Affairs.

Sec. 29. After a long Exercise, and the Attainment of a true Intonation, of
a _Messa di Voce_, of _Shakes_, of _Divisions_, and _Recitative_ well
expressed, if the Scholar perceives that his Master cannot teach him all
the Perfection of Execution required in the more refined Art of singing
the Airs, or if he cannot always be by his Side, then will he begin to
be sensible of the Need he has of that Study, in which the best Singer
in the World is still a Learner, and must be his own Master. Supposing
this Reflection just, I advise him for his first Insight, to read the
following Chapter, in order thereby to reap greater Advantage from those
that can sing the _Airs_, and teach to sing them.

CHAP. VII.

_Of_ Airs.

If whoever introduced the Custom of repeating the first Part of the
_Air_ (which is called _Da Capo_) did it out of a Motive to show the
Capacity of the Singer, in varying the Repetition, the Invention cannot
be blam'd by Lovers of Musick; though in respect of the Words it is
sometimes an Impropriety.[56]

Sec. 2. By the _Ancients_ beforementioned, _Airs_ were sung in three
different Manners; for the Theatre, the Stile was lively and various;
for the Chamber, delicate and finish'd; and for the Church, moving and
grave. This Difference, to very many _Moderns_, is quite unknown.

Sec. 3. A Singer is under the greatest Obligation to the Study of the
_Airs_; for by them he gains or loses his Reputation. To the acquiring
this valuable, Art, a few verbal Lessons cannot suffice; nor would it be
of any great Profit to the Scholar, to have a great Number of _Airs_, in
which a Thousand of the most exquisite Passages of different Sorts were
written down: For they would not serve for all Purposes, and there would
always be wanting that Spirit which accompanies extempore Performances,
and is preferable to all servile Imitations. All (I think) that can be
said, is to recommend to him an attentive Observation of the Art, with
which the best Singers regulate themselves to the Bass, whereby he will
become acquainted with their Perfections, and improve by them. In order
to make his Observations with the greater Exactness, let him follow the
Example of a Friend of mine, who never went to an Opera without a Copy
of all the Songs, and, observing the finest Graces, confin'd to the most
exact Time of the Movement of the Bass, he made thereby a great
Progress.[57]

Sec. 4. Among the Things worthy of Considerat