small napkin covering the tip of the organ. The
auto-laryngologist must, of course, control his own tongue, and better
if without any hand contact.

It is scarcely necessary to say that before placing the mirror in the
mouth its temperature must be tested by touching it for a moment
against the back of the hand.

Nearly all the facts of importance in phonation, several of which have
already been referred to, or will be mentioned in the "Summary and
Review" below, could only have been discovered by the use of the
laryngoscope. The difference in the larynx in the two sexes and in
different types of singers and speakers, though open to ordinary
observation, dissection, etc., are still better brought out by the use
of the instrument now under consideration.

One naturally expects any organ to be larger and heavier in the male
than in the female, and to this the larynx is no exception; and
individual differences are equally pronounced. There may be almost if
not quite as much difference between the larynx of a barytone and of a
tenor as between that of an ordinary man who is not a public
voice-user and the larynx of the ordinary woman. The larynx of the
contralto may in its size and general development remind one of the
same organ in the male. The vocal bands of the bass singer may be to
those of a soprano as are the strings of a violoncello to those of a
violin--using these examples, it will be understood, merely as rough
illustrations.

The change in the size of the larynx produced by even a few months'
judicious practice may be astonishing. As already hinted, it is
important that in bringing about this development exclusive attention
should not be given, as is sometimes done, especially in the case of
speakers, to the lower tones, though it is not so important for them
as for singers to have an even development up to the highest range.

But again the author would urge the voice-user to aim at attaining
that delicate control of muscles (neuro-muscular mechanisms, to speak
more scientifically) so important for the finest vocal effects, rather
than be satisfied with mere power. The vocalist and speaker must
indeed be athletic specialists, but they should not aim at being like
the ordinary athlete, much less mere strong men of the circus.

It is said that Madame Mara within her range of three octaves could
effect 2100 changes of pitch, or 100 between each two tones of the
twenty-one in her compass, which would represe