on the law of opposition in movements,
nature's and her father's great law. She gave, for example, an
interesting series of gestures, which might be called the ascending
scale from doubt to conviction, in which the head moves simultaneously
with the arms and in an inverse direction. The figure on page 547*
represents the angles made by the arms and shoulders and, at the same
time, those made by the head and shoulders to express the accompanying
ideas.

Delsarte used to say: "When I am speaking, stop me in the moment of my
greatest exaltation, and I defy you to find me, from my head to my feet,
in a position contrary to my method."

"Voice-culture for the speaking-voice is not an art that is cultivated
in France," Mme. Geraldy said, "What can you do to change your voice? It
was given to you by nature; you cannot change your vocal cords."

Mme. Geraldy returned to France, bearing with her the hope that her
efforts have not been altogether unsuccessful in making the great work
of her father's life better known to Americans, better understood and
appreciated by them.

Part Seventh.

Addenda.

Trueness in Singing.

Notes of a Lecture by Delsarte, Taken by His Pupil A. Giraudet, of The
National Academy of Music, Paris.

By a most reasonable deduction derived from his admirable principles,
Delsarte reckoned three modes or degrees of correct singing:

1. Absolute trueness;

2. Temperate trueness;

3. Passional trueness.

Absolute trueness is that adopted by theorists, who divide the gamut
into five notes and two semi-notes; the note into nine commas, or shades
of tone; the chromatic semi-tone into five, and the diatonic semi-tone
into four.

Thus from C to C# they count five shades of tone; whereas from C to Db
they count but four. Likewise, from D to Db they count five shades of
tone, and from D to C# but four.

[Illustration: Absolute scale]

The difference of a comma between the D flat and the C sharp, seemingly
a very slight difference, is, nevertheless, most important in singing,
as we shall see later on. But performers, to simplify our musical
system, have divided this comma into two, making synonymous notes of D
flat and C sharp; that is to say, notes having the same sound. The note
is, therefore, practically divided into two semitones of four commas and
a half. This is what is known as moderation or temperate trueness.

[Illustration: Temperate scale]

Temperate trueness is defecti