triangular and hollowed out; their sides taper upwards and
terminate in points which are bent slightly backwards, and they have
each two projections, one pointing forwards (pl. VII, 3) and the other
outwards and backwards (pl. VII, 4). It will be convenient to have a
special name for the projections pointing outwards and backwards, which
we will therefore call the Levers.

The Pyramids are attached with their hollow bases to the borders of the
ring (pl. VII, 5), and they are capable of executing rotary movements
with surprising freedom and rapidity. Their inner sides may be made to
run parallel or to diverge. In addition to this they can be drawn
towards each other, or away from each other, so that their summits may
either be widely separated or brought close together.

=The Vocal Ligaments= are two ledges of elastic tissue covered with a very
delicate membrane. Each one of them is connected along its whole length,
on one side, with the shield cartilage. The vocal ligaments are attached
by their hinder ends to those little projections of the pyramids which
point forwards (pl. VII, 3, 3), and by their front ends to the centre of
the shield (pl. VII, 6), where the two plates meet under a more or
less acute angle.

[Illustration: PLATE VII.

SIDE VIEW OF THE VOICEBOX, OR LARYNX, SHOWING THE INTERIOR OF IT, THE
RIGHT PLATE BEING REMOVED.

1, 2. PYRAMIDS (ARYTENOID CARTILAGES).

3, 3. FRONT PROJECTIONS OF THE PYRAMIDS.

4. LEVER OF THE RIGHT PYRAMID.

5. UPPER BORDER OF THE RING.

6, 3, 3. VOCAL LIGAMENTS.

7. LID.

8. SHIELD.

9. LEFT UPPER HORN OF THE SHIELD.

10. RING.

11. WINDPIPE.
]

These vocal ligaments are generally called the vocal cords, but
this term is misleading, as it implies strings like those, for
instance, of the violin, which are attached only at either end and
are free at every other point. This, however, as we have just seen,
is not the case, the "Cords" being free only along their inner
edges. The name "Vocal Bands," which German physiologists have
substituted for "Vocal Cords," does not mend the matter, as it is
open to exactly the same objections. The term "Vocal Lips," also
used by some writers, is, in my judgment, the most unfortunate of
all, because it conveys a totally wrong idea of these parts, as
will be seen from a description in another chapter of their
movements in the act of singing. I have, therefore, sought