ittle of the Old Italian School of Singing. We
do know, however, that the old Italians were an emotional and impulsive
people. Their style of singing was the flexible, florid, coloratura style.
This demanded freedom of action and emotional expression, which more
largely than anything else accounts for their success.

The old Italians knew little or nothing of the science of voice as we know
it to-day. They did know, however, the great fundamental principles of
singing, which are freedom of form and action, spontaneity and naturalness.
They studied Nature, and learned of her. Their style of singing, it is
true, would be considered superficial at the present day, but it is
generally conceded that they did make a few great singers. If the
principles of the old school had not been changed or lost, if they had been
retained and developed up to the present day, what a wonderful legacy the
vocal profession might have inherited in this age, the beginning of the
twentieth century. Adversity, however, develops art as well as
individuality; hence the vocal art has much to expect in the future.

ARTICLE TWO.

THE DARK AGE OF THE VOCAL ART.

Even in the palmiest days of the Old Italian School, there were forces at
work which were destined to influence the entire vocal world. The subtle
influence of these forces was felt so gradually, and yet so surely and
powerfully, that while the profession, as one might say, peacefully slept,
art was changed to artificiality. Thus arose that which may be called the
dark ages of the vocal art,--an age when error overshadowed truth and
reason; for while real scientists, after great study and research,
discovered much of the true science of voice, many who styled themselves
scientists discovered much that they imagined was the true science of
voice.

Upon the theories advanced by self-styled scientists, many systems of
singing were based, without definite proof as to their being true or false.
These systems were exploited for the benefit of those who formulated them.
This condition of things prevailed, not only through the latter part of the
eighteenth century and the first half of the nineteenth, but still
manifests itself at the present day, and no doubt will continue to do so
for many years to come.

The vocal world undoubtedly owes much to the study and research of the true
scientist. All true art is based upon science, and none more than the art
of voice and of singing.

Science i