ing to the art which he taught. It is to teachers
particularly that the introduction of this auxiliary into the study of
the vocal mechanism may have been of some value. I have lately learned
that several singing teachers use these artificial larynxes. Can
priority be claimed for Delsarte? I can only affirm that he refers to
them in a treatise signed by himself, and dated in the year 1831.

I shall not enter into the details of this contingent side of the
method; the statement of the facts is enough to lead all those who are
interested, to devote thought and study to the matter. I prefer to dwell
upon the things which Delsarte carried with him into the grave, having
written them only on the memories of certain adepts destined to
disappear soon after him.

_On Respiration._

Delsarte established his theory of _diaphragmatic breathing_ in
accordance with his anatomical knowledge. It consists in restoring the
breath, without effort, from the commencing lift of the diaphragm to the
production of the tone. He opposed it to the _costal breathing_, which
brings the lungs suddenly into action by movements of the chest and
shoulders, and causes extreme fatigue. "The chest," he says, "should be
a passive agent; the larynx and mouth, aiding the diaphragm, alone have
a right to act in breathing; the action of the larynx consists of a
depression, that of the mouth should produce the canalization
(concavity) of the tongue and the elevation of the veil of the palate."

To this first idea is attached what the master taught in regard to the
distinction between _vital breath_ and _artificial breath_. It is
certain that one may sing with the natural respiration; but it is
rapidly exhausted if not augmented by additional inhalation; for it
results in dryness and breathlessness, which cause suffering alike to
singer and listener. The _artificial breath_, on the contrary, preserves
the ease and freshness of the voice.

_On the Position of the Tone._

The placing of the tone was one of Delsarte's great anxieties. According
to his theory, the attack should be produced _by explosion_. He rejected
that stress which induces the squeezing out of the tone after it is
produced. The way to avoid it is to prepare rapidly and in anticipation
of the emission of the note.

These ideas demand oral elucidation; but it is enough to declare them,
for teachers and singers to recognize their meaning.

_On the Preparation of the Initial