of vocal colour, and displayed