ion which might never have been waked to life save by that appeal.

I return to the practice of swelled tones upon the note E flat. This
note certainly acquired broad and powerful tones about which there was
nothing forced, and which were most agreeable. This development was
communicated to the neighboring notes. But did not these advantages take
from the compass of the scale? If so, were they a counterbalance to the
injury? I repeat that I dare not affirm anything in this respect.

Delsarte, assuredly, did not give as much space to vocalization as other
teachers, especially those of the Italian school.

It is also undeniable, that dramatic singing--the style which he
preferred--is dangerous to the vocal organism; particularly when one
practices the _shriek or scream_, which produces a fine effect when
skilfully employed, but is most pernicious in excess.

Delsarte was too conscientious an artist not to sacrifice his voice, at
certain moments, to his pathetic effects; but he was very careful to
warn his scholars against the abuse of this method; he directed them to
use it but very rarely, and with the greatest precaution.

I should also say, in his favor, that light voices were very differently
trained from heavy ones. Madame Carvalho, who began her studies in his
school, did not alter the flexible but feeble organ she brought there.
Mlle. Chaudesaigues and Mlle. Jacob, under Delsarte's tuition, attained
to marvels of flexibility, without losing any of their natural gifts.

_Appoggiatura._

Delsarte brought about a revolution in French music in everything
relating to appoggiatura, or rather, he restored its primitive meaning.
The way in which he interpreted it has created a school.

He taught that the root of the word--appoggiatura--being _appuyer_ (to
sustain), the chief importance should be given in the phrase, to
appoggiatura, by extent and expression; the more so that this note is
generally placed on a dissonance; and, according to this master's
system, it is on the dissonance--and not at random and very frequently,
as is the habit of many singers--that the powerful effect of the
vibration of sound should be produced.

Contrary to this opinion, the appoggiatura was for a long time used in
France as a short and rapid passing note; it thus gave the music a
vivacious character, wholly discordant with the style of serious
compositions; the music of Gluck was particularly unsuited to it.

_Roulade and