r -t r- i T' 
 
 ¥$■$***♦ 
 
 » ▼ ^ 
 
 MPMWMMV) 
 
 Imw 
 
 
BOUGHT WITH THE INCOME 
 FROM THE 
 
 SAGE ENDOWMENT FUND 
 
 THE GIFT OF 
 
 Benrtj W. Sage 
 
 1891 
 
 Am.s.^ $/..7/i& 
 
 HJT "" 
 
Cornell University Library 
 MT 821.L96 1895 
 
 The philosophy of voice showing the it 
 
 3 1924 021 787 068 
 
A — Point of resistance. 
 B — Compressed air. 
 C — Point of voice. 
 
THE 
 
 PHILOSOPHY OF VOICE: 
 
 SHOWING i I I 1 
 
 THE BIGHT AND WRONG ACTION OF VOICE 
 IN SPEECH AND SONG. 
 
 WITH LAWS FOR SELF-CULTURE. 
 
 BY 
 
 CHARLES LUNN. 
 
 " New-fangled theories have not as yet improved upon, and are not 
 likely to improve upon, good old-fashioned practice." — The Times. 
 
 "Get your voice disciplined and clear, and think only of accuracy, 
 never of effect or expression . . . most likely there are very few feelings 
 in you at present needing any particular expression ; and the one thing 
 you have to do is to make a clear-voiced little instrument of yourself, 
 which other people can entirely depend upon for the note wanted." 
 
 , Rusk in. 
 
 EIGHTH EDITION, ENLARGED. 
 
 LONDON: 
 BAILLIERE, TINDALL AND COX, 
 
 20 & 21, King William Street, Strand.. 
 
 W. REEVES, 185, FLEET STEEET. 
 
 1895. 
 
 [All rights reserved.] 
 
Cornell University 
 Library 
 
 The original of this book is in 
 the Cornell University Library. 
 
 There are no known copyright restrictions in 
 the United States on the use of the text. 
 
 http://www.archive.org/details/cu31924021787068 
 
THE MEMBERS OP THE MEDICAL PROFESSION, 
 
 A PROFESSION IN WHICH SELF-ABNEGATION AND SCIENTIFIC 
 RESEARCH HAVE EVER REIGNED SUPREME, 
 
 THIS ESSAY, 
 
 WITH EVERY FEELING OF ADMIRATION, IS RESPECTFULLY 
 DEDICATED. 
 
PBEFACE TO EIGHTH EDITION. 
 
 The exceptional success of this work has induced 
 me to revise it, and add much entirely new matter, 
 unattainable from other sources, to the educational 
 part, in order that it may be an authoritative text- 
 book in the hands of both master and pupil, and of 
 clear direction to those who cannot obtain private 
 tuition. This is the only work on voice based upon 
 the relationship of mind to body, and results 
 founded on this relationship are reached in far less 
 time and with greater certitude than by the usual 
 unphilosophical and tentative methods now in 
 vogue. At the time these papers were written no 
 attempt had been made to explain the difference of 
 internal form between the voice organs when pro- 
 ducing musical and when producing unmusical 
 tones. Many works have since appeared, but to 
 an expert they bear internal evidence of coming 
 from the hands of those who have never learned to 
 sing. I have given two sketches, one showing the 
 voice organs as warped by association with twenty 
 or more years of spoken words, the other showing 
 
viii Preface to Eighth Edition. 
 
 the internal form as restored to its normal balance 
 by rightly-directed work. 
 
 I have gone for analogy to the song-birds, for 
 these are constant living examples of right voice- 
 production as contrasted with human error. 
 
 One of the greatest, if not the greatest, of the 
 few representatives then left of the old school (Signor 
 Cattaneo, Bosio's master) was my trainer. Finding 
 his teaching opposed to most modern views, I felt it 
 my duty to give up a promising public career for the 
 sake, if possible, of rescuing from complete loss the 
 traditions consigned to my care. Here is indepen- 
 dent testimony of his school : 
 
 Quality. — " Mr. Lunn sang with a sweetness and 
 tone forcibly reminding the hearer of Giuglini." — 
 Worcester Herald, 1864. 
 
 Compass. — " Mr. Lunn's voice is of wonderful 
 compass (three octaves all but one note) and re- 
 markable power, and he knows well how to use it." 
 —Birmingham Gazette, April, 1864. 
 
 Style.— " The most noticeable point (of Beet- 
 hoven's 'Engedi') was the tenor singing of Mr. 
 Lunn, who that evening made his debut before a 
 Cheltenham audience, and who promises to take a 
 high position in public favour."— Musical Times, 
 1866. 
 
 " Everyone who has had the privilege of hearing 
 Mr. Lunn sing must have been struck by the rare 
 union of power and sweetness in his noble voice." 
 —Sir Morell Mackenzie, "Hygiene of Vocal 
 Organs," third edition, p. 98, 1887. 
 
 "Within seven or eight years previous to 1891, 
 
Preface to Eighth Edition. ix 
 
 when I wrote 'Die Menschliche Stimme,' I many a 
 time had the opportunity and pleasure of listening 
 to Mr. Charles Lunn's, my teacher's and esteemed 
 friend's voice productions, with which, by way of 
 exemplification, he used to intersperse his lessons, 
 given either to me or, in my presence, to others. 
 Although in 1891 he was past fifty years of age, his 
 masterly -trained voice possessed still the full vigour, 
 mellowness and flexibility of that of a youth. As 
 to compass, it is true, it then had lost two notes, as 
 
 it reached only to the harmonic C |<g 
 while formerly, according to his own 
 statement, which I have no reason 
 
 zp=z 
 
 statement, wnicn 1 nave no reason __^. _. 
 
 to doubt, it went as high as E \> f^y— 
 
 yet even so, it presented the very *J 
 respectable compass of over two octaves 
 
 and a half, i.e., from the bass E \> ^§E: 
 
 i 
 
 apr 
 
 to the harmonic C ^ iz=Ez=: and . it served as 
 a fair specimen of *J 'durability of 
 
 voice.' Thus Mr. Lunn evidences, in his own 
 person, the excellence of that school of which 
 he is such an able exponent and indefatigable 
 champion." — Erdington, Oct. 6, 1894. (Signed) 
 P. L. Ignatius Trueg, O.S.B., translator of this work. 
 
 My own impression of myself is that I am ex- 
 ceptionally ill-formed for superior voice, and am a 
 living example of what proper training did with the 
 worst material. 
 
 Thus much for art qualifications ; as regards 
 
Preface to Eighth Edition. 
 
 science, the whole principle of the natural physics 
 of voice must have been revealed to me when a boy 
 of fifteen, studying ornithology in its best school — 
 the school of Nature. 
 
 The following quotations from foreign papers 
 will show the need of a higher class of teachers : 
 
 " Liszt tells us the race of singers has died out ; 
 but it would seem as if the race of singing-masters 
 had gone after them. Continental singers and 
 singing-masters are very much below par, and 
 Petersburg is no exception to the rule." — St. Peters- 
 burg correspondent, Magazine of Music, September, 
 1888. 
 
 " Our conservatory is absolutely valueless ; in the 
 classes of song they sing no more. . . . The 
 feebleness of the studies is sufficiently demon- 
 strated."— Matin (leading art paper in Paris). 
 
 " What are the means adopted to dam the torrent 
 that menaces to draw everything in song to ruin ? 
 That the art of song is on an inclined plane, and 
 threatened with complete ruin, no one now dares 
 to doubt ! How many young persons are there 
 with throats of gold reduced in shortest time to a 
 most miserable state by the crass ignorance 
 {Vignoranza crassa) of their professors ! The 
 Minister of Art at Eome should convoke all the 
 masters of song of the various conservatoires, and 
 make them pass publicly an examination, theoretical 
 and practical."— II Mondo Artistico, Milan, Sep- 
 tember, 1888. 
 
 It has been my endeavour to collect proof of my 
 system from other sources, so that the odium of 
 
Preface to Eighth Edition. xi 
 
 originality may be removed from me. The eminent 
 singer Clara Novello had the most perfect pro- 
 duction and technique of any English singer ever 
 heard. She sang at La Scala Carnivale and 
 Quaresima, 1854. In a treatise published by her 
 sister, Sabilla (1856) are embodied the principles 
 on which she was trained, and they are the same as 
 those of my master. Eichard Bacon, herein quoted, 
 wrote " Vocal Science " in 1824, when singerssang 
 and teachers taught; and Madame Mara (born 
 1749) said : " People cannot teach what they don't 
 know — my scholars have my singing to imitate, 
 those of other masters seldom anything but the 
 tinkling of the pianoforte" (Dr. Kitchener on 
 Vocal Music, 1821). 
 
 I believe I am right in stating this is the only 
 scientific work written by a singer trained on the 
 highest lines of the old forsaken school. Many 
 modern trainers refer to Lamperti as representing 
 that school, but it is not so. His views were un- 
 philosophical and wrong. 
 
 " Lamperti, the Italian singing-master who has 
 just died, came into notice as an accompanist. 
 While accompanying he matured his views on 
 singing. Earlier in life he acted as orchestral con- 
 ductor and organist, but he does not seem to have 
 ever been a singer." — Musical Herald, 1892. 
 
 The following lines from Pope will give the key- 
 note of the system : 
 
 " First follow Nature, and your judgment frame 
 By her just standard, which is still the same ; 
 Life, force, and beauty must to all impart 
 At once the source, and end, and test of art." 
 
xii Preface to Eighth Edition. 
 
 The frontispiece is merely outlined as Mr. 
 Buskin suggested to me, but I fear it realizes his 
 prediction ; however, it serves its purpose, and, I 
 contend, proves my point. 
 
 Last year the British Medical Association threw 
 out this piteous appeal, but the heads of musical 
 colleges did not hasten to snatch the gauntlet up : 
 "For some years past it has been matter of 
 common observation that clergymen of all denomi- 
 nations, barristers, singers, etc., are frequently dis- 
 abled from following their vocation, due to improper 
 use of voice. Inquiry and observation have taught 
 those interested in such matters that a large number 
 of teachers of singing are not themselves acquainted 
 with the best method of using the voice, and are 
 therefore not able to impart it to then pupils. 
 Seeing how much distress is occasioned by the lack 
 of this instruction, the Council of the British 
 Medical Association venture to beg that you will 
 take the matter into your grave consideration." 
 
 When will this be done ? 
 
 CHABLES LUNN. 
 
 London, December, 1894. 
 
THE PHILOSOPHY OF VOICE. 
 
 INTBODUCTION. 
 
 THE VOICE OEGANS OP BIEDS. 
 
 The superior larynx (A, frontispiece) of birds is 
 situated at the base of the tongue, and its function 
 is to rule, measure, or suspend the escaping breath, 
 whether voiced or unvoiced ; it answers to the false 
 cords in man (p. 72). The superior larynx (A) of 
 these perfect voice-producers has solely to do with 
 the natural physics of voice, while the inferior 
 larynx (C), which is pushed down into the chest, 
 has solely the musical part, not the resisting part, 
 of the work. The corresponding part to C in man 
 is the true cords (p. 72). The space (B) between 
 A and C in birds is seen to swell in response to the 
 power of voice. This is owing to varying degrees 
 of compression of the air, and it shows by its bulge 
 the backward push in true voice-production. Its 
 corresponding part in man is the ventricles (p. 72). 
 Dr. Lardner nearly got the truth when he wrote : 
 " The drum itself is the organ by which the in- 
 tensity of the sound is increased, and is analogous 
 
14 The Philosophy of Voice. 
 
 to the laryngeal ventricles of mammifers " 
 ("Animal Physics," vol. ii., p. 623). The sketch 
 given as frontispiece is taken from Gould's drawing 
 of the sedge-warbler ; it is a polyglot, so is typical 
 of the species. The greater volume and intensity 
 found in the voice of a bird in comparison with 
 that of a man, taking respective sizes into con- 
 sideration, is owing to the greater proportional 
 space between the top part of the instrument and 
 the lower part. It is a self-acting instrument, 
 obedient within its limitations to the will. 
 
 A thrush perched at the top of an ash-tree in 
 my garden begins pouring out its full ecstasy of 
 song at daybreak, and, with slight intervals for 
 refreshment, ends at sunset. This will go on for 
 two months or so, without the slightest appearance 
 of fatigue or the slightest sign of loss of tone in 
 voice. 
 
 This is the mode of voice-production that in the 
 following treatise I have endeavoured to induce in 
 human beings, and define its cause. 
 
 A singular proof of the use of caverns as 
 resonators multiplying sound is found in those 
 birds whose voices are comparatively fixed, such 
 as the common wild duck. There is no capacity 
 of contraction or expansion as there is in us, for 
 the space is bone, and hen birds have it not. 
 
 Yarrell writes : " The column of air on the right 
 side of the bird, and in the representation, goes 
 direct from the right lobe of the lungs to the 
 tracheal tube ; but the column of air on the left 
 side, on passing through the bronchial tube, is 
 
The Philosophy of Voice. 
 
 15 
 
 opposed by the descending edge, and, being divided 
 by it, a portion is sent in circles round the inner 
 edge of the cavity before it becomes united with 
 the air from the other lobe in the tube common 
 to both. A compound tone of voice is thus pro- 
 duced, by which wild-fowl shooters can distinguish 
 males from females of the same species in the 
 darkest night."—" British Birds," vol. iii., p. 180, 
 1843. 
 
 SECTION OF WILD DUCK'S TKAOHEA. 
 
PAET I. 
 
 " All beings contain but three elements, namely, substance, force, 
 and law : substance, which is their centre of being ; force, which is 
 their action ; law, which is the measure of their act'on." — P£:re 
 Laoordaike. 
 
 Oneness of being is a necessary property of a 
 living body, and in order for the will to operate 
 there is required an external unity of the parts, 
 of the members one with another, and of all with 
 their common head. If their external unity is 
 interrupted, the intrinsic principle of oneness is 
 gone, and the power of self - manifestation con- 
 tracted or destroyed. In learning to play upon 
 instruments external to man, the eye considerably 
 assists the mind ; but in learning to play upon our 
 own instrument we are learning to act through 
 an invisible thing that is part of ourselves ; conse- 
 quently, the laws of obtaining control are not the 
 same as acquiring mastery over an instrument 
 detached and inanimate. 
 
 In the outset it is important that the author 
 inform the reader clearly of the first principles on 
 which he rests his school. "We are mind and 
 body. We share in the laws of matter in so far 
 as we are material ; but our soul, or intellect, or 
 
The Philosophy of Voice. 17 
 
 mind — whatever the reader likes to call it — is the 
 life, and this life informs and rules our bodies 
 within the limits of their capacities; knowledge 
 extends in degree a capacity, ignorance contracts 
 it. St. Thomas Aquinas teaches that the body 
 does not possess the soul, but that the body is 
 possessed by it ; that the soul is complete and 
 entire all over the body, and in each part of it, 
 and capable of manifesting itself in any given 
 locality of its possessions by action. Huxley con- 
 siders us as "conscious automata"; but this 
 involves a denial of Will. Bain calls man " a 
 double-faced unity." John Stuart Mill said 
 "thought and matter are not merely different, 
 but are the opposite poles of existence, and the 
 opposite of material existence is immaterial exist- 
 ence " ; he therefore considers man as a united 
 diversity. Whichever way we look at it, we believe 
 we have a Memory to recall the past, a Will to rule 
 the present, and an Understanding to guide the 
 future. Will is a weight which, put on one side a 
 balanced scale, makes the other " kick the beam." 
 Carpenter defines it as " a determinate effort to 
 carry out a purpose previously conceived " ; and 
 Eev. M. Maher, S. J., says : " Yolitions cannot pro- 
 ceed from nothing ; they must have a source from 
 which they flow " (" Psychology," chap, xx., p. 444). 
 The sequence of the Understanding is this : we first 
 perceive a thing; then it sinks into our minds, 
 and we apprehend it; then we bring in all the 
 arguments in favour of it, and we comprehend it ; 
 then, lastly, all the arguments that can be brought 
 
 2 
 
18 The Philosophy of Voice. 
 
 against it, and if it bear this test we are convinced 
 of it. From conviction comes judgment, from per- 
 ception mere opinion. 
 
 Vital Force is a store of life; we call it "fresh- 
 ness" in a horse, " f riskiness " in a kitten, and, 
 sometimes, "mischief" hi a boy. In the young 
 it manifests more its excess, and its attempt at 
 exhaustion, because it is shut up in a smaller area 
 — that is, enclosed in a smaller space. 
 
 In our life we have, primarily, automatic actions, 
 like the beating of the heart ; then we have, 
 secondarily, automatic actions which have to be 
 learned by Will locating vital force, but when 
 learned, the supply of vital force keeps up the 
 action until the store is spent, and under such 
 condition the Will is released to operate inde- 
 pendently elsewhere. The location of vital force 
 is not the consumption of force by Will, but the 
 application of a reserve of life ; and its application 
 goes on, when located, until the store is exhausted. 
 Then, and not till then, the Will draws on the 
 surplus balance, and in extreme circumstances has 
 the power to create a deficit. The recuperative 
 power of Nature restores by rest the lost equi- 
 librium. 
 
 Then there is the location of attention. This 
 is purely spiritual. A watchmaker may have a 
 dozen watches before him, the mechanical tick of 
 which is identical in all; but by paying attention 
 to the one he wants to observe he intensifies his 
 perception of the one, and lessens, to himself, the 
 force of the tick of the others. The bystander 
 
The Philosophy of Voice. 19 
 
 does not realize this, because he has no wish. 
 There the Will rules, not the Body. The same 
 intensification of a receptive faculty can be brought 
 about by drugs, but the Will is then incapable of 
 selection. In this latter case the Body rules, and 
 not the Will — Matter versus Spirit, re Spirit versus 
 Matter. 
 
 But we have another point of consideration, 
 which may be called the elastic bridge; that is, 
 how much, during life, Spirit will yield to Matter 
 and Matter yield to Spirit. Let me put the rela- 
 tionship of mind to body thus : As the extrinsic 
 principle of the unity of a body is the union and 
 communion, co-ordination and subordination, of 
 its head and members, so the intrinsic principle 
 of its unity is the abiding presence within it of 
 our spiritual life-giving soul. 
 
 Singers and voice-trainers have never considered 
 the balance of forces. Take physical forces. If 
 a man go up in a balloon, as he ascends so the 
 air-pressure on his skin decreases, the physical 
 action of the heart being the same. If he go up 
 very high the blood is forced out of his ears, nose, 
 etc., and he may go up so high that it even oozes 
 out of the pores of his skin. This is the com- 
 pulsory result of the decreased physical resistance 
 given to a physical force acting in opposition to it 
 — the weaker yields, the stronger rules. 
 
 But now take the cross-action between spiritual 
 and physical forces — for we are mind as well as 
 body. Labour will make us perspire ; so will fear, 
 and anger, or anxiety. By imagining the intensity 
 
20 The Philosophy of Voice. 
 
 of anguish that so increased the force of circula- 
 tion, the resistance being the same, that sweat like 
 blood exuded through the skin, we get a faint idea 
 of the "Agony in the Garden." 
 
 The chief characteristics of the old Italian school 
 were ease, power, volume, and endurance : four 
 characteristics shown now as ever by our song- 
 birds ; and we, like them, have to obtain effortless, 
 full, sustained, and beautiful tone if we wish to 
 sing well. In order to do this we must have our 
 bodies right, and our minds must perceive Where 
 to Will, How to Will, What to Will, and— what 
 is most important — What not to Will. A pianist 
 cannot strengthen his third finger by using the 
 fourth ; and in like manner a student of song 
 cannot strengthen his voice by falsely placing or 
 falsely directing his Will. To one student who 
 fails through want of ability, thousands fail 
 through want of clearness of direction on the part 
 of the trainer and imperfect perception on their 
 own. A student must always keep in mind what 
 he wishes to attain ; it is not any sound that will 
 do, but only beautiful sound, and beautiful sound 
 is the result of clearness, smoothness, volume, and 
 intensity. 
 
 The old school was celebrated for these con- 
 ditions, but specially for volume,* a property 
 modern singers lack. 
 
 * The Daily Telegraph, writing on Alboni's appearance at 
 Rossini's funeral, said : " The splendour of her massive voice was a 
 revelation to many. The greatest voice that has been heard in our 
 generation has lost nothing of its pristine luscious sweetness. The 
 style, moreover, of the vocalist belongs to a former school, the 
 secret of which seems to have been lost." 
 
The Philosophy of Voice. 21 
 
 To obtain a knowledge of vocal emission, the 
 conclusions arising from different aspects of ob- 
 servance must be made to agree. Professor Huxley 
 says: "Before you can possibly be safe in dealing 
 with Nature, you must get two or three kinds of 
 cross-proofs, so as to make sure not only that your 
 hypothesis fits that particular set of facts, but that 
 it is not contradicted by some other set of facts 
 which is just as clear and certain." As a scientific 
 basis, we have the observations of the anatomist, 
 who has pointed out, irrespective of results, what 
 the instrument is, and what he has gained from 
 the instrument acting by itself, as he imagines, in 
 accordance with natural laws. Then we have a 
 number of theories, more or less tenable, deduced 
 from the complex results obtained from the instru- 
 ment acting in connection with other influencing 
 causes. Of these theories, some have been drawn 
 from the instrument acting in strict accordance 
 with Nature ; others, as in the case of all laryngo- 
 scopy observation, from the instrument more or 
 less distorted ; and many others are pure inventions 
 of the imagination. 
 
 We have the theories of unscientific vocalists ; 
 we have the theories of musicians who reason by 
 analogy; and we have the theories of scientific 
 men who cannot sing or produce aright their own 
 voices. It is my privilege to explain away their 
 differences, correct their errors, and raise their 
 standard. 
 
 It is singular that in all experiments, both on 
 the living and on the dead, the most important 
 
22 The Philosophy of Voice. 
 
 point seems to have been overlooked, and that is, 
 that there is beautiful as well as ugly vocal tone; 
 that beautiful sound is the natural result of true 
 adjustment of an instrument over which the orator 
 or singer has absolute unfelt control, while ugly 
 sound is but a crippled result of solely a partial 
 control. There have never been any attempts 
 accurately to define wherein the difference lies 
 between a true and false use of the human instru- 
 ment of sound, nor has anyone tried to show the 
 induction of error, and trace its corrective study. 
 
 With a view to secure this beauty of tone essential 
 to the art of singing, the voice-trainer has to re- 
 instate a control proper to Nature, which control 
 has become weakened by the association of articu- 
 lative speech with vocal utterance, causing (1) a 
 perpendicular and (2) a horizontal weakness — 
 purely a physical disadjustment, in effect causing 
 the sound to be feeble, dead, and only partially 
 responsive to the will. We must correct the 
 horizontal weakness by a right adjustment of the 
 horizontal force, and the perpendicular weakness 
 by a right application of the perpendicular force. 
 
 Sound is air in motion obstructed, or air 
 stationary put into motion by an elastic substance. 
 In a string instrument the solid is the active 
 principle, acting on a stagnant fluid ; in a wind 
 instrument the fluid is the active principle, acting 
 on a stagnant solid. Noise is either a single 
 disturbance of air or conflicting disturbances; 
 pleasurable sound is the result of successive and 
 equal disturbances ; so that a noise arising from 
 
The Philosophy of Voice. 
 
 23 
 
 a single disturbance may only want continuity to 
 transform it from offensive into agreeable sound. 
 Where sound results from air resisted forcing itself 
 through a fissure, that sound cannot be musical 
 unless the fissure be symmetrical — that is, unless 
 it be. divisible by two straight lines at right angles 
 into four equal parts. 
 
 E3--0 
 
 Musical sound, as before said, is compounded 
 of clearness, smoothness, volume, and intensity. 
 When air passes through a fixed fissure, clearness 
 results from the smallness of the fissure, smooth- 
 ness from its form, intensity from the force of blast 
 resisted, and volume from air imprisoned in one or 
 more caverns. In a vibratory material, the clear- 
 ness, the basis of the quality, results from the 
 intrinsic nature of the thing ; the smoothness from 
 unimpeded swing; the loudness is owing to the 
 width or amplitude of swing ; and the volume 
 results from reinforcement from attached parts. 
 A vibratory tuning-fork placed on a table has its 
 sound so strengthened thereby that a child, judging 
 by sense of hearing alone, would ascribe the sound 
 to the table, just as a child would suppose a rainbow 
 to be an arch of colour supported by its ends resting 
 on the ground. Vibratory matter placed above air 
 imprisoned in the chest has its so and so strengthened 
 
24 The Philosophy of Voice. 
 
 that many ascribe the sound to the chest itself— 
 hence the term " chest " register. 
 
 The term " head " is the result of the same 
 superficial observation, and to make the physio- 
 logical terms complete, the centre of the voice 
 should have been termed " mouth " register. Of 
 late these misleading terms have been discarded 
 by some for others of a worse kind : " Thick " pro- 
 duction means an unmusical voice impeded by 
 phlegm {voce rauca), while " thin " voice means a 
 tinny tone lacking fulness, and valueless from an 
 art point of view. Thus much for generalities, 
 now for particulars. 
 
 All that we do is dependent upon resistance ; 
 there is a resistance acquired, and there is a resist- 
 ance incidental to our being ; there is a resistance 
 permanent, and another temporal. In all our rela- 
 tionships with the world without, our control is an 
 acquired knowledge of forces acting in opposition ; 
 this knowledge results from numerous past ex- 
 periences, and has grown with our growth. In our 
 own construction there are forces placed in oppo- 
 sition, so that, when in a state of repose, muscles 
 are not inert and flaccid, but balance each other ; 
 this condition is what is termed " tonicity."* With 
 the organ of voice there is an exactly similar condi- 
 tion, which may be termed " the tonicity of voice," 
 and it is the purpose of this work to explain this 
 balance and to show its disturbance by spoken 
 
 * If an arm be dislocated, the muscles which pull inwards ate 
 released from the opposing tension, and considerable and somewhat 
 rude foice is required to draw out the arm sufficiently to replace it 
 in its bocket. 
 
The Philosophy of Voice. 
 
 25 
 
 words. Under this condition of balance breath and 
 cords act equally, the pressure and resistance being 
 equipoised; but there is a small yielding surface 
 presented by the vocal cords being elastic, and we 
 have to consider our two forces, (1) air in motion 
 (breath), and (2) the elastic obstruction (cords). 
 
 (1) The perpendicular force; that is, the pressure 
 acting upwards in man. The following plan of our 
 breath-power will illustrate the first of these two 
 forces. 
 
 Immovable. 
 
 Residual Air. 
 
 /Supplementary 
 Air 
 
 Involuntary 
 
 120 Cubic 
 inches. 
 
 130 Cubic 
 inches. 
 
 Immovable. 
 
 Voluntary 
 
 Voluntary 
 
 Ordinary Inspi- ^ 
 ration. 
 
 Ordinary Expi- 
 ration. J 
 
 Complementary 
 Air 
 
 26 Cubic 
 inches. 
 
 100 Cubic 
 inches. 
 
 }t 
 
 Involuntary 
 
 The residual air is that which we never can get 
 rid of ; then there is the supplementary air, which 
 in ordinary breathing we do not expel, but which 
 we can squeeze out if we will to do so ; after these 
 there is the small quantity of air called Ireath added 
 to the two former quantities, which, both in its 
 exit and entrance, is independent of the will ; 
 lastly, we have what, by willing, we can add, and 
 forcibly draw in, over and above the preceding, and 
 this is the complementary air. On the one side, 
 what is drawn in by Body can be expelled by Will ; 
 
26 The Philosophy of Voice. 
 
 on the other, what is expelled by Will will be 
 drawn in by Body. 
 
 As there is no occasion for a public speaker or 
 singer to do the work himself, when the involuntary 
 contractile muscular force will do it for him, it may 
 be laid down as a Universal Law that Complete 
 Inflation is the first condition for true use of the 
 organ of sound. 
 
 (2) The second or horizontal force is twofold : 
 (a) from right and left of the throat, (&) from front 
 to back of it. The former or perpendicular force 
 depends for its accuracy on this latter or horizontal 
 force. This is the principle by which the breath 
 may be imprisoned ; this necessitates a short in- 
 vestigation of speech. It will be seen that Nature's 
 law is one, and a most simple one ; and that how- 
 ever complicated language may appear, it is re- 
 ducible to a few fundamental principles. 
 
 The first place where breath can be resisted is at 1. 
 This resistance results from a closure of the lips. 
 
 By ceasing to will to hold, an explosion of the air 
 takes place, in result the letter p. By holding with 
 
The Philosophy of Voice. 27 
 
 the tongue at 2, the air is imprisoned ; ceasing to 
 will to hold, an explosion takes place called t. In 
 ordinary expiration, the breath escapes either 
 through the greater passage terminating at the 
 mouth, the column of air in motion striking on the 
 soft palate and elevating it, or it escapes through 
 at 4, and thus acts by the nose. By holding breath 
 at 3 and 4 both passages are blocked, the uvula 
 acting directly in this, occupying the indentation 
 at the base of the tongue, and thereby aiding the 
 resistance ; by ceasing to will to hold, an explosion 
 takes place called k. These consonants, p, t and k, 
 may be termed simple complete obstructives — one 
 a labial, one an arco-palatal, and one a faucial 
 obstructive. The principle in each is one, an act 
 of the will acting in different localities, and causing, 
 owing to the nature of the obstructing force, one 
 explosion of air ; in effect, noise. The difference 
 in result is not owing to difference of principle, but 
 difference of locality in the application of the 
 principle. These consonants can be further in- 
 creased in power by compressing the breath before 
 uttering them. By going lower down still, to 5 
 and 6, we come to vocal utterance as contrasted 
 with whispered articulation — that is, we find the 
 same power of obstruction, but which, if rightly 
 released, causes a continuous vibration ; in effect, 
 true musical sound. The action of this part we 
 have to settle. 
 
 It is better to illustrate by abstraction, as physio- 
 logical sketches are to the living subject useless for 
 teaching purposes, and, indeed, are confusing rather 
 
28 The Philosophy of Voice. 
 
 than aiding ;* so here is given an abstraction of the 
 horizontal force supplied at the lips of the organ of 
 voice. A D represents the outer line of one vocal 
 cord, A D' the outer line of the other vocal cord, and 
 these move together towards the point B. 
 
 Let AD, A D', be two straight lines revolving on 
 the axis A, and describing the segment of the 
 circle C. Let the enclosed triangle represent the 
 space through which the air in breathing passes. 
 If we suppose an equally diffused force propelling a 
 fluid through the fissure, the fluid would escape 
 the most rapidly where the two straight lines are at 
 their greatest separation ; this escape would be un- 
 equal along the whole length of the fissure, in- 
 creasing in proportion to the increased size. This 
 inequality of escape would be less or greater accord- 
 ing as D D' are attracted to the point B or repelled 
 from it. Now, it is clear that a fissure having two 
 sides greater than a third cannot be divided into the 
 required four equal parts unless a point be made at 
 B corresponding to the fixed point at A. If this be 
 done, the points A B being equal, the lines A D, 
 A D', would assume a parallel position. Supposing 
 these lines to represent the boundaries of an elastic 
 substance, they would, under aerial pressure, 
 
 * Writing of the " Relationship to Art of the Science of Organic 
 Form," Mr. Ruskin says : " Man is to take every sort of view ex- 
 cept one — the butcher's view. He is never to think of them (i.e., 
 organic forms) as bones and meat." And again : " No man who 
 had studied the skull as carefully as Diirer did, ever could engrave 
 a face beautifully, for the perception of the bones continually 
 thrusts iteelf upon him in wrong places, and in trying to conquer or 
 modify it, he distorts the flesh." The same objection applies to 
 sketches of the vocal parts. 
 
The Philosophy of Voice. 29 
 
 alternate between parallel lines and ovals, thereby 
 making the escape of the fluid through the fissure 
 relative and equal, i.e., beautiful as a sensation 
 
 A 
 
 called sound. Dr. Marcet thus clearly expresses 
 the action : " When air is blown into the windpipe, 
 it must force its way through the vocal cords, and 
 by so doing cause them to bulge outwards ; but the 
 air now finding a freer exit, and the pressure being 
 relieved, the cords, from their elasticity, will im- 
 mediately resume their former position. At the 
 same instant the blast, meeting afresh with resist- 
 ance, will again move the parts aside, and by that 
 repeated action the current of air will be divided 
 into a number of equal sections, reaching the ear 
 in a succession of waves, and thereby producing a 
 vibration perceived as a sound."* Such are the 
 conditions for true musical sound by the voice ; but 
 there are two forces at work for evil to prevent 
 right action — one derived from the association 
 
 * " Clinical Notes on Diseases of the Larynx." 
 
30 The Philosophy of Voice. 
 
 which has grown up between the nerve-currents 
 ruling the different positions of obstruction; the 
 other, owing to the use of vocal utterance as a 
 secondary thing upon which articulation has been 
 superposed, and the question is, How to get, in the 
 living subject, this point at B ? 
 
 Having considered the action horizontally, we 
 next consider it perpendicularly. 
 
 If a stream of air (expiration) travelling up a pipe 
 
 in the direction of B to A conies 
 c 
 in contact with a contraction of 
 
 the pipe, narrowing in the direc- 
 tion towards the fissure at A, 
 the pressure below will distri- 
 bute force in the outward direc- 
 tions C C — upward and outward 
 pressure, a principle acting from 
 the mediant line. If the con- 
 traction is held by will-force, then we have a physi- 
 cal law in conflict with the mind ; this conflict, this 
 struggle, is the main cause in voice of our modern 
 vibrato, for the sketch is only an abstraction of the 
 lower part of the vocal organs. Either the voice 
 yields to the upper pressure and becomes rapidly 
 enfeebled, or there is war. 
 
 The space above the false cords and the space 
 leading from the windpipe to the true cords are 
 wedge-shaped, each inverted to the other. When 
 the true cords are approximated their upper sur- 
 faces present a broad flattened plane falling away 
 obliquely downwards and outwards, thereby leaving 
 an angle of considerable size, which forms the 
 
The Philosophy of Voice. 31 
 
 margin of each vocal cord. The same obliquity is 
 observed above the false cords, while their lower 
 margins are defined by the ventricles, well-marked 
 pouches which extend upwards behind them about 
 half an inch. Now, it is to be borne in mind that 
 by closure of the entire instrument complete 
 stoppage is effected, not only of inspiration, but 
 also of expiration, the most powerful efforts at 
 either being rendered quite ineffectual. This is in 
 a sense due to the action of those intrinsic muscles 
 of the larynx which close the cords ; but the strength 
 of these comparatively minute structures is in itself 
 inadequate to resist the enormous power which the 
 air can exert upon the true cords from below.* 
 When in experiments upon the dead or detached 
 larynx artificial expiration is produced by forcing 
 air upwards through the larynx, all attempts to 
 stop the current of air by bringing the true cords 
 into contact are futile. Owing to the form of 
 approach, the air wedges itself between the vocal 
 cords and produces in its escape " a sound which 
 more or less resembles the voice." In inverting 
 the current of air perfect resistance is obtained by 
 solely approximating the true cords ; the air, catch- 
 ing on their flat edges, makes them act just 
 as the valve on a pair of bellows acts : the greater 
 
 * Dr. Hutchinson gives as the result of experiments upon the 
 dead subject 580 lb. as the total pressure over the surface of the 
 chest, reckoning an area of 206 cubic inches, and adds that, as 
 during life much more air could be used, " there can be little doubt 
 (judging from the rapid rate in which the elastic force increases 
 when the distension is approaching its limit) that the muscular 
 power to overcome this, towards the close of a very deep inspiration, 
 could not have been less than 1,000 lb. 
 
32 The Philosophy of Voice. 
 
 the force downwards, the tighter is held the obstruc- 
 tion. But on bringing together the false cords the 
 closure of the parts is found to be complete ; the 
 simple approach of the free edges of the false cords 
 proves sufficient to obstruct entirely the full force 
 of air acting upwards from below. This arises 
 from the air in the ventricles creating an influence 
 upwards and forwards. The conclusion to be 
 derived is obvious : There is within the larynx, that 
 is, the whole instrument, a double valve, capable of 
 controlling both the exit and entrance of air ; so 
 that we see the plan found so commonly through- 
 out the body in such strictures, as in the course of 
 the veins, holds also good in this. 
 
 On placing the finger on the point of the Adam's 
 apple, holding breath, and compressing the air by 
 putting the expiratory muscles into increased 
 activity, the larynx is felt to rise ; this results from 
 the air acting in the chambers and on the wedged 
 approach to them, and together thereby forcibly 
 carrying up the larynx. The greater the pressure 
 the more the chambers become inflated, and the 
 greater the inflation the tighter the closure, and 
 consequently the higher the larynx. By feeling 
 sideways with the finger and thumb above the 
 thyroid, and compressing air, the expansion of the 
 ventricles will be most apparent. A successive 
 use of this expansion during singing accounts for 
 the great breadth of throat which all true tonalists 
 attain ; for, by a proper use of the organ of voice, 
 the two flat plates of the thyroid become forced out, 
 and a much less acute angle of approach to the 
 
The Philosophy of Voice. 
 
 33 
 
 front is obtained. At high elevation the larynx is 
 mechanically shut, and the Will has to open it, but 
 when in a lower position it is mechanically open, 
 and the Will has to hold it closed. 
 
 Here is an extension of the principle shown p. 30. 
 If a stream of air travelling up a pipe in the direc- 
 tion of B to A meet with obstruction by the two 
 promontories below C approaching, upward pressure 
 from B to A fills D and D, which become inflated, 
 and if elastic expand, and the air within becomes 
 compressed as the pressure from below B is in- 
 creased — similar to a man shutting his nose and 
 mouth and gradually pressing from his chest. He 
 cannot help himself ; his cheeks are sure to expand, 
 and the tension of the nerves which the air presses 
 upon gives greater control. The caverns D D 
 being filled with compressed air and yielding to 
 the uttermost limits of their elasticity, bulge up- 
 wards, and the direction of the caverns being up- 
 ward — being in the direction of the stream — the 
 
 3 
 
34 The Philosophy of Voice. 
 
 pressure exerted upwards through the walls is in 
 the direction of the mediant line X, thereby con- 
 tracting the fissure at C. This is exactly the con- 
 dition of the instrument for artistic voice. If we 
 construct an artificial larynx, with ventricles of an 
 elastic substance capable of yielding a little to 
 pressed air within them, and then with compressed 
 air below loose a little of the parts analogous to the 
 false cords, so that the fissure between them shall 
 be so small that a compressed condition of the air 
 can be sustained, we get the whole principle of 
 beautiful voice so far as the material side is con- 
 cerned. 
 
 Here is the argument put in other words : 
 I. When a note is being blown from an elastic 
 flexible reed, the force put into the elasticity of the 
 reed must be perfectly uniform in order to secure 
 regularity of vibration in the reed ; or, in other 
 words, steadiness of note. This uniformity of air 
 supply in voice cannot come from the true cords, 
 for they are repulsed by the air supply and so can- 
 not repulse it, therefore uniformity of air supply 
 depends upon F F restraining air in its exit. For 
 example, the ordinary canal locks will show the 
 direction of resisting force supplied against the 
 weight of water. Then, it is asked, Can a man with 
 no resisting parts present a small supply of air 
 with as much force as a large supply of air ? Evi- 
 dently he cannot, for it is impossible to force a 
 small stream of fluid through a large tube with- 
 out great force. And this was the physical flaw 
 in the training of the Neapolitan teacher Scafati. 
 
The Philosophy of Voice. 
 
 35 
 
 Being so, an unsteadiness of note at least towards 
 the end must be the consequence, to say nothing 
 of the tremendous muscular (diaphragmatic) exer- 
 tion. But the object of an artist is to be able to 
 sing in power inversely to his quantity of air. On 
 the other hand, if the false cords present only a 
 small fissure for air to pass through, there is no 
 difficulty in passing air up with steady force ; for 
 even when the supply is small, it is merely equiva- 
 lent to pressing a small stream of fluid through a 
 small pipe. In this state steadiness of note and 
 little muscular effort will be noted. 
 
 t | \ 
 
 /\ 
 
 A 
 
 F F— False Cords. 
 A — Aperture of Escape. 
 
 T T— True Cords. 
 
 Arrows — Direction of Force. 
 
 II. Moreover, the ease and steadiness of vibration 
 of true cords is much increased by the false cords 
 in action, for as only a small stream passes out at 
 A, and this at great pressure, there is a backward 
 force (back eddy) down either side. 
 
36 The Philosophy of Voice. 
 
 This backward force is most apparent just when 
 the true cords have opened, allowing a fresh 
 addition to the stream of air through A ; conse- 
 quently it is just in time to aid the true cords to 
 recover their former position of rest. The result 
 is that with increase of blast the vibrations become 
 more ample, or, in other words, the note is louder ; 
 but the backward and downward pressure is at the 
 same time increased, and the true cords are kept 
 in vibration just as steadily as before. Hence the 
 steadiness of loud and soft notes in the old Italian 
 school, and the explanation of the modern vicious 
 vibrato school (compulsory wobble), which is in con- 
 flict with these principles. 
 
 The ventricles are not introduced in the above 
 diagram because they do not check the back eddy 
 and are not part of this argument ; but the intro- 
 duction of the form of their walls and their elastic 
 expansion would considerably augment it. Wyllie 
 in his " Physiology of the Larynx," (pp. 8-11), and 
 Czermack support in the most clear style the utility 
 of the false cords and ventricles. 
 
 III. The false cords and ventricles being present 
 (see any work on physiology), they are there to 
 perform some duty. (1) Ventricles can be there 
 for nothing else than inflation, consequently they 
 are there as resonators. (2) The false cords are 
 there either for resisting or for vibrating ,- but they 
 cannot be for vibrating, for they would then have 
 to vibrate synchronously, or, in other words, con- 
 currently or simultaneously, with the true cords in 
 every note. Against this we have : (a) how can two 
 
The Philosophy of Voice. 37 
 
 pairs of cords in the same tube, inverted to one 
 another in their vibratory motion, be put in syn- 
 chronous vibration by the same current of air? 
 The thing is impossible. It will open one pair and 
 shut the other, (b) Wyllie could not make one pair 
 vibrate without the other pair closing (cf. " Physi- 
 ology of the Larynx," pp. 10, 11) — that is, when the 
 true cords opened, the false cords shut, and vice 
 versa. 
 
 IV. The following extract from Helmholtz's 
 " Sensations of Tone " (p. 152) strongly supports 
 the use of false cords and ventricles and the 
 attack : 
 
 " A brass tongue, toned to B|?, was applied to one 
 of my larger spherical resonators. After consider- 
 ably increasing the pressure of wind in the bellows, 
 the tongue spoke somewhat natter than usual, but 
 with an extraordinarily full, beautiful, soft tone, 
 from which almost all upper partials were absent. 
 Very little wind was used, but it was under high 
 pressure. . . . The theory of the vibrations of air 
 in the sphere shows that the greatest pressure of 
 air must occur in the sphere at the moment the 
 tongue opened ; hence the necessity of strong 
 pressure in the bellows to overcome the increased 
 pressure in the sphere, and yet not much wind really 
 passed." 
 
 Put the argument another way. Let A B re- 
 present a straight, steady, equal tone at full power : 
 
 A B. In any system a loud note ought 
 
 to be able to be held perfectly steady till nearly the 
 end of the breath. This requires uniform force of 
 
38 The Philosophy of Voice. 
 
 air blast, whether the volume of air be great (as in 
 the beginning) or small (as at the end). The 
 system which obtains this with least muscular effort 
 will be the true one. That system is the system of 
 false cords and ventricles in action, for force equals 
 volume (mass) multiplied by acceleration. 
 
 First, let us consider when false cords and 
 ventricles are absent (inactive). We require uni- 
 form force. Our volume is decreasing, therefore 
 acceleration must be constantly increased by 
 muscular effort, so that when volume is very 
 small the effort will be immense, just as pushing 
 a small stream through a big pipe. 
 
 Secondly, let us consider when false cords and 
 ventricles are present (active) . Our way of exit for 
 the air is so small that the effect is practically the 
 same as having a constant volume, consequently the 
 acceleration need hardly be increased, and the 
 effort at the end of the note is scarcely greater than 
 at the beginning. The end of one note is equiva- 
 lent in action to the forcing of a small stream of 
 liquid through a small pipe. 
 
 Goodeve, in his "Principles of Mechanics" 
 (ch. ix.), shows that by opposing fluid pressure we 
 obtain two different powers counter-balancing each 
 other, so that an ordinary plunger pump can be 
 made double instead of single acting, and by 
 opposing pressures we obtain a balanced valve 
 which can be opened by a small force. This is the 
 natural law to which a student should be led. 
 
 The principle of a fluid ruled by a solid is shown 
 in the following experiment, but in artistic voice 
 
The Philosophy of Voice. 39 
 
 the voiced air is guided by the inner walls : " Put a 
 lighted candle behind a bottle, pickle-jar, or any 
 other object having a polished surface, then station 
 yourself at about twelve inches from the object, so 
 that it hides the flame of the candle from you, and 
 blow with your breath. The candle will be very 
 easily extinguished, in consequence of the currents 
 of air that you have created around the object 
 meeting near the flame. With a board or a sheet 
 of cardboard of the width of the bottle extinction 
 would be impossible " (Le Chercheur). 
 
 Having seen the action of the instrument, we 
 have to see its connection with attainable results — 
 results, be it observed, both good and bad. These 
 are partly voluntary, partly mechanical. At the 
 first cry of life the whole principle of true musical 
 sound by the voice is displayed ; there is clearness, 
 volume (allowing for the size of the infant), and in- 
 tensity, and only continuity is wanting to trans- 
 form such cry into musical sound. It is admitted 
 that life cannot ensue without this cry, or an ap- 
 proximation to it, so we will trace its origin. This 
 cry is essentially mechanical, and is brought about 
 by reflex action of the spinal cord ;* so it may 
 safely be proclaimed that while people may be born 
 cripples in other parts, they cannot in the parts 
 producing music, for cry they must or never live ; 
 hence it follows that all false use, all bad sound, is 
 induced, and can, therefore, be removed, unless the 
 parts become diseased in after-years. On the one 
 
 * The reflex action is a rebound of the nervous system, indepen- 
 dent of the will. 
 
40 The Philosophy of Voice. 
 
 hand, while reflex action causes the first inhalation 
 of independent life, on the other, owing to the 
 difference between the temperature of the blood 
 and that of the air introduced, additional reflex 
 force is generated, the air is expanded by heat, 
 and a complete closure of the false and true cords 
 results ; that is the mechanical process which goes 
 on before the dawn of consciousness. This re- 
 sistance against the rebound of the respiratory 
 muscles drives the inhaled air into the most 
 remote ramifications of the lungs, and thus fur- 
 nishes the residual air which, as we know, is 
 immovable, and remains even after death, and 
 could not get there save by such action as the 
 above. If the opposing power were not perfect, we 
 should have no safe guide to prove the existence 
 of an independent life. 
 
 Here, then, we find in the release of this obstruc- 
 tion — brought about automatically by sole approxi- 
 mation — the same application of the before-men- 
 tioned principle, air compressed and released. The 
 sound produced by the infant cry would answer to 
 Dr. Wyllie's station note ; but owing to smallness 
 of size, it would be, in the infant, considerably 
 higher in pitch than the station note obtainable 
 from the adult. Then we add another simple ex- 
 plosive at 5 and 6, which explosive, instead of being 
 confined to one impulsive disturbance of the air, 
 has, owing to the nature of the parts which 
 generate it, a power of being sustained, and this 
 sound, resulting from an equal admixture of breath 
 and cords, is the open vowel a (p. 26). 
 
The Philosophy oj Voice. 41 
 
 The vowel sounds of speech are five : 
 Italian — i, e, a, o, u. The corresponding sound 
 in English would be e ; and for the second, eh, or 
 the first part of the diphthongal sound given to our 
 first vowel a ; for the third, the broad a, as in 
 father ; for the fourth, the first part of our 
 diphthongal o ,- and for the fifth, oo, or the latter 
 part of our u. 
 
 Professor Max- Miiller attributes the difference in 
 vowels to the different form of the cavity above the 
 organ of voice, and this, so far as whispered articu- 
 lation is concerned, is true ; but with full speech 
 other influence is brought to bear — namely, a 
 difference in the proportions of forces. To produce 
 e (English) the larynx is higher, and to produce u 
 the larynx is lower than it is for the central sound 
 ah, so that, assuming equal pitch for each sound, 
 we find for e more tension of vocal cords, and less 
 consumption of blast, while for u we find less 
 tension, and consequently greater consumption of 
 air. The intermediate vowel sounds of course lean 
 one way or the other. But all these vowel sounds 
 are sometimes automatic, and are uttered under 
 reflex action from a moan to a shriek, according as 
 the direct nerve-current influences the immediate 
 instrument of sound or the entire body — that is, 
 according as the feeling experienced be acute or 
 massive ; so that we get language as the natural 
 outgrowth of our construction. In this instrument 
 of voice pitch can be made in two independent ways : 
 by tension of cords or by increase of blast. This is 
 readily proved : on pressing backwards at the point 
 
42 The Philosophy of Voice. 
 
 of the Adam's apple, and uttering a sound, when 
 the finger is released the sound elevates itself ; on 
 sustaining a sound, and giving a blow on the chest, 
 the sound momentarily rises in height. The vowel 
 sounds of voice may be best represented thus : 
 
 Equal combination. 
 
 A 
 
 E 
 
 I U 
 
 Cords. Breatb. 
 
 The two powers, tension and pressure, must unite, 
 but may unite in varying proportions. 
 
 Professor Helmholtz evidently based his "vowel 
 theory," not on trained voices, but on ill-produced 
 ones, just as we might deduce acoustic laws from a 
 cracked fiddle or an ill-tuned organ. The tone of 
 voice is primarily intrinsic, as the clang-tint of gold 
 or of silver irrespective of form or superscription ; 
 and the united effort of master and pupil is to get 
 accuracy of vowel tone with least change in larynx, 
 in result nearest equal sensation of tone. 
 
 In training the deaf and dumb the contrary is 
 the rule — the greatest physical changes are made 
 to produce the difference between one sound and 
 another, in order that the student may perceive by 
 sight the cause of the result in sound. Many 
 singing-masters commit this error in training, 
 getting greatest change. 
 
 Equal combination. 
 
 A 
 E 
 
 I U 
 
 That is, there is greatest contrast of tone between 
 
The Philosophy of Voice. 43 
 
 the extreme vowels; there is less volume than need 
 be in I, and less tone and more wind than need be 
 in U. As regards these remote vowels, it may be 
 said : If they are in our speech we do not want to 
 learn them ; if they are not in our speech, our lan- 
 guage is imperfect. What is wanted underlying 
 all vowels is oneness of tone, but by studying on 
 different vowels we retain and develop the tonal 
 contrast which should be eliminated. 
 
 Man is not protected from error like the lower 
 animals ; while developing in one direction, he 
 may be injuring himself in another. Just as small 
 type will produce shortness of sight, so the asso- 
 ciation of consonants in speech produces a loss 
 of vocal control. The object of speech is to say 
 what we have to say in the shortest space of time, 
 and speech sacrifices everything to attain this one 
 end; but the object of song is to say that which 
 we have to say in the deepest and intensest mode ; 
 hence this latter appeals to man through all his 
 powers of reception. Speech owes its strength to 
 profundity, song to amalgamated forces. We will 
 briefly trace the fall of vocal tone. Weakening 
 at 1 (p. 26), we obtain b; at 2, d; at 3, g hard. 
 These, losing in power, require a substitute of 
 sound upon which they can be superposed ; hence 
 partial approximation at 6 is introduced, and we 
 thus get a series of compound obstructives, like 
 two locks in a canal, and the consequent associated 
 acts of will, producing in time habits of action.* 
 
 * I believe it was on the vocal tone in B, D, and G that Strakosch 
 taught Patti the location of thought and the economy of air. If 
 
44 The Philosophy of Voice. 
 
 This principle of substituting associated force for 
 local weakness in the voice-organs is still further 
 developed. Changing the channel of exit and 
 closing at 1, we get m, closing at 2, n, and with 
 further development we get the close aspirates, / 
 at 1, s at 2, and the compound aspirates v and z, 
 until we ultimately arrive at the height of un- 
 musicality, expiratory air forced out by voluntary 
 pressure through the quite open tube, giving the 
 letter h, the letter h being the exact polar contrary 
 to true musical sound, for it is made by the utter- 
 most opening the opposing forces AD, A IV (p. 29). 
 Physically, in speech, man blocks, crushes, splits, 
 and slides columns of air hi motion. Now, as the 
 first principle of language is rapidity, so it follows 
 that to gain this, continuity of sound must be 
 proportionately sacrificed ; hence it follows that 
 to extend a vocabulary according to the ever- 
 increasing wants of civilization, consonants are 
 called into greater use, and vowel sounds are 
 dropped. Coleridge, in his " Table Talk," sup- 
 poses a language made entirely of consonants ; 
 and now we find such in daily use in our short- 
 hand system, which is solely an extension of the 
 principle rapidity. Let the reader test the past 
 statements by whispering p b or t cl; it will be 
 noted that p and t are respectively b and cl, only 
 made stronger by applying increased energy or 
 stronger nerve-current at the points of resistance. 
 
 this be so, he anticipated a physical discovery by imprisoning air in 
 order to locate the will on the vocal organs. 
 
The Philosophy of Voice. 45 
 
 Next note the difference out loud : p is an explosive 
 carried by the force of a vowel succeeding it ; b is 
 a suppressed vocal tone exploding into a full vowel. 
 But the aspirate h is air escaping as water runs 
 through a sieve. 
 
 So that amongst the people of every nation we 
 find two forces at work, one of development, one 
 of restitution. The scholar is ever seeking for new 
 symbols to express things or states of conscious- 
 ness, while the man of small intelligence or few 
 demands makes his words subservient to his bodily 
 convenience; the one adds and sharpens the con- 
 sonants, the other slurs or drops them, and works 
 on vowel tones ; and this is the reason why the 
 voices of the lower orders are generally more 
 sonorous than those of the upper. The more 
 developed a nation, the fewer inhabitants propor- 
 tionately use their language aright; for the lan- 
 guage shows the intellect of a nation at its best, 
 and the higher a standard the greater the culture 
 required to attain it, and the fewer persons with 
 innate capacities capable of grasping it. Thus, 
 accepting sounds as symbols, we find a natural 
 power differently applied, which, while serving its 
 purpose to the full, does not secure man in its use 
 from substantial error in other directions. This 
 shows the prospective benevolence of an Almighty 
 Power forming with increased civilization new 
 spheres of action in which man may find true 
 work. And in further corroboration that the 
 downfall of tone is owing to the daily action of 
 articulate speech, it may be noted that children's 
 
46 The Philosophy of Voice. 
 
 voices are powerful, clear, musical, and sympa- 
 thetic; they have not had sufficient use to cause 
 the loss of relationship between natural pressure 
 and resistance in the instrument itself. 
 
 If a man be obliged to make himself heard, he 
 will obtain power in some sort of way if he can ; 
 but the chances are, if obtained, it will be obtained 
 in the wrong way. It is curious to trace how this 
 is brought about. For instance, the sharp thin 
 sound of the "Cockney" dialect is the inevitable 
 result of a forced power generated falsely. The 
 constant noise of traffic compels in speech a sharp, 
 clear sound, and, given the induced debility of the 
 attracting muscles, this is brought about by lessen- 
 ing the size of the passage above the organ of 
 voice, thereby decreasing the volume, but by con- 
 striction gaining in power. And it may be noted 
 that a sort of opposite to this is shown in the 
 dialect of the "Black Country." This dialect 
 opens the sound, hence the credit of the Birming- 
 ham Choir for "volume." 
 
 There is a class of men who seem especially to 
 suffer from their attempts to create power falsely, 
 so much so that the result upon themselves has 
 given the name of " the clergyman's sore-throat " 
 to the disease. Of course, all those who of neces- 
 sity use the voice much thereby cause a greater 
 flow of blood to the parts, and the parts being 
 exposed, are liable to be affected by sudden change 
 of temperature. But this fact itself will not account 
 for the disease, for it has been observed that those 
 who can produce true tone do not suffer therefrom ; 
 
The Plnlosophy of Voice. 47 
 
 the tone is the result of principle, not of practice, 
 and one who starts falsely only becomes worse by 
 continuous false use. So far as this disease is 
 concerned, the first prompting cause is the sub- 
 stitution of constriction at the fauces (K) for the 
 true obstruction at the cords. A tightness is felt 
 just under the jaws, and in a little while the 
 speaker complains of his throat "aching." This 
 substituted power subjects in its attainment the 
 whole mucous membrane lining the parts above 
 the organ of voice to a constant irritating process, 
 which, gradually producing a chronic inflammation, 
 may extend downward to the organ of voice itself. 
 This state of congestion owes its first germ solely 
 to false vocal production; so that, as "prevention 
 is better than cure," there is every necessity for 
 seeking in the larynx itself the power of rightly 
 creating tone.* 
 
 The modern German school ("koo, koo") pro- 
 duces this disease by throttling tone. Constriction, 
 friction, irritation, inflammation, congestion, and 
 disease give its history. Garcia condemns this 
 modern innovation thus : 
 
 " Some masters recommend the use of the 
 syllables pa, la, ma, etc., in order to acquire pre- 
 cision in striking notes. This plan (by which the 
 lips, the tongue, and other organs not concerned 
 
 * It is evident that a certain position of the mouth is to be 
 chosen, which produces the best natural sound ; that is, a, sound 
 which is most free from adulteration of the nose, the throat, the 
 mouth, or the lips. Such a tone is neither, to speak accurately, 
 di petto nor di testa, neither from the chest nor the head, but from 
 a region somewhere between both, where it receives its last polish." 
 —Dr. Rennie, "Voice and Ear " (1826), p. 95. 
 
48 The Philosophy of Voice. 
 
 in the emission of the voice are set in motion) has 
 the disadvantage of merely disguising the faulty 
 articulation of the glottis, without possessing any 
 power whatever of correcting it " (Garcia, p. 9). 
 
 And the following case of congenital deformity 
 completely refutes it : The patient could not pro- 
 duce any faucial explosives (X, K, Q) ; these all 
 became aspirates ; but full and true tone could be 
 produced from the cords. 
 
 These are the attributes of voice in civilized 
 man. We have (1) tone, or quality of sound 
 having its special character from the very nature 
 of the substance vibrating. This is a Universal 
 Attribute. (2) Hue, a modification of tone, arti- 
 ficially, and often unconsciously, induced by the 
 special requirements of the particular language 
 spoken, in part Universal, in part a Particular 
 Attribute. (3) Taint, a corruption of hue, produced 
 either by pushing the peculiarities of the language 
 to extremes, or by direct efforts to produce sound 
 by false and unnatural means. We can whisper, 
 and so detach words from voice ; we can speak out 
 loud, and so attach voice and words together ; but 
 we never learn how to detach voice from words, 
 still less to possess the power of co-operation 
 simultaneously, but independent each of the other. 
 The sonorous quality observed in the speech of an 
 Italian is owing to the "tonicity" having been 
 retained, for vowels do not necessarily cause the 
 tone, but they allcw true vocal tone to grow simul- 
 taneously with, and correlatively to, the growth of 
 speech. In English, on the other hand, the in- 
 
The Philosophy of Voice. 49 
 
 duced weakness of the attracting muscles of the 
 cords forces a compensating obstruction to grow 
 elsewhere with the growth of our words, so that 
 the preponderating vowei sound in English is e; 
 physically, smashed air in the mouth gives our 
 Anglican hue. As vocal tone does not exist in 
 whispered words, and as the strength of it is found 
 in the vowels, let the reader test this statement 
 by picking out the vowels in any piece of English 
 writing, uttering them aloud phonetically. No 
 further proof will be needed to show which sound 
 is mostly used. 
 
 The influence of climate in moulding a people's 
 language is curious. In Northern countries the 
 climate says, " Keep your blood warm ; shut your 
 mouth." These languages gravitate towards "thin- 
 ness." In Southern countries the climate says, 
 " Keep your blood cool ; open your mouth." These 
 languages gravitate towards " openness." 
 
 Then, to sum up this part, we find with in- 
 creasing use of words an increasing principle of 
 action throwing the horizontal force which pro- 
 duced vocal sound out of parallel lines, and, as 
 a necessary consequence of this, we find the per- 
 pendicular force weakened ; hence, on the principle 
 of natural compensation, we find additional force 
 brought from below by an act of Will, which force, 
 owing to the wedge-shaped approach to the vocal 
 cords, aggravates the evil by forcing open the true 
 opposing means from which musical sound is 
 emitted. That the English language is an ^-pro- 
 ducing one, anyone can readily see; and, taking 
 
 4 
 
50 The Philosophy of Voice. 
 
 the converse, how many Englishmen dare utter 
 loudly a word beginning with a vowel ? If 
 attempted, either it would not be done, or, in 
 spite of the speaker, owing to weakness of the 
 muscles which draw the cords together, an aspirate 
 would precede the vowel. Thus the idiosyncrasy 
 of our people's speech is deadness, weakness, and 
 general feebleness. The letters m and n cause the 
 soft palate to fall, and induce a " tinny " tone ; 
 the preponderating vowel e, causing the tongue to 
 rise, lessens volume ; while the aspirates h, f, th, 
 s, sh, and eh, completely open the voice organs, and 
 induce a habit of deadness of tone. This is the 
 average adult voice falsely called " natural." All 
 nations have their national taint induced on the 
 voice by spoken words ; but it suffices to show the 
 Anglican taint, a true voice becoming cosmopolitan. 
 The case stands thus : As breath is a condition of 
 our life, it always goes on independently of us ; but 
 as the utilization of air in motion is voluntary, so 
 we have between absolute openness and complete 
 closure (this latter being the only possible means 
 of true musical sound, as has been shown) all the 
 varying degrees between the two positions; and 
 the use of articulate speech conjoined with vocal 
 utterance disturbs the normal balance of the latter, 
 which was to be proved. 
 
 I consider this discovery, as regards the down- 
 fall of vocal tone, as most important. It will 
 systematize tuition, words being selected to show 
 a national warp, and set to music specially written 
 to cure such. 
 
The Philosophy of Voice. 51 
 
 A National School has yet to be founded on this 
 base. Will it ever come ? 
 
 However great a paradox it may seem, it remains 
 true to all time, that the more beautiful a word as 
 a sound, the more such word may frustrate its 
 accepted function by clinging as a pleasing sensation 
 in transit, for so clinging it does not use its full 
 force to awaken or to evoke an idea ; this is because 
 the direction of thought, as embodied in spoken 
 words, is always to hide or sink the material in the 
 purely abstract spiritual. But when man speaks, 
 the self-contained force conveyed by the " letter " 
 is modified by an outer manifestation of " spirit," 
 shown through other channels beside that of words. 
 The effect produced by a speaker on an audience is 
 twofold — (1) acute, (2) massive ; if the stimulus be 
 in words alone as such, then it is " acute "; but to 
 be effectual in such case, each hearer must be in 
 his desire of advancement, in his power of advance- 
 ment by past culture, and in his innate faculty, 
 within the limitation which affords him contact 
 with the speaker's intelligence, or, in other words, 
 both one and the other must be nearly upon a par. 
 Mr. Raskin says the same thing when he says no 
 man can be rightly appreciated except by an equal 
 or a superior ; his inferior may underrate him in 
 ignorance or overrate him in enthusiasm; but he 
 can only be known by the former. In song and in a 
 subtler sense in oratory, man is appealed to through 
 all his powers of reception ; hence the power and 
 hence the charm. An orator, for one end, unites 
 the forces found in Sensations, Impressions, and 
 
52 The Philosophy of Voice. 
 
 Ideas, and he can only do this when he possesses 
 absolute control over voice. Chronologically arranged, 
 we get, first, the influence of tone ; approved by the 
 people, the singer is next submitted to the test of 
 the musician ; approved by this latter, he finally 
 has to pass the judgment of the scholar, who not 
 infrequently reverses the verdict of the musician. 
 Higher training on the intellectual side is much 
 needed in art. 
 
 There are other aspects of our subject which 
 have been neglected. Vital force has a tendency 
 to distribute itself over the whole circumference of 
 the body ; it is, therefore, a sign of culture when a 
 nerve-current is restricted to one set of muscles. 
 There are movements tied together, as in the case 
 of the eyes, which cannot be separated ; and there 
 are associated movements acquired by continuous 
 use, which in some cases require to be decomposed 
 for a true use of either set of muscles. These 
 acquired associations are brought about by the 
 following natural law : Everything we do has a ten- 
 dency to recur ; an act is easier the second time 
 than the first, easier the third than the second, 
 and so on ; finally we eliminate consciousness, and 
 hand the mode of doing the thing over to habit ; 
 we have to think to do it otherwise. 
 
 The following extract from Bain may serve as a 
 metaphor : 
 
 "A stream of conscious nervous energy, no 
 matter how stimulated, causes a muscular contrac- 
 tion — a second stream plays upon another muscle ; 
 and the fact that these currents flow together 
 
The Philosophy of Voice. 53 
 
 through the brain is sufficient to make a partial 
 fusion of the two, which in time becomes a total 
 fusion, so that one cannot be commenced without 
 the other commencing also." And the same prin- 
 ciple goes on in the spiritual as in the material 
 existence : thus, the brain works unconsciously in 
 the direction in which it has been propelled — 
 thoughts, like actions, have a tendency to recur. 
 What, then, do we learn ? We see clearly that by 
 spoken words we have built up a force in our 
 minds, and a force in our physical construction, 
 eaeh of which has to be undone and new phases of 
 thought and action built up and made " secondarily 
 automatic " before a man can venture to proclaim 
 himself an orator or a singer. In other words, we 
 must use our instrument in accordance with 
 Nature's laws, and be able to play upon it simul- 
 taneously with, but independently of, spoken 
 words ; that is, we must undo the association 
 between the parts producing consonants and the 
 parts producing vocal tone. Whether it be oratory 
 or song, it is all one ; song is but an inferior species 
 of oratory, with an exaggerated force of rudimen- 
 tary component parts. It is inferior in so far as the 
 modulation of it is the composer's and not the re- 
 producer's ; the inflection is divided between the 
 composer and the reproducer, while the thought, 
 the soul of the song, is conveyed by the words 
 which form its body, and these, as we know, are 
 the author's alone, while the music is but the 
 clothing. Both orator and singer meet in the 
 colouring of voice by the spirit acting through tone. 
 
54 
 
 The Philosophy of Voice. 
 
 Here is oratory presented in a tabular form : 
 
 Developed intellect 
 Knowledge of language — the neutral 
 ground, or mediant between actor 
 'Of mind < and recipient 
 
 Retentive memory 
 
 Rhetoric 
 
 Logic 
 
 Fundamental 
 qualifications 
 
 Of matter 
 
 I Perfect control over the conveying 
 -! medium, the organs of vocal utter- 
 ly ance and articulate speech 
 . . .Action 
 
 Accessory 
 qualifications 
 
 ("Of manner 
 I Of style 
 
 Of d ]' /Inflection — power and softness 
 * ^Modulation — cadence 
 
 (Clearness 
 Smoothness 
 Volume 
 Intensity 
 
 Tone is the basis of all vocal emotional expres- 
 sion ; it is a direct presentation of a sensuous plea- 
 sure. But it can become more ; through it can be 
 given a direct presentation of an inward natural 
 beauty of soul which no words whatever can con- 
 vey. Whether in song or speech, a control over 
 the means of producing this tone is the first step, 
 the first essential of good performance, for tone 
 alone has the power to individualize the imperson- 
 ality conveyed in a word. The flash of the eye in 
 anger and its beam in love are inexplicable to the 
 biologist, and beyond his sphere, but these are 
 not less real because mechanically unexplained. 
 
 It is the physiologist's duty to explain the con- 
 struction of parts ; it is the surgeon's province to 
 readjust parts mutually disarranged, to readjust a 
 disturbed relationship, but not necessarily to ex- 
 plain the physiology of the parts affected, and this 
 
The Philosophy oj Voice. 55 
 
 surgical work always precedes the application of 
 a power for a given end ; finally, it is the voice- 
 trainer's duty to explain principles of readjustment. 
 The question for a speaker or singer is not so 
 much how the thing acts, but how to get it to 
 act aright, when not so acting — purely a surgical 
 question. Nature has so created us that when in 
 health we do not feel we have parts; conscious- 
 ness without sensation is a law ; to feel we have a 
 tooth is to have a toothache. Pain is the index of 
 error, and violence is the forerunner of pain. 
 Actions acquired and rendered automatic are known 
 to us through consciousness, never through feelings. 
 So in song and speech, Nature tells us we only 
 sing aright when consciousness informs us of the 
 fact; if we "feel," we abuse the laws of our con- 
 struction by erroneous use. We hear ourselves 
 sing, but do not feel ourselves doing it. We deter- 
 mine the pitch, the power, and in part the quality, 
 but Nature, not ourselves, produces the foundation 
 tone. 
 
 During the last twenty years more writing and 
 still more talk has been expended upon the question 
 of voice than in all preceding time ; yet past history 
 proves, by the superior results which it records, that 
 a method of training did once exist, which, so far 
 as it went, was true in first principles, while con- 
 temporaneous history shows, by the failure it records, 
 that this method is for the most part lost. 
 
 Let it be observed, the study of the voice is not 
 like the study of an instrument detached from man ; 
 in this latter, everyone commences equally incapable 
 
56 The Philosophy of Voice. 
 
 of the desired control, but in voice a partial control 
 may actually exist. In some cases students, having 
 accidentally retained or dropped into the method of 
 true vocal emission, have learned singing from a 
 musician, and the master has been unjustly ac- 
 credited with the result of the voice beyond its 
 specific musical training. In order to sustain such 
 reputation, treatises containing visionary and 
 imaginative theories on voice have been published, 
 which accounts for the numerous theories conflict- 
 ing ; nor had the few men who taught truth the 
 power to prove, on scientific grounds, the correct- 
 ness of their teaching and the fallacies of their 
 opponents ; so now, midst all the talk and all the 
 printed works on vocal art, we find but one book 
 that instructs the first step to after-excellence, 
 which step it is our duty to rescue from surround- 
 ing error. 
 
 Voice production affects the pulpit, the platform 
 and the stage ; the principles of restoration should 
 be known to every national school teacher through- 
 out the kingdom, and especially should they be 
 known to every medical practitioner, for voice pro- 
 duction embraces a far wider sphere than music, 
 and penetrates where the latter never enters. It is 
 said, " Prevention is better than cure "; by true use 
 of voice chest disease, in many who have its ten- 
 dency, could be successfully warded off — this be- 
 cause a greater consumption of carbon takes place, 
 quickening circulation and hastening digestion, so 
 that true speakers and singers feel only hunger 
 after work. Purelv as a question of health, the 
 
The Philosophy of Voice. 57 
 
 voice should be cultivated collaterally with the 
 culture of words ; both spoken words and vocal tone 
 should grow up together, but each power should be 
 taught in its specific mode.* While medical men 
 have often recommended the healthful exercise of 
 song, they have never made their word of worth by 
 troubling to go deeper into the question and decid- 
 ing what work is right work, what wrong ; this they 
 should now do. We know how important it is 
 to change the air we breathe, so that what we take 
 in be not vitiated ; how much more important, 
 then, that the air within us be pure, and be not 
 portable poison ; yet all cannot be thoroughly 
 vitalized within us unless we take either violent 
 bodily exercise or obtain true use of voice. But 
 in degree attention has been drawn by outsiders 
 to this matter, and singing, under the generic 
 term "music," has been introduced into our 
 national training schools. Unfortunately the two 
 methods in use are worse than useless, for while 
 professing to teach " music," these methods 
 destroy in more rapid degree than spoken words 
 the true conditions imposed by Nature for pro- 
 ducing vocal tone. 
 
 The first thing logically done in order to gene- 
 rate in a person a perception of a difference is to 
 remove all differences but the one required to be 
 perceived, for by so doing no extraneous contrasts 
 
 * The only position regarding the voice tenable by the musician 
 as such is that of beginning training from earliest years of life, for 
 such a position is based upon a principle of Conservation instead of 
 Restoration. See " Conservation and Restoration, or the Two 
 Paths," by the Author. 
 
58 The Philosophy of Voice. 
 
 distract the observer's attention from the required 
 point. An uttered word or syllable received by a 
 listener for the first time appeals to him solely as a 
 new sensation, and in his mind is unconnected with 
 other perceptions ; the sound expresses nothing, 
 evokes nothing ; it is a noise pure and simple, and 
 can never stand as a symbol of another thing 
 unless a perception of that thing be possessed and 
 association has taken place in the mind between 
 the two perceptions, the noise and the thing. As 
 the ultimate test of discernment is shown in a 
 person's subtlety of perception — that is, in seeing 
 minuteness of gradation either in sound or colour, 
 it is necessary, in order to evoke first perceptions 
 in sound, to take for beginners, even for strengthen- 
 ing speech, some broad differences ; hence the rudi- 
 ments of music are rightly used as the simplest 
 means of voice training.* Music is accepted 
 pleasurable sounds relatively arranged in successive, 
 or in simultaneous and successive order. The per- 
 ception of an interval or distance between two 
 sounds is either possessed or it is not ; if a person 
 has it, he does not want to learn it ; if he has it 
 not, no uttering of syllables can evoke it, for the 
 two perceptions have not been associated, so do 
 not cohere ; we cannot awaken what has never 
 slumbered. A word, then, always follows, never 
 precedes, the perception of the thing for which it 
 stands ; so it may be affirmed both " movable " 
 
 * I have elaborated thiB into some principles for training what is 
 erroneously called "no ear," but the rules are more suited for a 
 primer than for this. 
 
The Philosophy of Voice. 59 
 
 and " immovable " words impede the desired dis- 
 cernment of difference between two sounds of 
 different pitch by bringing in other extraneous 
 and confusing differences not required to be per- 
 ceived. A man can readily identify the pitch of a 
 note when sounded in a familiar voice, but " on a 
 strange instrument it is less easy to make out the 
 identity; the change of quality in the note, the 
 greater or less emphasis, the different duration of 
 the sound — as in comparing the piano with an 
 organ — all tend to disguise the pitch, and to render 
 a more delicate or a more cultivated ear necessary 
 for its discernment " (Bain). The position, then, 
 of most teachers, so far as song is concerned, is 
 this : The association of words with vocal tone by 
 long use fuses together two or more sets of vital 
 currents flowing simultaneously through the brain, 
 which currents mutually influence each other to 
 the hindrance of a required simple perception ; 
 next, a particular association is induced, under the 
 belief of culture, by joining set syllables to given 
 sounds, and thus aggravating the evil. This 
 association has afterwards, by long practice, to be 
 decomposed, in order that ever-varying and dif- 
 ferent words may be used with similar distances in 
 sound — in brief, people virtually start with an 
 induced error and pay to add a fresh one. 
 
 "What Dr. Wyllie stated as the result of his experi- 
 ments upon the detached larynx holds with equal 
 force in the living subject. If the strength of such 
 comparatively minute structures as the intrinsic 
 muscles of the larynx which close the edges of the 
 
60 The Philosophy of Voice. 
 
 cords be insufficient of itself to withstand the auto- 
 matic chest force brought to bear upon the true 
 cords, it must be equally true that these muscles 
 cannot of themselves supply sufficient resistance to 
 overcome the force of air when producing vocal 
 tone ; therefore there must be an inverse force re- 
 moving the strain : for if there be not, the air 
 acting from below upon the vocal cords will wedge 
 them out of their parallel lines, not by their natural 
 elasticity yielding to pressure, but by the attracting 
 power which brings them together giving way ; the 
 cords would, in fact, be forced to resume in degree 
 their state of repose, presenting a fissure of a 
 triangular form, a form incompatible with the pro- 
 duction of true musical sound.* We know that 
 the contraction of any muscle demands two fixed 
 points of resistance at its extremities, and if one 
 of these break loose the force of contraction has 
 nothing to expend itself upon, and thus a false 
 position is incurred. In false emission, as induced 
 by spoken words, the chambers are not inflated ; 
 thus, the muscles which draw together the vocal 
 cords have to bear the brunt of the whole chest 
 pressure, and, being of themselves too feeble to 
 resist, of course succumb, and that is the sole 
 reason of all feebleness and incapacity. So that 
 my discovery of the use of the false cords and the 
 ventricles just amounts to this : It proves that 
 
 * This balance of forces presents a subtle question of hydro- 
 dynamics. There is the perpendicular balance between the dia- 
 phragm and the larynx, and there is the horizontal balance between 
 the permanent and the temporary point of impact of the cords : the 
 first is dependent upon the second, and the second is dependent 
 upon the first. 
 
The Philosophy of Voice. 61 
 
 Nature has ordained compensating forces, under 
 which condition the minute muscles of the larynx 
 can accurately act, but that under less favourable 
 conditions these muscles can only partially fulfil 
 the functions for which they are destined ; this 
 is in strict conformity with Nature's universal 
 principle of " least action " (see Eev. Dr. Haughton 
 on " Animal Mechanics "). In true song or speech 
 the work of counterbalancing different degrees of 
 pressure from below is done by the air being 
 inverted, and forming an eddy in the chambers or 
 spaces between the true and false cords. This is 
 proved (1) by the fact that under the conditions of 
 true sound the chambers can be felt to be puffed 
 out, while with false sounds they are not so felt ; 
 this accounts for the breadth of throat in public 
 singers (my throat grew 2^- inches while studying). 
 (2) A true vocalist does not feel as though he were 
 forcing air out, but as though he were actually 
 drawing breath in, and this even when emitting the 
 most powerful sound : in false emission it is not 
 so; the point of resistance breaking loose makes 
 him feel as though he were running after a note to 
 catch it.* (3) A true vocalist knows but does not 
 feel he is singing ; consciousness is the sole guide. 
 (4) Under such conditions the sound can be sus- 
 tained at full force for a considerable time, showing 
 
 * This psychological test is thus curiously perverted in a work 
 that attracted an ephemeral attention : " If you have a feeling as 
 though it (the note) went away from you, and you had to run after 
 it to catch it, it will never be a ' telling ' tone. " I did not write of 
 a man's present feelings of a past act in relation to the future ; I 
 wrote of an actual feeling at the present during false production of 
 voice. 
 
62 The Philosophy of Voice. 
 
 the economy of Nature ; and the sound can be 
 increased inversely to the quantity of air held in 
 the reservoir below, this too, without studying the 
 crescendo and diminuendo. Power, beauty, ease, 
 and endurance are four different aspects resulting 
 from the same state of balance. But in false song 
 or false speech the instrument of music is only used 
 to partially catch the air in transit, and owing to this 
 artificial and imperfect mode of use it cannot resist 
 the full force from below. All consonants throw 
 open the false cords ; some throw open both these 
 and the true cords. In producing consonants the 
 Will is never located on the false cords, and only by 
 reflex action on the true. By speech the Will is 
 diffused and distributed away from the vocal organs, 
 and utilized in different and remote localities, and 
 applied in a different direction to the physical laws 
 meant to rule the vocal organs as a musical instru- 
 ment. The voice trainer's business, mentally, is 
 to accumidate the Will power, locate its application, 
 and reverse its distributed direction. 
 
 Here I would ask the reader to pause and inquire : 
 Have I, or have I not, made out my case that lan- 
 guage induces a local weakness ? For if I have, this 
 follows : All teaching that does not appeal directly 
 to the correction of this weakness is false. Now, 
 as I read history, nothing can show the failure of 
 modern teaching more than the high price demanded 
 by public vocalists, for price is regulated by demand 
 and supply. Moreover, the number of those who 
 excel compared with the number in past years is, 
 one would think, conclusive proof of the truth of 
 
The Philosophy of Voice. 63 
 
 the old system. If, then, spoken words disturb a 
 resisting force, we must admit that the cause of 
 such wholesale destruction of voices as we see 
 prevails amongst the multitudinous students who 
 study must be owing to teachers appealing for 
 results to chest pressure or false resistance, rather 
 than to readjustment of local resistance ; for while 
 speech disturbs, such tuition aggravates evil and 
 destroys. 
 
 This physiological fact was forced upon my per- 
 ception by noticing that after a long day's work at 
 teaching my voice " gave," and would not respond 
 to my will. It was warped by its use with con- 
 sonants. Now, we know that new habits crowd out 
 old ones ; and although I had had from early March, 
 1860, to the middle of August, 1863, close study in 
 Italy, still, the new habit was not sufficiently strong, 
 as it now is, to overcome the old one. Not until 
 voice and the parts of speech become as isolated as 
 an organist's feet are from his hands in playing can 
 a person properly sing. When this fact is dis- 
 cerned and rightly applied by musicians, it will do 
 more to organize a systematic course of vocal 
 retraction from physical error than anything else I 
 know. When will it come ? 
 
 It is said, " Prevention is better than cure." 
 
 The sooner we begin to learn truth, the less 
 there is to unlearn, and the easier is truth acquired. 
 This is both a physical and moral law. 
 
 " A prevalent opinion exists that it is dangerous 
 to commence the study of singing before the age of 
 fourteen or fifteen ; but this is erroneous. Children 
 
64 The Philosophy of Voice. 
 
 may commence singing at the age of five or six 
 years" (Novello). 
 
 In the Strand Magazine for March, 1891, 
 appeared an account of Madame Albani being in- 
 terviewed, and she is reported to have said : 
 
 " I have heard him [her father] say that I sang 
 before I talked. When I was four my mother also 
 looked after my musical training, and a year later 
 I was practising five and six hours every day. I 
 often used to practise then two hours every morning 
 before breakfast, and get through a hundred and 
 fifty pages of music a day. When I was seven my 
 mother died, and I can yet remember how one 
 morning my father suddenly came into the room, 
 and stood at the door with a surprised look, as he 
 listened to me singing my favourite little bits out 
 of such operas as ' Lucrezia Borgia,' ' Martha,' and 
 ' Norma.' " 
 
 The history of Patti is somewhat similar; and 
 Miss Ella Eussell, whose voice I specially diagnosed 
 for "Die Menschliche Stimme," said she never re- 
 members the time she did not sing. She sang me 
 four F's 
 
 ii 
 
 fr—e 
 
PAET II. 
 
 In vocal science the opinions of accomplished 
 musicians and successful vocalists, given in good 
 faith, are always to be taken with reserve. The 
 superficial aspect of a thing is generally opposed to 
 the true and scientific aspect of it ; for example, we 
 put a stick half in water and it looks bent. The 
 superficial observer would say, " Water is so strong 
 that it will bend a stick." An inquiring mind, 
 wishing the truth, feels down the stick, and, lo ! it 
 is found to be straight ! The scientist then steps 
 in, and, by explaining the law of refraction, blots 
 out the error of the wrong impression. Vocal art 
 rests on poetic superficiality, as painting does, but 
 science reveals the hidden causes of effects. I 
 could give many examples of erroneous thought, 
 honestly expressed, by well-known singers and 
 musicians in England, but will content myself with 
 only one outside. 
 
 M. Jules Audubert in his work on voice says : 
 " Nous proscrivons, de la maniere la plus absolue, 
 l'attaque par la coup de glotte, preconise par 
 Garcia, parceque cette maniere d'attaquer le son 
 
 5 
 
66 The Philosophy of Voice. 
 
 fait entendre uue secousse (jolt), une espece de 
 hoquet (hiccough) contraire aux principes de l'art 
 musical " (p. 24). 
 
 A "hiccough" is an involuntary intraction of 
 the air; a "jolt" is a voluntary expulsion of it. 
 Probably Garcia and myself would condemn with 
 greater vigour such errors, because we should know 
 what we are condemning ; but this gentleman 
 invents a misconception in ignorance, and condemns 
 his own " imaginings." Artists and musicians 
 give "opinions," but they must be scholars to 
 form a " judgment." 
 
 The following is extracted from the New York 
 Musical Courier for September last : 
 
 " After one or two years of study a young singer 
 is launched on the stage as an artiste (?). Perhaps 
 she has in a measure mastered the music she 
 essays to sing, and Nature having endowed her 
 with beauty and dramatic talent, she is considered 
 a success. After a few years she is heard of no 
 more — the voice is lost ! When next she appears 
 it is as a celebrated teacher (?) — alas ! of what ?" 
 This, then, is a reign of Anarchy. 
 
 Two thousand nine hundred and thirty-six years 
 ago they knew better : 
 
 " And Chenaniah, chief of the Levites, was for 
 song: he instructed about the song, because he 
 was skilful" (1 Chron. xv. 22). 
 
 In the Douay version it says, " for he was very 
 skilful." In the Eevised Version it says, " he 
 instructed about the song, because he was skilful." 
 Can we once more approach the Eeign of Law ? 
 
The Philosophy of Voice. 67 
 
 The following rules are written for the training 
 of the adult disturbed voice, and the test of a system 
 is what it will do under the most adverse circum- 
 stances. 
 
 Summary. 
 
 1. Mechanical pressure. 
 
 2. Location of will. 
 
 3. Vocal poise. 
 
 4. Compression of air. 
 
 5. Self-productiveness of voice. 
 
 6. The selected vowel. 
 
 7. Eetention of conditions shown by equal power. 
 
 8. Muscular development. 
 
 9. Mental ease. 
 
 10. Inversion of will and reversion of habit. 
 
 11. Natural economy. 
 
 12. Forecast. 
 
 13. Eeproduction. 
 
 14. Vocal harmonics. 
 
 15. The aesthetics of voice. 
 
 16. Artistic liberty. 
 
 17. Eeinforcement. 
 
 18. Mental stimulus through sound. 
 
 19. The principles of self-possession. 
 
 20. Testimony of consciousness. 
 
 School. 
 First Laic. — Complete inflation ; in other words, 
 suck in as much air as can possibly be drawn in. 
 Fluids press equally in all directions, and what we 
 have to do is to get as much air in as we possibly 
 can. The following extract from Sir Morell 
 
68 The Philosophy of Voice. 
 
 Mackenzie's " Hygiene of the Vocal Organs " (p. 71, 
 third edition) will show how falsely modern teachers 
 act : " The old Italian masters taught that in in- 
 spiration the anterior abdominal wall should be 
 slightly drawn in, and this method was practised 
 for more than a hundred and fifty years ; but in 
 1855 Mandl opposed this mode of breathing, on 
 anatomical grounds, maintaining that the descent 
 of the diaphragm is facilitated by allowing the 
 abdominal wall to be flaccid and to project forward 
 in inspiration. In England the views of Mandl 
 have been advocated by Messrs. Browne and 
 Behnke, and I was myself inclined to accept these 
 doctrines. I felt some misgivings, however, on the 
 subject, more especially as Gottfried Weber, one of 
 the most acute investigators who had studied the 
 science of singing, says that it is impossible to 
 explain why it is so, but that undoubtedly the old 
 Italian method is the best. In the early editions of 
 this work I endeavoured to harmonize the conflict- 
 ing views, but further investigation of the subject 
 has convinced me that the old maestri were right, 
 and that in the abdominal cavity there is ample 
 room for the slight descent of the diaphragm with- 
 out any protrusion of its anterior walls. I hope to 
 publish the results of my experiments and observa- 
 tions before long, but in the meantime I may 
 remark that by the old Italian method complete 
 control is obtained at the commencement of the 
 act of expiration, and undue escape of air — i.e., 
 waste of breath — is thus prevented. In other 
 words, by the Italian system greater effect is pro- 
 
The Philosophy of Voice. 69 
 
 duced with less expenditure of force."* And this 
 will show the method I learned from Cattaneo : 
 " In order to inspire freely, hold the head straight, 
 the shoulders thrown back without stiffness, and 
 the chest open. Raise the chest by a slow and 
 regular motion, and draw in the stomach. The 
 moment that you commence executing these two 
 motions the lungs will proceed to dilate themselves 
 until they are filled with air" (Garcia on "Ke- 
 spiration"). 
 
 To put it another way : The more a person 
 standing upright breathes horizontally by expand- 
 ing the free ribs, the better the result — i.e., draw in 
 the viscera. 
 
 " Strengthen respiration by inhaling breath, re- 
 taining it as long as possible — the chest expanded, 
 the stomach compressed and flattened " — (Novello). 
 
 The modern false methods of teaching people to 
 breathe never have produced, nor ever will produce, 
 a compeer to the great old forgotten school of Italy. 
 
 Never practise breathing exercises lying down. 
 The breathing capacity of a person lying down is 
 much less than that of one standing up. See 
 " National Encyclopaedia," vol. x., p. 848. 
 
 The moral is obvious: Before confiding in a 
 teacher, make him display his own voice, and judge^ 
 hv its beauty and his control of it whether he^Tor 
 fpeinot a practical man. 
 
 Second Law. — Our first object is to tie the Will 
 to the instrument. Our next to dissociate the 
 habits of connection that have grown up in our 
 
 * I induced Sir Morell Mackenzie to make a number of experi- 
 ments on living singers and myself, with the above result. 
 
70 The Philosophy of Voice. 
 
 spoken words. As a pianist's hands have to be in- 
 dependent of each other, but capable of simultaneous 
 use, so a vocalist's voice and parts of speech have 
 to be independent of each other. We play a sonata 
 on the larynx and at the same time utter words. 
 
 Placing the Will. — In order to find out where the 
 voice is made, let the student place his finger on 
 the Adam's apple, or point in his throat just about 
 above the collar. Eead in whispered words part 
 of a sentence slowly ; then gradually, while reading, 
 transfer the manner to words uttered aloud ; then 
 fall back again slowly to whispered words ; he will 
 feel the vibration of the vocal instrument under- 
 neath his finger-tip, and this will prevent him being 
 misled by the terms "head" and "chest" voice. 
 Next, let the student again put his finger on the 
 same spot and swallow : the part will be felt to rise, 
 and he cannot swallow without its rising. When 
 that rises, both the upper and lower parts (see 
 sketch, p. 72), close, and they close in spite, not in 
 consequence, of his Will. Then we get this : Under 
 certain conditions openness is the law, while under 
 certain other conditions closure is the law. This 
 latter was the old school we are about to study and 
 to prove. 
 
 The importance of metaphysical training is easily 
 shown. There are strong and healthy men who, 
 in the prime of life, are said to have " lost their 
 voice." Science has given no possible explanation 
 of this. The fact is, the singer has not lost his 
 singing voice at all ; he has only forgotten how he 
 did it, so cannot recall it. He produced his voice 
 
The Philosophy of Voice. 71 
 
 originally aright by accident ; from some cause or 
 other, probably a slight cold, it became temporarily 
 disturbed: he tried a new way and it would not 
 come, he forgot the first way, and so " lost his 
 voice." With all the physical conditions as perfect 
 as in the outset, he cannot sing — simply for want 
 of knowledge. 
 
 As Signor Garcia is the most prominent writer 
 who represents the old school, we will take his 
 principles, as far as they go, and explain them. 
 But first for definitions. The larynx is the name 
 given to the case in which the whole instrument is 
 enclosed, and it is the larynx which we feel to rise 
 when swallowing. The " glottis " is the name 
 given to the opening between the true vocal cords 
 (p. 72). He writes : 
 
 " No person can ever be a skilful singer without 
 possessing the art of governing the respiration," 
 and no person can govern respiration without 
 having control of the point of resistance. This is 
 a self-evident truth ; it remained for science to show 
 how this entire control is lost, on what material 
 conditions it depends, and how it can be regained. 
 
 " Emission should be made as tardily as possible; 
 and the student will do well to consider breath 
 more as a propelling power which sends forth 
 sound by remaining behind it, than as the sound 
 itself " (Novello). 
 
 "'Let the master [says Tosi] attend with great 
 care to the voice of the scholar, which — whether it 
 be di petto or di testa — should always come forth 
 neat and clear, without passing through the nose or 
 
72 
 
 The Philosophy of Voice. 
 
 being choked in the throat, which are two of the 
 most horrible defects in a singer.' This power I 
 conceive to be that which the masters of the great 
 Eoman school called portamento, coupled, however, 
 with the given support of the tone " (Bacon). 
 
 Below are given two illustrations, one showing 
 the form of the voice organs after twenty years of 
 neglect or imperfect use, the other showing the 
 form of the parts in right relationship to each other 
 forjthe production of beautiful unfelt sound. 
 
 Section of Voice Organs producing 
 voice falsely, incapable of ruling 
 the escaping air, Outlined from 
 Dr. Gordon Holmes. 
 
 Section of Voice Organs pro- 
 ducing voice artistically, i.e., 
 false cords approaching, 
 ruling, and resisting the 
 stream of air. 
 Space. 
 Solids. 
 
 Black 
 
 White 
 
 A — Angular approach from chest. T — True vocal cords. 
 
 V — Ventricles or caverns. F — False cords. 
 
 O — Outlet from below. E — Epiglottis. 
 
 There are two conditions for the conversion of 
 one form into the other, one instantaneous (surgical), 
 
The Philosophy of Voice. 73 
 
 the other dependent upon practice (muscular 
 growth). For example : An arm is either in its 
 socket or it is not ; if it be not, no playing of the 
 piano will put it right ; but if it be in its socket, it 
 may yet be a feeble arm.* The setting of a disr 
 located arm is one thing, the development of its 
 muscles is another. In like manner of the voice : 
 ihe voice organs must be set right before we can 
 rightly play upon them, but the development of 
 their rightly used muscles is dependent upon time 
 and work. 
 
 A beautiful illustration of good production is found 
 by blowing out the cheeks and putting vocal tone 
 in it. What the compressed air in the blown-out 
 cheeks when sounding the buzzed sustained con- 
 sonant b is to our vocal tone, associated with lip- 
 resistance, that -the compressed air in the blown- 
 out ventricles is to the invisible but artistic voice. 
 In brief, the set A of the old school is suppressed 
 escape at false cords with voice added to it, and 
 this physical equilibrium — the hydrostatics of voice 
 —has its mental equivalent, a perfect physically 
 unfelt control. The superior laryngeal nerve (4) 
 acts upon the crico-thyroid muscle and the inferior 
 constrictor muscle. The crico-thyroid muscle pulls 
 together the thyroid and cricoid cartilages, both 
 ascending, and the effect of this action is to tighten 
 the vocal cords, and consequently to raise the pitch. 
 
 * "A month or so ago a gentleman, whose vocal powers had 
 never been encouraged, and who had often been told that he had 
 not even the proverbial two notes, put himself under instruction, 
 and in less than twenty minutes was delighted to find he had two 
 octaves of serviceable notes to begin with." — " First Principles," 
 T. Kelly, S.J., p. 11. 
 
74 The Philosophy of Voice. 
 
 This intrinsic muscle owes its action to a nerve- 
 energy directed downwards through the superior 
 laryngeal nerve (i). Thus much for direction of 
 Will or thinking doicnwards against the initial 
 automatic upward pressure. 
 
 1. — Seat of thought. 
 
 2. — Pneumogastric nerve. 
 
 3. — Pharyngeal nerve. 
 
 4. — Superior laryngeal nerve. 
 
 5. — Inferior laryngeal nerve. 
 
 6. — Larynx. 
 
 7. — Windpipe. 
 
 Next, at the outer side and over the top of each 
 ventricle is placed a number of muscular fibres, the 
 function of which is to resist the strain of the 
 compressed air brought to bear upon them by 
 pressure within the ventricles ; and it is known 
 that there is an abundant supply of nerve-branches 
 from the superior laryngeal nerve distributed to 
 each ventricle. These nerves are placed there to 
 inform consciousness of the varying degrees of 
 pressure brought to bear from within upon the 
 tense and distended surface of the ventricles. 
 
The Philosophy of Voice. 75 
 
 We will to local vital force. 
 
 Third Law. — Hold the breath. The object of 
 this is to stay all movement. The statical side of the 
 question comes first, afterwards the dynamical side. 
 When we are first learning to do a thing, we pause 
 to take aim, for it is more difficult to hit a moving 
 thing than it is to hit a stationary one. Garcia 
 nearly had the explanation of true production when 
 he used the word " accumulation," but the word 
 " momentarily " spoilt it. When the air is only 
 momentarily accumulated the instrument has 
 slipped ; the start is right, but the continuation of 
 tone is wrong, owing to F F' (p. 72) springing too 
 widely open. In right production the compression 
 of air can be continuous. This slipping of the 
 higher part of the instrument is a common fault 
 with beginners. Others, hearing the difference 
 between the ring of the attack and the feebleness 
 and deadness of the rest of the note, condemn 
 unjustly and in ignorance the attack as unmusical,, 
 instead of condemning, as they should condemn, 
 the continuation of the note for not being equal to 
 its first start. 
 
 " Every proper opportunity of taking breath 
 should be seized, so as to keep the lungs constantly 
 replenished with fresh air, and save the chest 
 superfluous fatigue " (Novello). 
 
 Fourth Law. — Squeeze this imprisoned breath as 
 much as possible by a general contraction of all the 
 chest muscles and elevation of the diaphragm ; 
 this act compresses the air within us. Under this 
 condition F F and T T (p. 72) are brought together. 
 
76 The Philosophy of Voice. 
 
 This imprisoned air, when so acted upon, inflates 
 the caverns (V) that lie between the false and true 
 cords. The air catching in these caverns presses 
 up the larynx and tightly closes it, and by tension 
 makes the elastic pipe below, not only straight, but 
 of greatest circumference, with the acoustical result 
 of greatest sonority. We have transferred from 
 our minds to a quite natural physical law in- 
 dependent of mind, the power that shut the door 
 and imprisoned the air below. Our mindB have to act 
 downwards to undo the natural resistance. Why 
 should we make voice a question of personal work, 
 when the voice under certain physical conditions 
 will act for us automatically ? We have, then, to 
 withdraw the pressure a little before we can allow 
 any self-escape of air. The old school always 
 studied for highest elevation of the larynx, inflated 
 caverns, on which the massiveness or volume of 
 voice chiefly depends, and mechanical closure. By 
 way of illustration : If we hold our breath by 
 closing the mouth and nose, and squeeze the 
 imprisoned air, we feel the air forcing its way up 
 the tubes that go to the ears, and we find the 
 drums of the ears pressed against from the inside. 
 This is exactly what the air does in the caverns 
 (p. 72) in right production, holding the instrument 
 distended and tight like the inflated sails of a ship 
 under pressure of wind. When the old masters 
 advised students to appoggiare la voce (prop up the 
 voice), they meant prop up the instrument that 
 produces it.* 
 
 * The value of compression is shown in the organ, the solo stops 
 being made prominent by added pressure of wind. 
 
The Philosophy of Voice. 77 
 
 The following quotation of the old school is to 
 the point : 
 
 "Domenico Corri, a disciple of Porpora, and 
 resident pupil for five years, attributes (about 
 1790) false singing to a bad habit, ' occasioned 
 chiefly by the relaxation of the windpipe, and to the 
 other organs not having attained sufficient strength 
 and tone.' " 
 
 The tightness of the pipe is owing to physical 
 expansion from within, this owing to resistance of 
 escape ; false and injurious tightness is owing to 
 constriction, the result of will-force trying to 
 contradict and overcome physical law. 
 
 " In preparing respiration for vocalizing purposes, 
 the chest and muscles below should be kept 
 permanently expanded" (Novello). 
 
 The action of the larynx is a source of much 
 false thought, owing to persons reasoning from a 
 "Particular " to a " Universal," a principle denied 
 in logic. It must be borne in mind that overlying 
 the law of a species there are individual diversities. 
 In swallowing the larynx closes in spite of will — it 
 must close. In other localities it can close in 
 response to will or in spite of it. In inspiration the 
 larynx is drawn down a little in some, a great deal 
 in others, and in varying degrees. In all it is 
 dragged down deepest the quicker we inspire. Let 
 us take two extreme cases. A has larynx drawn 
 down in least degree, B in greatest. This is owing 
 to individual differences in form of chest, and 
 different degree of angle of setting the bronchi to 
 the trachea. 
 
78 The Philosophy of Voice. 
 
 Both A and B can close the larynx in its lowered 
 position by an act of will. Each can compress the 
 air below and within it, and then the larynx will be 
 pressed up from its then condition and closed in 
 spite of will. In one it will be blown up above its 
 normal state of open repose, in another it will not, 
 but in each it will be raised above its state when 
 voluntary closure took place, and this is the high 
 larynx school of the past. 
 
 Fifth Law. — The valvular action or attack. By 
 ceasing to will to hold, an explosion of the com- 
 pressed air takes place. This explosion is nothing 
 more nor less than the first cry as presented by 
 infant life, and is practically the same as what is 
 called " the shock of glottis " ; it is an audible 
 result arising from the false cords, in response to 
 will, opening a little, and releasing compressed air 
 imprisoned below them, which air in its release 
 explodes, the true cords springing of their own 
 elasticity, and consequently automatically giving off 
 their intrinsic tone. That is, the instrument falls a 
 little, or no air could escape, and our object is to 
 get the least fall, and so retain the smallest fissure, 
 and therefore the least waste of air, and con- 
 sequently longest note. Now, either (1) the false 
 cords may act in unison with the true, alternating, 
 as in laughter, between approximation and dis- 
 junction, like scissors. Or (2) the false cords may 
 part so widely that they are unable to rule the air 
 — this is ordinary or false production, the true 
 cords vibrating on a column of uncompressed air, 
 which they cannot completely restrain ; in effect 
 
The Philosophy of Voice. 79 
 
 weak, dead, or rough uncontrollable sound. Or (3) 
 the true cords may completely open, the false cords 
 being partially approached, in which case the air is 
 heard to escape in a controlled hiss. Or (4) the 
 false cords alone may slightly separate, assuming a 
 fixed position, restraining the escape of vocalized 
 air, while the true cords of themselves, by their 
 own elasticity, alternate between parallel lines and 
 ovals. This last alternative is true production. 
 This first step of voice restoration is only an 
 application of the automatic action that takes place 
 at birth, and an application of this can alone enable 
 the speaker to utter loudly any word beginning 
 with a vowel ; it is a sharpening of the energy of 
 the organs of voice, just as b is sharpened into p by 
 the action of the lips — an automatic grip. 
 
 This is Garcia's rule : " Keep the tongue relaxed 
 and motionless, avert the base of the pillars, and 
 render the whole throat supple." (Better have 
 said, Breathe through the open mouth, but feel 
 no parts.) " In this position breathe slowly and 
 long. After being thus prepared, without stiffening 
 either the larynx or any other part of the body, 
 calmly and with ease attack the tones very neatly 
 by a slight motion of the glottis on the vowel a, 
 very clear ; this motion of the glottis is to be pre- 
 pared by closing it, which momentarily arrests and 
 accumulates the air in this passage; then, as 
 suddenly as the pulling of a trigger, it must be 
 opened by a loud and vigorous shock, like the action 
 of the lips energetically pronouncing the letter p." 
 And he adds : " This first lesson should be insisted 
 
80 The Philosophy of Voice. 
 
 on, as it is the basis of all teaching. I again re- 
 commend the shock of the glottis as the only means 
 of attaining the sounds purely and without bung- 
 ling." Now, this, small though it be, is the one 
 important principle of training that has been 
 successful in results ; by it great singers have been 
 made ; without it, many possessing all other re- 
 quirements have failed, and it served its purpose 
 before the introduction of the laryngoscope. We 
 have to see what this " shock of the glottis " is ; 
 why it restores the instrument to its natural condi- 
 tions for creating sound ; and how Nature acts 
 when rightly used. 
 
 My dead pupil, M. Orlando Steed, and myself 
 have been misrepresented as proclaiming a different 
 action to that written of by Garcia, but it is not so : 
 we only proclaimed a different explanation of the 
 same act ; but we showed the self -productiveness of 
 voice in its first principle, which Garcia did not 
 show. For example, if we pull a harp-string, the 
 string in like manner pulls against us ; there is a 
 distinct act of will in us, but there is no sound in 
 space. It is only when we release the string by 
 ceasing to will that the string of its own nature pro- 
 duces sound. The voice in man, properly set as in 
 the bird, must produce itself ; but being possessed 
 by life within its limits, life informs it what to 
 produce. By way of illustration, if we drive a 
 thoroughbred horse our will is only used in re- 
 straining and controlling it, and we have only to 
 decrease our will — or, in other words, remove our 
 opposition to the nature of the horse — for the horse 
 
The Philosophy of Voice. 81 
 
 to increase its speed ; on the other hand, if we have 
 a broken-down hack, we increase the use of our will 
 through whip or spur to increase speed. The latter 
 illustrates false production and its fatigue; the 
 former illustrates true production and its ease. 
 Kemembering this, one production is easily distin- 
 guished from the other by a student. 
 
 Alexander Melville Bell says : "In the pro- 
 duction of a pure glottal sound, there is a sharp and 
 instantaneous opening of the voice, as if from a 
 momentary holding in of the breath before the 
 vocal emission. The effect is a great beauty in 
 vocalizing; a source of ease, power and distinct- 
 ness, as well as of grace. When the voice is other- 
 wise commenced, much breath is wasted before 
 vocality is obtained, and a clear, resonant voice can 
 hardly be produced by the loose expiration. M. 
 Garcia, of Paris, and other scientific singing- 
 masters prescribe exercises on the coup de la glotte 
 as the best means of purifying and strengthening 
 the vocal tones "(" Principles of Speech and Vocal 
 Physiology," Edinburgh, 1863). 
 
 Madame Marchesi, in her work " Theoretical and 
 Practical Method of Singing," writes : " The lungs 
 once filled, the pupil, in order to produce a sound, 
 must close the glottis hermetically, in order that the 
 air, in making its way through the opening of this 
 glottis at the moment of expiration, shall set in 
 vibration the vocal cords which form the extreme 
 edges of its lips. The coup de glotte is then caused 
 by the sudden and energetic drawing together of 
 the lips of the glottis an instant before expiration 
 
 6 
 
82 The Philosophy of Voice. 
 
 commences. This organic action, which forms that 
 attack or ' pose of the voice,' is caused in preparing 
 the glottis and mouth for the production of some 
 vowel." 
 
 In an authorized Latin translation in the British 
 Museum (1550), Galen, who lived sixteen hundred 
 years ago, is made to say, " Vox est aer percussus," 
 that is, Voice is stagnant air struck, or the exact 
 opposite to shoved air snatched at. 
 
 Sixth Law. — The selected vowel. When a child 
 sobs it sucks in two or three (generally three) in- 
 halations, and the coldness of the drawn-in air 
 causes reflex action, and so shuts the larynx. The 
 internal heat, acting on this cold air, expands it, 
 and the closure of the larynx is no longer the result 
 of reflex action, but is transferred to that of air 
 pressure. The heart, wanting to go on with its 
 work, induces in its turn reflex action, which 
 releases the imprisoned air, and the cords in their 
 spring give off sound, the result of their intrinsic 
 nature — and this is the coup de glotte. Now let us 
 go from the cradle to the grave. With death the 
 jaw drops, and the last exhalation is Ah. This is 
 purely an acoustical result from simple physical 
 causes. All other vowel sounds are complex, owing 
 to the cavern being moulded by will. The first is 
 physical, the second metaphysical. " The ideal 
 tone aimed at by Garcia " is the first, and is 
 right because it is Nature revealing itself. The 
 difficulty is to] get pupils to realize this, and what 
 many in ignorance call the coup de glotte is 
 violence — will-force located on the diaphragm, or 
 
TJie Philosophy of Voice. 83 
 
 distributed down the ganglionic centres ; and this 
 I condemn. 
 
 Marchesi writes : " The type of vowel to be pre- 
 pared and chosen for the formation and develop- 
 ment of the voice is that of a, attacking it naturally 
 and without any effort or affectation. The pupil 
 must understand that the coup de glotte is a normal 
 movement of his vocal organ, and that he must 
 simply submit to a spontaneous action [italics mine] 
 which has developed from the moment he com- 
 menced to cry in coming into the world." 
 
 " Students usually commence practice either with 
 solfeggi or vocalization. In the former, each note is 
 named as it is sung ; in the latter, one vowel — the 
 Italian a (ah) — is used throughout. 
 
 " The great object being, at first, to develop the 
 voice, vocalization is much to be preferred, as the 
 pure vowel induces a pure tone of voice, which 
 eventually becomes habitual. Until the voice has 
 been examined, and its registers distinctly re- 
 cognised, words only serve to veil any defective note. 
 
 " It will be advisable to sing at first without 
 words, which can be added when all the musical 
 distances have been well impressed on the ear and 
 mechanical action of the throat. This latter 
 should retain the attitude assumed during the 
 production of vocalized sound I.e., least change of 
 state]. 
 
 "The habit of humming, or singing with the 
 mouth closed, is injurious to the voice, which, by 
 a false position assumed by the vocal apparatus, is 
 emitted through improper channels " (Novello). 
 
84 The Philosophy of Voice. 
 
 " If our alphabet be critically examined, in order 
 to discover the effect which each letter has upon 
 the voice in singing, it will be found that peculiar 
 letters, as well as combinations of letters, have 
 peculiar vices and tendencies to impede or corrupt 
 musical sounds, both in their formation and 
 passage. 
 
 " Perhaps we may trace certain national vitiations 
 of tone in singing to the predominance of peculiar 
 actions of the organs of speech in pronouncing the 
 several languages. 
 
 " The tone must never be vitiated, even if modified 
 — so says the rule — and to this we adhere with 
 unbending scrupulosity. 
 
 "I differ from the instruction books so far as to 
 think that this should never be tried till the confir- 
 mation of tone and tune be completely and 
 assuredly fixed by habit upon the syllable ah '' 
 (Bacon). 
 
 Fetis wrote of the evil of sol-fa thus : 
 
 "It had for its inevitable effect to destroy the 
 voices in the very beginning, by ignorance of what 
 concerns the delivery of the voice, and vocalization. 
 This is completely unknown to the majority of 
 masters of solfeggio." 
 
 Solfeggi were introduced because a number of 
 teachers arose who could not train a level tone, and 
 to distract by a pretty tune the student from his 
 own stagnation this mode was invented. 
 
 Mr. Kelly, in his "First Principles of Voice 
 Production," says : " When speaking or singing, 
 we should try to get the mouth into the most 
 
The Philosophy of Voice. 85 
 
 natural position possible. This will be best seen 
 when the muscles of the mouth and tongue are no 
 longer under the control of the will ; when life is 
 extinct the lower jaw then falls, and becomes 
 similar in shape to that in which our mouth is 
 when we are pronouncing the vowel a." 
 
 Domenieo Corri says : " Here I may quote my 
 preceptor, Porpora : The improvement of the voice 
 is best acquired by sounding the letter a, the 
 position of the mouth in uttering this latter being 
 most favourable to produce a clear and free 
 tone." 
 
 Then again, Celoni, in his " Grammar or Rules 
 for Beautiful Singing," says : " The vowels i and u 
 one ought to avoid, and leave them to those who 
 have the madness to imitate horses and wolves." 
 And Maccini : " J and u our profession call vowels 
 prohibited." 
 
 Seventh Laic. — Equal power. Continuity of tone 
 naturally results from retaining by au act of Will 
 the conditions assumed in the outset by Xature. 
 There is to be noted a vital difference between 
 tiaining the voice and learning to play upon an 
 artificial instrument. The voice-organs are part of 
 our being ; and if we possess control over any part 
 of our being, Nature defines the limit, and our 
 Will regulates the degree. Variableness, then, is 
 in response to will, the instrument being placed ; but 
 in training to control an artificial instrument, we 
 have to learn all the varying degrees of force that 
 are required to produce varying degrees of sound. 
 Moreover, in ruling an external inanimate instru- 
 
86 The Philosophy of Voice. 
 
 ment we will the process ; but in ruling our bodies 
 we will, not the process, but the end.* 
 
 The old school used equal power to ensure no 
 change of state in the relationship of the parts each 
 to the other. The point for study is precisely the 
 intensity of beautiful sound ; so a beginner should 
 sustain each note in a perfectly equal power ; 
 thus : 
 
 not thus : 
 
 The first demand of the dramatic instinct is for a 
 safe, unwavering, powerful fortissimo. Never study 
 at beginning short staccato notes ; it makes the 
 tones unsteady, and the instrument will never set. 
 The power to end well is as important as to begin 
 well. 
 
 In Manuel Garcia' s book, published in 1824, we 
 are told : 
 
 " All the exercises must be studied with the most 
 strict attention to their distinctness, and not in the 
 staccato manner, so that the unpleasant sounds of 
 ha, he, hi, ho, hu may never be heard. 
 
 " The position of the body must be erect without 
 distorting the appearance either in face or body." 
 
 The crescendo and diminuendo are mischievous 
 innovations of modern trainers, and are the result 
 
 * In experimenting upon deaf and dumb patients I have suc- 
 ceeded in getting the initial attack, but the voice sunk in pitch as 
 breath-pressure decreased, just as an infant's cry. 
 
The Philosophy of Voice. 87 
 
 of a moving instrument instead of a controlling 
 will. 
 
 To prove the subordination of the instrument to 
 the Will, notes can be tested thus : 
 
 Eighth Law. — Full power. Muscles used are 
 strengthened ; muscles disused are weakened ; 
 muscles abused suffer from the ill-treatment. The 
 old school studied at full power to strengthen 
 enfeebled muscles, and to inform the perception of 
 the student of the limit up to which his will could 
 secure vocal response. A piano-tuner in tuning a 
 piano always strikes the notes as hard as possible 
 in order to set them, and if this were not done the 
 instrument would speedily get out of tune ; it is the 
 absence of a similar test in modern voice-training 
 that causes voices so soon to decay. 
 
 " Students should practise at full voice. 
 
 " Beautiful piano tones require as much fidl 
 power, or command over the vocal instrument, for 
 their production as do the loudest sounds " (Novello). 
 
 " Above all things, it is important to preserve 
 the power of sustaining, without the slightest 
 tremulousness, an equal tone. 
 
 " I knew one very excellent teacher of public 
 singers who desired his scholars to begin with any 
 given quantity of tone, and to preserve the same 
 quantity throughout. His reason was that by this 
 practice the scholar would acquire the power of 
 
88 The Philosophy of Voice. 
 
 producing any desired quantity at pleasure, and 
 there appears to be some force in the remark. 
 
 " I know that Madame Mara could dance and 
 maintain, during the most agitated motion, a 
 perfectly equable and uniform voicing" (Bacon). 
 
 This is the old automatic full power, not the 
 laboured violence of modern incompetence. 
 
 " Oh ! 'tis excellent 
 To have a giant's strength ; but it is tyrannous 
 To use it like a giant." 
 
 Ninth Law. — No effort ; all effort is error. 
 Nature says, in effect, " Put me right, trust me, 
 and I will play for you ; distrust me or discourage 
 me, and I will trick and disobey you." 
 
 Garcia writes: "My father (Eossini's Almaviva) 
 often said that the beauty of the voice constituted 
 ninety-nine hundredths of the power of a singer." 
 This beauty is within the reach of all ; for a bad 
 voice is another form of cripple. 
 
 The whole gist of study may be summed up thus : 
 Hold the breath on deep inflation; by ceasing to 
 will to hold, Nature, not self, sets the instrument in 
 accurate action; let the pressure continue the 
 sounds and by repeated use in such manner the 
 instrument in time will become habituated to right 
 action — a servant to our Wills instead of a tyrant 
 crippling and frustrating our desires. It is strange 
 that, exactly at the same time German assumption 
 was doing its uttermost to destroy the little known 
 in voice-training, a medical man should be making 
 experiments in Edinburgh, which resulted in cor- 
 roborating the greatest scientific discovery affecting 
 
The Philosophy of Voice. 89 
 
 the science of voice-production that has ever been 
 put before the public, and which discovery con- 
 clusively supports, from a scientific point of view, 
 the teaching of the ancient school of song. This 
 explanation of the use of the false cords and the 
 ventricles (vide p. 72) gives the true solution to the 
 right use of voice, the air in the ventricles acting 
 somewhat analogously to the air which a trumpet- 
 player imprisons in his cheeks ; the greater 
 reservoir, the chest, keeps the lesser ones, the 
 ventricles, always full, and the control of measured 
 force from the greater is dependent upon the 
 fulness of the less, this simply owing to the dis- 
 tribution of nerves. No man can speak or sing 
 with perfect self-possession and accurate response 
 to will unless he has masterful control over the 
 respiratory apparatus, and no man can have this 
 control unless his organs of voice be rightly used. 
 A corroborative proof, being the connecting link 
 between Dr. Wyllie on the one side and Signor 
 Garcia on the other, is found in the fact that sound 
 can be whispered at the false cords, the air escaping 
 in an elongated hiss, while the true cords, being 
 open, do not vibrate. The breath under these 
 conditions is held back in sustained escape, and is 
 consumed in about the same time as it would be 
 consumed were a vocal tone accompanying it. 
 Further squeezed, the false cords produce "fal- 
 setto." 
 
 Tenth Law. — In producing the aspirate h our 
 will acts in the same direction as the escaping air, 
 twisting our bodily form in the direction of the 
 
90 The Philosophy of Voice. 
 
 flow; the corrective to this is willing the other 
 way, thinking downward and striking at the note 
 from above, as it were. This act changes the 
 internal state back to its forsaken shape, just as a 
 drill-sergeant bends upright a stooping recruit, or 
 just as we roll a piece of music the other way to 
 straighten it. This enlisting of the mind to help 
 the body considerably shortens time, and does for a 
 student in a few months what took Cattaneo more 
 than twelve months with me. 
 
 The best starting-point for study is the note 
 produced without tension and without relaxation, 
 but solely by approximation of the true cords, the 
 true cords and the breath equalizing their respective 
 force, for in this the conditions both of elevation 
 and depression of pitch are not involved ; the note 
 produced from the detached larynx by imitating 
 the action which contracts the fissure would give 
 the easiest sound in the living subject : this, in the 
 average adult, male or female, is middle G, and in 
 strange corroboration we find G accepted long ago 
 by priests as the most convenient note upon which 
 to recite words. 
 
 Male. Female. 
 
 ^H $ 
 
 -&- 
 
 Of course the "station note" is relative, not 
 absolute, like all other conditions of an individual — 
 comparative anatomy teaches us this — but we are 
 arranging an average of the species. 
 
 Here it is important to the student that a popular 
 
The Philosophy of Voice. 91 
 
 error should be corrected. It is generally believed 
 that remote noteB are more difficult than central 
 ones. This is not so : all effort is error ; for 
 instance, we see to a certain distance, and to a 
 certain nearness ; within these limits all points of 
 sight are equally easy. We hear to a certain 
 height and to a certain depth, and within these 
 limits all notes are equally audible. So with voice : 
 all notes are equally easy within the full compass. 
 
 Having fixed the station note of equally sustained 
 tone and of unflagging strength, all notes below are 
 made by the larynx sinking and the attendant 
 relaxation of the cords ; from the detached larynx, 
 male and female, Dr. Wyllie produced an octave 
 below the station note ; a like octave can be pro- 
 duced from the living subject. For the notes 
 above G the larynx rises. As the larynx ascends 
 in the pipe, the speed of the ascent of the front 
 part of the cricoid is swifter than that of the 
 thyroid ; so that this part of the cricoid in its 
 upward progress gains on the ascent of its auxi- 
 liary, the thyroid ; hence the vocal cords are 
 tightened, and the pitch of voice raised. In this 
 ascent the thyroid and cricoid rotate on an eccen- 
 tric centre, causing the planes of both false and 
 true cords to become with each heightened tone 
 more slanting; thus, the sound, travelling at a 
 right angle to these planes, finds its point of 
 impact on the arch of the palate more and more 
 forward with each ascending sound. This physio- 
 logical fact was revealed to me by the simple 
 act of putting my finger on the thyroid and 
 
92 The Philosophy of Voice. 
 
 singing a scale upwards. I proclaimed this in 
 the Orchestra, 1879, and in my reprint, " Vox 
 Populi," February, 1880, and physiologists are 
 accepting it. Here are Sir Morell Mackenzie's 
 words : "It used to be believed that the effect was 
 produced by pulling the thyroid cartilage down, so 
 as to increase the distance between it and the 
 arytenoid cartilage behind, and thus stretch the 
 vocal cord by having one of its points of attach- 
 ment further away from the other. It is now 
 known that it is the cricoid cartilage which is 
 pulled upwards at its front part" (p. 21, second 
 edition). Dr. F. H. Hooper, of Boston, U.S., has 
 proved experimentally the truth of this ; so another 
 error is swept away, and with it the "low larynx" and 
 "fixed larynx" systems of training. Professor Huxley 
 evidently drew his conclusion from the dissecting- 
 room, and forgot the practical test I applied in the 
 living subject. Unfortunately he still insists he 
 is right, and that the depression of the thyroid 
 heightens pitch, and that the elevation of the 
 thyroid lowers it (" Elementary Physiology," 
 p. 183).* My discovery solves Madame Seiler's 
 difficulty : " That the voice must be brought for- 
 
 * Since the above was written, Professor Huxley, in his last 
 edition, writes : "If, while a low note is being sounded, the tip of 
 the finger be placed on the crico-thyroid space (which can be felt 
 through the skin, beneath the lower edge of the thyroid cartilage), 
 and a high note be then suddenly produced, the crico-thyroid space 
 will be found to be narrowed by the approximation of the front 
 edges of the cricoid and thyroid cartilage. At the same time, how- 
 ever, the whole larynx is, to a slight extent, moved bodily upwards 
 and thrown forward, and the cricoid has a particularly distinct 
 upward movement ; this movement of the whole larynx must be 
 carefully distinguished from the motion of the thyroid relatively to 
 the cricoid." — "Elementary Physiology," 1890, p. 196. 
 
The Philosophy of Voice. 
 
 93 
 
 ward in the mouth is now acknowledged as neces- 
 sary, and aimed at by the best teachers. But the 
 reasons why the tones thus sound better are not 
 known " (p. 112, Phil, ed., 1868). This forward 
 production is what was called fior di labbro, or 
 flower of lip, singing. 
 
 "The larynx ascends in the throat to the greatest 
 height permitted by the elasticity of the windpipe " 
 (Novello), i.e., it is pushed up by pressure from 
 below, which it resists by natural law. 
 A 
 
 B — Outline of pipe. 
 X — Line of fissure. 
 A — Point of impact on palate. 
 
 Sound can be directed like a jet of water out of 
 a fire-engine ; the use of speaking-trumpets at sea 
 proves this. It is transmitted, like a wriggle down a 
 rope, not projected like a thrown stone or a bullet 
 out of a gun.* 
 
 Eleventh Law. — If we have the extreme note of a 
 
 * If we note the singers of our popular comic operas, we find 
 those whose words can be heard have "no voice," while those who 
 have voice do not clearly articulate words ; the larynx is not suffi- 
 ciently high to rightly place sound, so with uttered words it opens 
 and the tone is deadened ; but kept close by will-force, there is 
 tone, but no words. 
 
94 The Philosophy of Voice. 
 
 register, we necessarily have all those within it, 
 just the same as if we know how far we can reach 
 we have all the lesser distances within that cir- 
 cumference ; or, to take another illustration, if we 
 know how much we can lift, we can lift all lesser 
 weights. 
 
 Low Register. — As this is a register of lateral 
 relaxation, work upwards from B to F in semi- 
 tones. 
 
 Male. Female. 
 
 HE 
 
 This metaphysical principle is an incalculable 
 saving of time. 
 
 Middle Register. — As this is a register of lateral 
 tension, work downward from C or D to F in semi- 
 tones to the point of repose, the station note F 
 or G. 
 
 Male. Female. 
 
 m 
 
 -e- 
 
 m 
 
 Z22H 
 
 I give the minimum compass safe for self-tuition. 
 F is given as a common note capable of being 
 produced at will in either register. 
 
 All voices have two foundation registers of 
 about eight semitones each register, one register 
 made by relaxation of cords, the other by tension of 
 them ; both of these are forward productions. All 
 
The Philosophy of Voice. 95 
 
 other registers are evolved in some way or other from 
 these, and are of necessity included in them. 
 
 Elasticity. — Bodily parts are more elastic in a 
 dead animal when warm than when cold, they are 
 still more elastic in a living animal than when dead. 
 We regard the old classical compass of two octaves 
 as the minimum compass of all voices ; a natural 
 voice has nearer three. 
 
 Here is pointed out the influence of second causes 
 upon pitch, so that the student may know what 
 difference in hue to accept as true and what to reject 
 as false. A change in hue arising solely from change 
 of direction has been a great source of error in our 
 teachers, who, when speaking of " registers," have 
 been invariably misled by this. The object Nature 
 evidently has in directing tone is that with equally 
 developed force vocal utterance and articulate speech 
 can be simultaneously used without one influencing 
 for evil the other. This affords another proof of the 
 superiority of the fast-dying old school which in- 
 sisted upon " a forward production "as a basis for 
 song; and the reason why the larynx does not 
 assume its right elevation for higher notes than the 
 station note is because during our past years it has 
 only been used indirectly to strengthen spoken 
 words, so that a tendency has grown up in the 
 larynx to assume and retain the average altitude of 
 language and to leave the production of all notes of 
 greater height than the average to will-force acting 
 through the chest-muscles alone. Consequently 
 most untaught persons produce sounds above the 
 station note by too great an excess of blast, as seen 
 
96 The Philosophy of Voice. 
 
 by the rapid exhaustion of air, as heard by the 
 point where the sound strikes being far back in the 
 mouth, and as felt by the Adam's apple being low, 
 and finally corroborated by a feeling of personal 
 fatigue when such notes are given forth. The 
 corrective study for this is having recourse to a 
 steady spring from the organ itself; this, by 
 practice, induces a habit of rising until a position 
 of highest elevation is fixed. Take mental aim, 
 therefore, poising the voice, and attack D or C 
 striking downwards to meet the air at the larynx. 
 A curious phenomenon occurs about DorE: if the 
 larynx ascends above this point the sound is pro- 
 pelled directly out of the mouth without any re- 
 flection on the arch, so that a shout or noise results. 
 
 Twelfth haw. — Forecast. Change into a higher 
 register lower down in ascending passages ; change 
 into a lower register higher up for descending 
 ones. 
 
 Thirteenth haw. — High register (first mode). 
 This is a backward production, and is evolved from 
 the register below it, the forward register of ten- 
 sion ; it is dramatic, and does require balanced and 
 resisted force, or cannot portray the passion it is 
 intended to colour. As soon as the sound obtains 
 no reflection the scale must be continued by letting 
 the larynx sink and going over the preceding five 
 notes, G to D, with greater pressure, thereby elevat- 
 ing them a fifth (full harmonics) . The descent of 
 the larynx about high E can be felt with the finger. 
 All these notes above the high T> are producible in 
 more ways than one, but all depend upon a correct 
 
The Philosophy of Voice. 97 
 
 emission of the tones below, so that the old teachers 
 were right in insisting on fixing middle and low 
 notes, although they did not know the reason why 
 this should be done. In soprani sfogati, tenori 
 robusti, and in all low voices of either sex, the 
 notes above D are full harmonics produced by in- 
 creased blast acting upon the cords fixed for a fifth 
 below. This is what the old school called voce 
 chiusa, or closed notes, giving this : and an octave 
 lower for tenors, a third lower for contraltos, a 
 tenth lower for basses : 
 
 I 
 
 There is, of course, nothing closed except the parts 
 making voice, but the direction of tone is different. 
 If we imagine a straight line drawn from the tip of 
 the nose through the larynx and out at the back we 
 get the direction of thought and the upward and 
 downward direction of vibration in the " open " 
 register or forward production; if we imagine a 
 straight line drawn from the back of the head 
 through the larynx, down to where the ribs part 
 in front, we get the direction of thought and the up- 
 ward and downward direction of vibration of the 
 "closed" register or backward production. I 
 have known this metaphysical explanation set the 
 registers in a few minutes. To induce the larynx 
 to sink for the high notes, the old school used the 
 vowel u {oo) ; but it was a thought u, not a mouthed 
 
 7 
 
98 The Philosophy of Voice. 
 
 one, the pharynx being the cause of this apparent 
 change of vowel sound. 
 Cattaneo's mode with me : 
 
 -^' az 
 
 <to=¥=z=¥=n &t=t=t=* 
 
 h 
 
 J- 
 
 :z2Z 
 
 The notes with tails turned up show the higher 
 register, the ones with tails turned down show the 
 lower register. 
 
 Corsi's mode with Mr. Maas : 
 
 :zr: 
 
 
 with same change of vowel. 
 
 Here it is necessary to give a few words of warn- 
 ing. To develop a muscle for one note means to 
 strengthen it for all. To economize air for one 
 note means to economize it for all, therefore never 
 study for compass. If the register of dramatic re- 
 production be attempted before the lower ones are 
 set it will blow sharp and the lower notes will be- 
 come flat. This production is used in all dramatic 
 song, such as " Sound an Alarm "; it has always the 
 impression of bodily energy. 
 
 Fourteenth Law. — High register (second mode). 
 This is evolved, but in a different manner ; it is 
 used in high passages of love, such as " Love in her 
 Eyes " (Handel), and has always the impression of 
 perfect ease. In " light " voices the notes above D 
 are harmonics on a " node " from the true cords 
 
The Philosophy of Voice. 99 
 
 fixed for an octave and some for a twelfth below. 
 By emitting a deadened high note (falsetto) and 
 pressing above the thyroid with finger and thumb, 
 the sound will suddenly burst out in a bright, clear 
 tone ; this is the production sought for by light 
 singers. 
 
 The first high note Cattaneo put on my voice was 
 B, and he took it from the octave below : 
 
 £ 
 
 Keep the position of the open (middle) note, and 
 absolutely without any feeling or effort, think the 
 octave above, but think and imagine yourself pinch- 
 ing downward. If this production will not come in 
 this way, take' the high note falsetto, then think 
 and squeeze downwards from the false cords ; the 
 true cords will synchronize in time. In the living 
 subject there are -four series of true vocal tones : 
 one set produced by Belaxation, one set by Tension, 
 two sets by Beproduction ; and the physical facts 
 producing these four series are made manifest to man 
 through created sound by four entirely natural but 
 different hues. We know that air confined in spaces 
 will strengthen and re-enforce sound. In a human 
 body there are three caverns filled with air that in- 
 fluence tone — the chest, the pharynx, and the 
 mouth — and that cavern which of the three exer- 
 cises the preponderating influence in tingeing tone 
 has hitherto been used to give a name to that 
 series of sounds so tinged ; thus, we have one set of 
 
100 The Philosophy of Voice. 
 
 sounds termed " chest," and another " head." 
 Moreover, with an increasing current of air from 
 below, the sound is carried by the current in one 
 direction, and impeded in a contrary one. As all 
 these second causes are absent during observations 
 on the detached parts, and as all remarks in 
 medical works are drawn from this latter aspect of 
 observance, we naturally find men of science writing 
 of the "register" of voice (two octaves), whilst 
 musicians, approaching from a different point, have 
 confusedly brought in all second causes, and so 
 speak of the " registers " of voice ; hence the dis- 
 crepancy in the statements of the two classes of 
 men. The sudden change of hue in the female 
 voice between middle F and G takes place just the 
 same in the male voice, an octave lower, but owing 
 to the difference in bodily form the resonance con- 
 tinues in the chest of men where it ceases in that 
 of women ; the relative sizes of male to female 
 cords are as three to two, but the relative size of 
 mouth is as five to four. The ignorance of these 
 physical facts is the cause of much false teaching, 
 and has misled all previous writers. 
 
 Further, it is assumed by voice-trainers that 
 because there is a difference of hue between one 
 series of sounds and another series of sounds, 
 Nature causes a " break " in the voice, which break 
 has to be "bridged over" (see any vocal tutor). 
 But a difference does not necessarily involve a 
 defect ; so what is erroneously termed a " break " 
 may with better judgment be termed a "joint." A 
 break is a bungle of ignorance, and the use of the 
 
The Philosophy of Voice. 
 
 101 
 
 term gives to airy nothings a local habitation, and 
 a name calculated to deceive the public ; the term 
 itself is based on the assumption that Nature 
 habitually creates man a cripple, and thus teachers 
 proceed to destroy a natural diversity in hue under 
 a pretext of covering an imaginary gap. The hue 
 with which each register is coloured, and which 
 men try to annihilate, is given by Nature for a 
 definite purpose, and is right. 
 
 Fifteenth Law. — Differentiate the registers, but 
 assimilate the qualities. Just as a pianist knows 
 which hand he will use, and never confuses between 
 one hand and the other, so is a vocalist with his 
 registers; and just as a listener cannot tell by 
 sound which hand is in use, so a listener should 
 not be able to tell by sound which register is in 
 use.* This brings us to the science of aesthetics, 
 which science is broadly divisible into that which 
 stimulates, which may be called Motion, and that 
 which depresses, and which may be called Eepose. 
 Power will excite, softness will tranquillize ; so 
 with height, and the opposite, depth ; and with 
 quickness, and its opposite, slowness. 
 
 Motion. 
 
 Repose. 
 
 Power. 
 Height. 
 Quickness. 
 
 Softness. 
 
 Depth. 
 
 Slowness. 
 
 * A celebrated scientist said to me once, " Oh, Mr. Limn, you 
 think you change when you don't." To which I answered, " No, I 
 hnow when I change, but you cannot detect it." Of course the 
 proof of a change is that in early study anyone could have 
 detected it. 
 
102 The Philosophy of Voice. 
 
 The contradictories of any one of the above terms 
 are found in the opposites to the accompanying other 
 two ; thus, the stimulus derived from height can be 
 counterbalanced by slowness and softness, etc. ; but 
 in the voice, wherever we require an outer mani- 
 festation of constant excitement, Nature has 
 strengthened her aesthetic law by fixing a hue 
 which expresses that mental state irrespective of 
 the words associated therewith : and wherever we 
 require an outer manifestation of constant repose. 
 Nature in like manner has fixed a corresponding 
 hue. These are immutable results arising from an 
 affinity between the receptive faculty and the 
 intrinsic properties of the instrument. But where 
 all kinds of expression are shown, that is, in the 
 ordinary colloquial compass, the tone is a negative 
 one.* 
 
 Sixteenth Law. — All false production can be used 
 by an artist for a purpose. The i-oca cupa or 
 dead voice, is voice adulterated by greater escape of 
 air — in short, bad production. 
 
 There are a number of traditions which are 
 incommunicable by printed type; for instance, 
 there is a vibrato the exact counterpart of the 
 " close shake " of the violin, beautiful if exception- 
 ally applied, made by rapid alterations in pitch 
 (not a shake) : this is never taught, and rarely 
 heard. 
 
 * Probably this phvsiologieo-sesthetic fact, taken in connection 
 with Dr. Wollaston's discovery of the gtiaurrus of muscle, and the 
 additions to this by Dr. Haughton, of Dublin, and Dr. Collougue, 
 of Paris, may give the scientific basis for the solution of the much- 
 vexed question of " pitch.'' 
 
The Philosophy of Voice. 108 
 
 Seventeenth Law. — Never breathe through the 
 nose when singing, or a habit of nasal tone will be 
 acquired. The caverns of the nose and skull 
 reinforce and multiply by vibration within them, as 
 a drum or violin body ; but for a moving stream of 
 vibrating air to pass into them is to get redundant 
 power in upper partials, and consequent loss of 
 volume. It is the difference between this : 
 
 and v£— ^ — 3- 
 
 this . 
 
 I 
 
 rT i "i 
 
 The richness of the one compared with the thinness 
 of the other is apparent, and this is one cause of 
 the tinny modern voices. 
 
 Open the mouth wide enough not to feel it is 
 open ; if the openness be felt the sound cannot get 
 in ; if the lips and teeth are not sufficiently apart 
 the sound cannot get out. 
 
 Eesonance must take place in the upper cavities, 
 for without it sound is dull ; but there must be no 
 egress of air through them, for if there be the sound 
 is corrupted by a twang. In other words, in perfect 
 tone the caverns of the nose are used as resonators, 
 but not as air-passages. There is a stationary 
 vibrating column above the soft palate, and there is 
 a co-existing passage of voiced air, the right egress 
 of which is the mouth, and not the nose ; and the 
 rule of this egress is to have the greatest tone with 
 the least escape of breath. 
 
104 
 
 The Philosophy of Voice. 
 
 " The nasal twang, so common in untrained 
 singers, is caused by the soft palate, which, if 
 suffered to retain too low a position at the back of 
 the mouth, leaves the nasal passages too much 
 enclosed, and inclines sound to escape principally 
 through this channel. 
 
 " If the evil be obstinate, it will be necessary to 
 correct it by holding the nostrils entirely closed 
 until a proper position of the mouth be obtained. 
 The production of head notes may be facilitated, 
 and their compass extended, by turning the column 
 of sound in the direction of the nasal passages, 
 through which, however, it does not escape, as may 
 be proved by the student closing the nostrils 
 entirely while emitting a head note, which will 
 suffer no perceptible change in sound during the 
 process " (Novello). 
 
 Here is a sketch of the parts : 
 
The Philosophy of Voice. 105 
 
 If the perpendicular lines be made to slant to the 
 left, the voice will be lightened ; if to the right it 
 will be weightened. Then there is the resonance 
 in the pipes below. In the organ pipe the diameter 
 decreases with the elevation of pitch, and thereby 
 loses volume ; but in a rightly set voice the 
 diameter increases with elevation of pitch, con- 
 sequently volume increases, and compass does not 
 attract attention to itself. Bad singers make height 
 by contraction from without ; good singers make it 
 by expansion from within.' 
 
 We now assume the instrument perfect, just as a 
 student of the piano assumes his piano perfect. 
 Our next step is the acquisition of technique. 
 Technique is to song what grammar is to speech. 
 In this we should use no accompaniment, plunge 
 into the sea of sound; it is only a cripple who 
 wants a crutch, or a blind man a dog to lead him. 
 Much wasted work is done by students accom- 
 panying their voice with their piano. The sheet of 
 exercises I use* was alleged by Cattaneo to be the 
 historical sheet used by Porpora with Caffarelli. 
 He built up from single tones, semitones, prepara- 
 tions, intervals, etc. Now, there are a few things 
 to be noted in doing exercises. English is an 
 emphatic language in sense, but a feebly em- 
 phasized one in sound, and the English transfer 
 their habit of speech on to their music, so sing and 
 play tamely ; hence the proverb, " The English are 
 not a musical people." But the test of a people's 
 capacity is in the percentage of those who try ; the 
 
 * Tq be had from the Author. 
 
106 The Philosophy of V, 
 
 success of them is seen by school or method ; 
 therefore a great percentage of feeble performers 
 points to the conclusion of bad school in teachers, 
 not to want of capacity in pupils. Porpora wrote 
 all his vocal exercises on one sheet of paper, and 
 considered practical examples of teachers as essential 
 to all vocal students (Porpora's " Elements of 
 Singing"). 
 
 Eighteenth Law. — Ehythm is a periodic accent, 
 and gives the first impression of form ; increase, 
 then, the proportion between the accented and non- 
 accented notes. Tameness results primarily from 
 insufficient accent. Level up the lesser accent in 
 speech to the greater one in sound ; do not level down 
 the music to the words. 
 
 Nineteenth Law. — Either a man's lower nature 
 rules his higher, or his higher rules his lower ; if 
 he take breath because he must, then his lower 
 nature rules ; if he breathe because he wills, then 
 his higher nature rules. As music is the body of 
 poetry, and that body is form, breathe at equal 
 distances in all exercises. Much of the tedium of 
 exercise practice is removed by enlisting the mind 
 in the work to be done. 
 
 For further exercises take Garcia's book with 
 the letter-press ; its exercises are unapproached. 
 Published by Piomer and Co. 
 
 Testimony of Consciousness. — If we spread out 
 our hands and place each finger top joint against 
 the corresponding tips of the other hand the parts 
 by mutual pressure witness each to each whether 
 much or little pressure be used, and if they slip a 
 
The Philosophy of Voice. 107 
 
 feeling of lost control is at once felt. The con- 
 sciousness of resistance is only half that of an 
 external opposing force, because it is distributed. 
 "What one hand is to the other so the resmuniug 
 larynx is to the propelling muscles, and the parts 
 can grow in equal proportion in all directions, like a 
 distended ball. 
 
 Physiological results go to show approximation 
 of false cords, inflation of ventricles, complete 
 inflation, and backward push, for vl) a good singer 
 gets, without willing, the wings of the thyroid pressed 
 outward, so that the angular larynx disappears; 
 ^ the ribs bulge where they divide, showing a 
 backward push, and therefore a resistance, at the 
 exit. And ^ there is a further economic principle 
 here that appears hitherto to have escaped observa- 
 tion. The more obtuse the angle of approach to the 
 cords — (.«.. the more the backward pressure from 
 the eddy in the ventricles — the greater the recoil. 
 And this has its acoustical equivalent. A compressed 
 fluid, restricted in action or in escape to special 
 boundaries, will in time make the spaces which 
 confine it symmetrical: and the more symmetrical 
 a cavern multiplying sound, the more the beauty 
 of such sound is enhanced. 
 
 It has been discovered that Galen, seventeen 
 hundred years ago. proclaimed the same truths in 
 natural physics as those for which I contend. He 
 says : " But this body* of the glottis is not only 
 
 * Galen considers the "body," which ha calls glottis, to consist 
 of the rocal and TCatricnhr bands of both sides, with the ventricles 
 between them. 
 
108 The Philosophy of Voice. 
 
 necessary to the organ of voice, but also to what is 
 called holding the breath ... to which action 
 the nature of the aforesaid glottis contributes not a 
 little, for to effect the said purpose the parts of it 
 of the right and of the left approach, so as to fall 
 together accurately, and close the passage. But 
 should a small portion be left unclosed, not even 
 this, as being unforeseen, has been disregarded by 
 Nature, who has worked an opening on each side 
 of the glottis, and placed in continuity with the 
 aperture a cavity within by no means small. 
 When, therefore, the air, making use of a wide 
 channel, goes into the animal, and passes out again, 
 none of it is turned aside into the cavity. When, 
 however, the passage out is blocked, the air, being 
 confined in a narrow space, is diverted forcibly 
 towards the sides, and opens the mouth of the 
 aperture of the glottis, which hitherto has been 
 closed by the folding together of the lips. The 
 cavities in the glottis of the larynx being thus filled 
 with wind, it is, of course, necessary that the 
 swelling so produced should bulge towards the 
 passage of the breath, and shut it with exactitude, 
 even if a small part had previously been left open" 
 (Oribasius, I., xxiv., c. 9). 
 
 The more advanced physiologists accept my re- 
 discovery. In Voice, August, 1887, there is an 
 article by Mr. Ephraim Cutter, A.M., M.D., LL.D., 
 of New York, from which is extracted the following : 
 "It is worth recording as a, fact that the false vocal 
 cords or ventricular bands are the agents that hold 
 in the breath, leaving the vocal cords to rest, and 
 
The Philosophy of Voice. 109 
 
 to engage in work at the will of the performer." 
 And again, he showed by laryngoscopic demonstra- 
 tion the " appearance of his larynx during the 
 holding of the breath, and showing the false vocal 
 cords forming a closed platform, which shuts the 
 larynx tight enough to stop and hold the breath." 
 "It is stated that their function (ventricles) is to 
 ensure complete inflation of the larynx during 
 singing. . . . The pouches are thus rendered 
 temporary air-reservoirs " (Armand Semple, B.A, 
 M.B., L.S.A., M.E.C.P., London). 
 
 " Disregarding, for a time, the vocal ligaments, 
 let the aim be to ascertain the actual states of the 
 false vocal cords during different breathing efforts, 
 and during the emission of sounds musical or non- 
 musical — anything, in fact, tending to determine 
 for us what the differences in condition, what the 
 variations in activity coincident with changes in 
 position of other adjacent parts of the vocal 
 apparatus. I do not intend by my suggestion to 
 assume that the ventricles beneath the false vocal 
 cords are inflated during phonation (of course not 
 with him), for my studies lead me to infer that the 
 physical action is exactly the contrary of inflation ; 
 neither would I imply that the false vocal cords are 
 approximated in the same way and to the same 
 degree as are the true vocal ligaments when vibrat- 
 ing. But that the false vocal cords do change 
 their position in varying degrees is not, I believe, 
 disputed ; and the points to be decided are, how 
 much do they approximate, from what causes, and for 
 what end ? Merkel very plainly shows that changes 
 
110 The Philosophy of Voice. 
 
 do take place, that there is a position accompanying 
 a low-pitched note, and a distinctly new position 
 when the voice is singing in the higher range of 
 pitch. For scientific value the investigation should 
 be directed to ascertain specifically what the 
 changes of this nature are when different notes are 
 sung, and when the quality of tone is varied ; also 
 whether the changes are manifest in similar degree 
 when tones of like pitch are produced by different 
 individuals" (Medical Press, January 16, 1884). 
 
 " The credit of pointing out this fact [control of 
 voice by false cords] , which I believe to have been 
 verified by laryngoscopic observation, both auto- 
 scopic and otherwise, is due to Lunn " (Dr. Gordon 
 Holmes, "Vocal Physiology," second edition, p. 177). 
 
 " The right use of the ventricles and false cords 
 just makes the difference between good and bad 
 production, between a beautiful singing note and 
 an ugly noise. The correct action of the ventricles 
 seems to have been known to Galen as early as the 
 second century. The credit of rediscovering their 
 use belongs to Mr. Lunn" ("First Principles of 
 Voice Production in Song and Speech," by 
 T. Kelly, S.J.). 
 
 Testimony of Use of False Cords. — Marcet, in a 
 case of chronic inflammation, says : ' I believe that 
 the complete disappearance of the true vocal cords 
 must not be considered as an indication that the 
 voice cannot be recovered. In a very remarkable 
 case of tubercular laryngitis I have had under my 
 care, the voice was recovered, notwithstanding that 
 the closest examination of the larynx (and the 
 
The Philosophy of Voice. Ill 
 
 patient exhibited his throat admirably) failed to 
 show the presence of the vocal cords. In this case 
 the voice was entirely due to the action of the false 
 cords, which had accommodated themselves to the 
 patient's requirements, and become possessed of the 
 power of vibrating, emitting a harsh and low, but 
 not unpleasant, sound, which could be well heard at 
 a distance" (p. 27). I had a pupil who could do 
 this. 
 
 The objections to my explanation of right pro- 
 duction are two : (1) No function has hitherto been 
 assigned to the false cords and ventricles. I have 
 assigned one ;* it is for physiologists to assign 
 another, or give another physical explanation. 
 (2) It is objected the false cords are so feeble. Answer 
 — "Atrophy." We do not draw conclusions of a 
 blacksmith's arm from the attenuated arm of a 
 ballet girl. (3) Oxen, and other beasts having loud 
 voices, have neither false cords nor ventricles ; but 
 this objection tells in my favour. It is exactly be- 
 cause they have not these parts that their voices 
 are unmusical, as it is the disuse of these parts 
 in man that causes human voices to be unmusical 
 and require training. The physical correlative to 
 artistic voice is, therefore, as plain as A, B, C 
 (frontispiece). 
 
 * The following extract affords a splendid and unintended cor- 
 roboration : 
 
 " In the howling monkeys of America there are several pouches 
 opening from the larynx, which seem destined to increase the 
 volume of tone that issues from it — one of these is excavated in the 
 hyoid bone itself. Although these monkeys are of inconsiderable 
 size, yet their voices are louder than the roaring of lions, and are 
 distinctly audible at the distance of two miles ; and when a number 
 of them are congregated together, the effect is terrific." — Car- 
 penter's " Physics." 
 
112 The Philosophy of Voice. 
 
 The physiological and physical principles have of 
 late been considerably drawn out by Drs. Lauder 
 Brunton and Theodore Cash, of St. Bartholomew's 
 Hospital. It is shown by them that those beasts 
 that have not false cords cannot strike out with the 
 forelegs ; this is, of course, because they can make 
 no movable fulcrum, owing to their inability to im- 
 prison and compress air (see Jowrnal of Anatomy 
 and Physiology, vol. xvii.). 
 
 It has been advanced that the song of birds is in- 
 spiratory ; but it is not so.* Song birds all sing on 
 expiration ; the middle willow warbler will, per- 
 haps, best show this to a casual observer. Thrushes 
 have an individual as well as a specific character in 
 their song. 
 
 * His Grace the Duke of Argyll kindly called my attention to 
 this objection (1890), but I settled the question by noting the vapour 
 from a robin twittering on a frosty morn. 
 
PAET III. 
 
 Yoick-tkaeoxg was originally the work of past 
 great singers, who taught by imitation ; for many 
 years this work has been added as an inferior 
 adjunct to teaching playing upon the piano, the 
 result being that we occasionally get a half-taught 
 singer, who is carefully exhibited at great cost on 
 festive occasions, and caused to sing at us, while we 
 for the most part remain a nation of mutes ; thus 
 the public have got to look upon a beautiful voiee 
 as a freak of Xature. or a beautiful monstrosity, 
 instead of being, as it is, a common gift of God to 
 all, implanted in each of us for solace in sorrow, 
 enjoyment in leisure, and spur in work. The 
 difference, then, between the present essay and the 
 mistaken suppositions propagated in accepted vocal 
 works is this : each of the existing works is started 
 on the notion that the writer is great and Xature 
 poor and small, while this work assumes man's 
 littleness and Nature's greatness, and asserts that 
 men are better employed in perceiving a true thing 
 than they are in conceiving a false one ; to this end 
 the economy of Xature has been shown, the gradual 
 
 8 
 
114 The Philosophy oj Voice. 
 
 decline of tone through lost relationship has been 
 traced, together with the introduction of spurious 
 artificial force, and the injurious association of 
 vital currents by use of spoken words. The modes 
 of restoration and readjustment by decomposition 
 of these currents and the severance of vocal tone 
 from articulate speech have already been pointed 
 out, going back in all simplicity to first principles 
 as shown in child-life ; and the gradual development 
 by steady right-directed work has been enforced. 
 We see how conflicting opinions have arisen, and 
 how these, and observations from different aspects, 
 can be explained, and, while each in its way correct, 
 made to agree, and we see how science has been re- 
 tarded by voice-culture having got into the hands 
 of a wrong set of men. Of course, a true teacher of 
 music would realize the immense advantage that 
 must accrue to his profession if voice-trainers had a 
 separate sphere of action. But, instead of that, it 
 is generally assumed that the most difficult branch 
 of all musical training — that of guiding an invisible 
 living instrument — is quite an easy matter, requir- 
 ing no power on the part of the teacher to com- 
 mand any " utterance of harmony" from it himself, 
 or any skill on his part ! Are man's nerves and 
 muscles easier to be played upon than tempered 
 scales and ivory keys ? It is not so, and only be- 
 cause custom sanctions the fallacy is the evil 
 obscured. The intellectual world has not as yet 
 elevated song into a science, so that it has never 
 been other than a matter of imitation ; but even the 
 power on the part of a master to do and exemplify 
 
The Philosophy of Voice. 115 
 
 what is demanded is not considered a requisite of 
 modern teaching. 
 
 " The greater includes the less." It has hitherto 
 been assumed that song is a branch of music, 
 instead of admitting that music is a branch of song ; 
 all that exists in that is included in this, and other 
 things exist herein besides, while so far as voice 
 is concerned, the science of its production embraces 
 oratory in all its forms. Naturally, then, the thres- 
 hold of art has been in great part barred by false 
 thought on voice. A musician cannot, necessarily, 
 train a voice because he is musical; for the 
 diagnosis telling a state of progress in readjustment 
 of parts producing voice is ofttimes such that a 
 musician, trusting to impressions of pleasure alone, 
 would reject as false the very best of progress, 
 thwarting a student under a mistaken plea of retro- 
 gression. Again, in making, arranging or attuning 
 an instrument, pleasurable sound is ever preceded 
 by disagreeable noise. As in all cases of key- 
 boarded instruments this is delegated to the fabri- 
 cator, the public mind has become oblivious to the 
 fact. If a player had to arrange blindfolded the 
 component parts of his instrument strewn in an in- 
 congruous heap upon the floor before him, he would 
 glean some notion of what a true trainer does. A 
 voice-trainer should not be too musical — indeed, he 
 need but know his notes, but he must know many 
 things rarely, if ever, included in a musician's 
 education. 
 
 Let us test our teachers by their explanations of 
 natural phenomena. 
 
116 The Philosoj)hy of Voice. 
 
 The following is extracted from Signor Garcia's 
 work : 
 
 " Let us here observe that three registers of voice 
 are generally admitted — chest, falsetto, and head. 
 The first begins lower in a man's voice than in a 
 woman's ; the second extends equally in both voices ; 
 the third reaches higher in the female voice." 
 
 Let this be well understood : it is asserted that 
 the male chest register necessarily has a greater 
 number of notes in it than the female, for while 
 this latter can never go as deep as the former, 
 the former can extend as high as the latter; in 
 other words, representing notes numerically, say 
 from one to thirty, one being the lowest, a male 
 chest register may include from one to sixteen in- 
 clusive; a female can only include from nine to 
 sixteen : thus this part of the female voice must be 
 eight notes less in compass than the male, and may 
 be more : that is the theory held by all musicians. 
 Taking the elaboration of this faulty theorem from 
 Signor Garcia, we find the same error developed in 
 detail : he gives to the contralto — the lowest female 
 voice — a compass of from low P to the G on second 
 
 line of violin staff 4HT — e to the medium — 
 
 mezzo-soprano — from low A to F sharp JpEEli&i 
 
 -&- 
 
 and to the highest female voice — soprano — from 
 
 B to E ffiF to male voices, bass from lowest E 
 
 -&~ 
 
The Philosophy of Voice. 117 
 
 to upper D ^J==z baritone from B flat to 
 upper F y v . ~ — and tenor from D to top A 
 
 .£2.. 
 
 Granting Signor Gracia's statement : 
 
 " this register of the chest is the essential base of 
 all voices ;" we will place the compass given by him 
 to each, arranged according to the highest limit 
 given : we have bass to D, soprano to E, baritone 
 to F, mezzo-soprano to F sharp, contralto to G, and 
 tenor to A.. 
 
 Sop. Bar. M. Sop. Con. Ten. 
 
 i 
 
 -i= 
 
 It is seen the bass ascends to D, baritone to F, 
 tenor to A — a natural difference enough, as these 
 voices are rightly considered a third apart in pitch; 
 but for the female we have E for the highest voice, 
 F sharp for the medium, and G for the lowest, so 
 that according to this arrangement the chest 
 register extends in altitude transversely to the 
 recognised pitch of each voice. But this is not all ; 
 it will be seen that the highest note in pitch of all 
 the notes given is ascribed to the tenor, while the 
 soprano — the corresponding voice in the female to 
 
118 The Philosophy of Voice. 
 
 the tenor in the male — has but one note above the 
 lowest male voice. The mistake of giving such an 
 extraordinary compass of "chest" voice to all 
 male voices, compared with the compass given to 
 the female, must be apparent to the most thought- 
 less observer. 
 
 Madame Seiler, the leading German authority, 
 simply abstracts Garcia's error, but goes further, 
 drawing a hard and fast line at an absolute pitch. 
 She gives a division in the higher part of the male 
 voice as corresponding with a like division in the 
 low part of the female ;* but, expecting her state- 
 ments ultimately to conflict with those of the 
 medical profession, she foils the evidence of dis- 
 section thus : "But in order to render practicable 
 the proper stretching of the exsected larynx, 
 muscles and membranes have to be cut, which 
 sufficiently proves that the functions of the organ of 
 singing in the living must be differently carried on." 
 Extend this statement and anatomy becomes value- 
 less. In point of fact, nothing of the kind is 
 thereby proved, but the exact opposite is suggested 
 — namely, that the functions of the organ of singing 
 are presumably similarly carried on, but better, 
 more perfect, and more extended results would 
 ensue from the living subject than are producible 
 from the dead. 
 
 Let us turn to the metaphysical side of the 
 question. Similar causes, in as far as they are 
 
 * The central and lower parts of all voices, adult or young of 
 either sex, are always when at best forward productions ; the high 
 part of all voices, if properly produced, is a backward production. 
 
The Philosophy of Voice. 119 
 
 similar, produce similar effects. Hence, as 
 anatomy teaches that the constructions of the male 
 and female larynx are similar save only in size, the 
 results, i.e., the actions and sounds resulting from 
 them, must be similar, save only in that point which 
 is the effect of the difference of size, i.e., in the 
 pitch. Therefore the female voice is an exact 
 reproduction of the male voice, only in a higher 
 pitch ; and this has been amply proved by experi- 
 ments made with the parts detached. Dr. Wyllie, 
 in his researches, produced what may be called the 
 station note — that is, the note of sole approximation 
 of vocal cords, without tension or relaxation. By 
 slackening tension, each larynx, male and female, 
 could produce sounds eight notes below the station 
 note ; by increased tension and increased blast, ten 
 pure notes above the station note were produced — 
 that is, upwards of two octaves of full vibrations, 
 the female extending by the same mode of produc- 
 tion one octave above the male. If, then, in death 
 such results can be obtained, greater, not lesser 
 results, would of necessity be obtained from similar 
 things in life. We may accept Signor Garcia's 
 definition of a register as being " a series of con- 
 secutive and homogeneous sounds, rising from the 
 grave to the acute, produced by the development of 
 the same mechanical principle, the nature of which 
 essentially differs from any other series of • sounds 
 equally consecutive and homogeneous, produced by 
 another mechanical principle." It is a law in 
 natural physics that there is no effect without a 
 cause, and if, as alleged, the female voice be not a 
 
120 The Philosophy of Voice. 
 
 reproduction of the male, there must exist a differ- 
 ence of construction besides that of size, which 
 difference all anatomists in all time have on dis- 
 section failed to perceive. The onus probandi rests 
 with our would-be teachers ; they assert a difference, 
 we demand proof that such exists. But more, 
 identity in production is denied by writers on voice, 
 yet universal laws are deduced from one sex as 
 affecting both. " We will study in the voice of the 
 tenor the ascending progression of the chest 
 register, and in the soprano, that of the falsetto 
 and head registers " (Garcia). Then, either it is 
 wrong to deny coincidence of production, or it is 
 wrong to generalize the sexes ; this dilemma suffi- 
 ciently shows that the inroads to science have not 
 been deep, and that the dogmas advanced are either 
 fallacious or premature. 
 
 Again, we are asked to believe that the "falsetto" 
 is identical in altitude and similar in limitation, 
 while the instruments producing these sounds differ 
 materially in size. Finally, we are asked to believe 
 that the power of forming a "node" (head register) 
 is denied to most men, owing to an absence of the 
 cuneiform cartilages. We ask the cause of these 
 discrepancies; it is futile to account for the errors 
 by saying, "It is seen as explained," because we 
 call attention to the fact that, of a number of notes 
 of equal pitch and apparently similar production, 
 one alone may be accurate and possess true musical 
 sound by the voice, and that such note cannot be 
 diagnosed by the laryngoscope. "Garcia says him- 
 self that one-third of the glottis was always hidden 
 
The Philosophy of Voice. 12l 
 
 from him by the epiglottis, and to this circumstance 
 is the unsatisfactory character of his observations 
 to be ascribed. But even when, after long practice, 
 one is able at last to bring the whole glottis into 
 view, this is not by any means enough. Not until 
 observation has been so long continued that all the 
 movements of the vocal organ are normal, notwith- 
 standing the unnatural drawing back of the epi- 
 glottis, and not until the process that goes on is 
 found again and again to be always the same, can 
 it be recognised as fact" (Seiler). 
 
 To this we object ; the experimenter could not 
 possibly know, under such contortions, that the 
 vocal organs were acting in their " normal " state ; 
 and in order to render practicable the desired 
 observance of the instrument during the emission 
 of sound, muscles and membranes had, by " long 
 practice," to be distorted, which sufficiently proves 
 that the functions of the organs of singing, when 
 accurately emitting tone, are differently carried on. 
 To observe an ugly, unmusical tone, that, being 
 falsely produced, is readily "found to be too fatigu- 
 ing," and therefrom deducing fixed laws, is about as 
 sensible as taking a cripple to represent the human 
 race, and deducing physical laws from his distorted 
 state.* 
 
 * I have been experimented on many times with the laryngoscope, 
 and had pupils examined, but the voice has never under such con- 
 ditions been true to art. Here, again, is independent testimony. 
 
 Mr. Maas's testimony : " My experience is that, when required to 
 sound my voice with the laryngoscope inserted at the back of my 
 mouth, it is utterly impossible for me to make a vocal sound ; the 
 only utterance I can make is a noise like the baa of a sheep, or, rather, 
 like one would imagine the sound would be in strangulation." 
 
 Mr. Santley's testimony : " Some few years ago I did try to pro- 
 
122 The Philosophy of Voice. 
 
 In Mr. Arnold's work, "A Method of Teaching 
 the Deaf and Dumb Speech, Lip-reading, and 
 Language," the epiglottis is drawn as ruling and 
 directing the stream of sounding air, while their 
 teachers, to obtain some letters, press back the 
 tongue and depress the epiglottis, hiding the voice 
 organs. The old school regarded two octaves as 
 the minimum compass, and got generally three. 
 " This tonal instrument, in size about six inches 
 by two, produces notes varying from two to three 
 octaves " (Novello). 
 
 As in death, so in life; there are at least two 
 octaves of full vibrations natural to all voices. 
 These two octaves, if in the male, are usually 
 classed under one term — "chest"; while in the 
 female they are always classed under two, and 
 sometimes under three terms. This confusion has 
 arisen owing to persons mistaking reinforcement 
 for generation ; a violin - string is a generating 
 cause, the woodwork strengthening the created 
 sound. 
 
 This explanation accounts for the conflict between 
 the opinions of musicians and physiologists. 
 
 Then there is the "falsetto," which does not 
 extend equally in pitch in both voices, but extends 
 collaterally, with the greater part of the full vibra- 
 
 duoe a note while my medical man was examining my throat with 
 a larnygoscope. I could not produce much sound, and what there 
 was I should Bay was decidedly unmusical. " 
 
 Mr. Sims Reeves's testimony : ' ' My advice is, let the laryngo- 
 scope alone. Students who wish to learn to sing had better apply 
 themselves to the art. It is my opinion that a singer should avoid 
 looking down his own throat ; too intimate a knowledge of the 
 mechanism of the same would render him nervous and timid." 
 
The Philosophy of Voice. 123 
 
 tion ; this is, as its name implies, a false produc- 
 tion — it is created by the false cords being squeezed 
 together, the true cords being open. The credit of 
 discovering this is due to Dr. Illingworth.* Mr. 
 Sims Beeves aptly described it as a sound " outside 
 the tone." 
 
 Then there is the harmonic, or light production, 
 on a "node." Weakly people, and persons of 
 small chest-power, substitute this for about the 
 last five notes of the full vibration, and trained 
 artists use it for light high song. This results 
 from skill, and not from the position of a super- 
 fluous cartilage. 
 
 The high A of Mr. Beeves and Mr. Maas, the 
 high G of Mr. Santley, and the high B flat of 
 Mdlle. Titiens and Miss Anna Williams, are all 
 identical in method of production ; they are called 
 respectively male "chest" and female "head," 
 while the full vibrations of Mdlle. Titiens and the 
 harmonics of Madame Melba differ in production, 
 but are classified by masters under the one term 
 " head." 
 
 Such errors of statement arise from a confusion 
 between first and second causes. This is readily 
 shown. Any difference which is observed to exist 
 between vocal effects obtained from the larynx 
 
 * " The theory of the falsetto voice I wish to lay before your 
 readers, and which, I may mention, was propounded by me in the 
 Edinburgh Medical Journal for 1876, and in the Lancet for 1879, 
 is, that the cavity and its upper opening are used for its production, 
 in the some way as the mouth and lips are used in whistling, the 
 cavity corresponding to the cavity of the mouth, and the opening 
 between the false vocal cords to that between the approximated 
 lips." — The Voice. 
 
124 The Philosophy of Voice. 
 
 when attached to the living person, and when 
 detached after death, must be owing precisely to 
 the difference of these two states or conditions 
 under which the organ is examined. For we 
 cannot admit a difference in the generating cause 
 of the voice itself (i.e., the material organ). 
 Hence, any apparent antagonism between the hue 
 tingeing sounds as created by the voice of a living 
 man, and that observed in sounds produced by a 
 living woman, must be due to auxiliary influences 
 external to the mere organ of voice considered in 
 itself. Nor is this leaving too much to be accounted 
 for by such external influences ; for there is very 
 little difference between the sound of the male and 
 female larynges when detached, beyond this, that 
 the voice of the male is set several notes lower 
 than that of the female. This absence, then, of 
 any important distinction between the respective 
 results of the two detached larynges is, we here 
 contend, due solely to the fact that they are 
 detached, and are cut off from the surroundings 
 and influences of the living body. 
 
 For known reasons, the breathing of woman is 
 pectoral, while that of man is abdominal ; owing 
 to this deeper breathing on the part of man, the 
 whole scale of man's tones, when under full vibra- 
 tion, is tinged by this -under-reinforcement, but this 
 under-tone soon ceases in woman — it ceases when 
 the larynx, by its ascent, has caused the plane of 
 the vocal cords to assume a position so slanting 
 that the full force of tone is thrown forward into 
 the mouth. A female chest may be compared to 
 
The Philosophy of Voice. 125 
 
 an inverted cone, a male chest to a cylinder ; the 
 reinforcement would naturally be different under 
 such different forms. The deeper breathing in 
 man accounts for the first fallacy of singing- 
 masters, and sweeps away the apparent discrepancy 
 between the results attained by experimenters and 
 the exemplifications presented by our songsters, 
 and also accounts for the extraordinary assertions 
 made by our teachers respecting the male as con- 
 trasted with the female "chest." Consequently, 
 it may safely be asserted that the vocal cords are 
 subject to the same natural laws as all sounding 
 bodies, and as the sole difference between the male 
 and female larynx is one of size alone, the voice 
 from the latter is a reproduction of the former on a 
 higher scale, which was to be proved.* 
 
 Madame Seiler attempts to support the fallacy 
 held by voice-trainers thus : "As the male larynx 
 is about a third larger than the female, it is plain 
 that the registers in the male voice have a greater 
 expansion." On the contrary, the expansion would 
 be similar ; the writer evidently deduced a conclu- 
 sion from excess in length, irrespective of additional 
 breadth and thickness. The difference between 
 the male and female larynx is uniform in all these 
 three dimensions ; thus greater change of state would 
 
 * "Thus from every point of investigation we are led without 
 halt to one definite conclusion: That the physiological action of 
 the larynx as a sound-producing organ is identical in the male and in 
 the female, and that whatever proportions of the vocal compass are 
 obtained by tension or shortening of the vocal bands in the one sex 
 are similarly gained in the other." — "The Physiology of the Vocal 
 Registers in Male and Female experimentally considered," by 
 Gordon Holmes : Medical Times, April 11, 1885. 
 
126 The Philosophy of Voice. 
 
 be required of the larger larynx to produce a similar 
 result to that obtained from the less. Of course 
 a slight modification of expansion of compass might 
 arise from some little difference in the intensity of 
 attractive force, but this would be an individual, not 
 a sexual difference, and might exist in cords of 
 similar length, and one would be likely to attribute 
 greater elasticity to members of the more delicately 
 organized sex ; this, however, is inadmissible in 
 laying down abstract principles. 
 
 The fact that the old male soprani voices were 
 identical in pitch and register to the female voice is 
 another refutation of the accepted fallacy.* 
 
 The tests of a finished artist are unwavering 
 tone, length of sound, soft high sustained passages, 
 and powerful quickness of execution. The follow- 
 ing cautions may help students : 
 
 (1) Never study breathing lying down. 
 
 (2) Never breathe through the nose when singing. 
 
 (3) Never study aspirated singing. 
 
 (4) Never waste breath by whispering or counting 
 numbers before sounding the note. 
 
 (5) Never study short notes until secure of long 
 ones. 
 
 (6) Never study crescendo and diminuendo until 
 tones are fixed. 
 
 (7) Never learn from a professor who never 
 learned himself. 
 
 (8) Avoid all masters whose methods have been 
 the cause of their own failure. 
 
 * See Gordon Holmes, pp. 133, 137, first edition. 
 
The Philosophy of Voice. 127 
 
 (9) Never accept an assertion unsupported by 
 evidence. 
 
 (10) Insist on masters giving written orders as a 
 doctor gives a prescription. 
 
 The following sciences should be studied by 
 future trainers : (1) Metaphysics, (2) psychology, (3) 
 natural physics, (4) acoustics. Physiology need not 
 be studied ; it is only an oblique science bearing on 
 vocal art. When we have a school founded on 
 science, incontrovertible and irrefutable, then we 
 may hope to see the great truths of the past re- 
 stored, the failures of the present averted, and the 
 Vocal Phoenix risen from its ashes will proclaim 
 aloud with Milton : 
 
 " No voice exempt, no voice but well could join 
 Melodious part." 
 
 THE END. 
 
 Bailliire, Tindall and Cox, King William Street, Strand, 
 
OPINIONS. 
 
 John Rdskin says : " I am especially glad to see the use you 
 make of what I have been trying to teach about colour, and the 
 extent to which you show that the same truths hold as to sound." 
 
 Sib Moeell Mackenzie says: "A worthy representative of 
 what I believe not only to be the best, but the only method of train- 
 ing the singing voice. " 
 
 His Geace the Duke of Argyll says of the book: "It seems 
 full of interest." 
 
 Professor Blaokie says : " I have no hesitation in saying that 
 the principles on which the work is based seem consistent with all 
 the presumptions to which a sound thinker would be led." 
 
 Dr. Gordon Holmes says : " Your methods of voice'culture are 
 practically superior to any others I am acquainted with." 
 
 The Times says : ' ' Many apparently incontrovertible statements 
 were presented. " 
 
 The Saturday Review says : " He knows what singing ought to 
 be, and the principles that should govern teaching." 
 
 The Wave (San Francisco) says : " Charles Lunn is a genuine 
 discoverer and astute, practical, and suggestive thinker. His work 
 has done most to dispel the errors, artistic and scientific, fallen into 
 by earlier writers." 
 
 The Central Literary Paper (Leipzig) says: "It is to a con- 
 siderable extent owing to Mr. Lunn that the art of voice training 
 has of late made great progress, and commenced to become a 
 science." 
 
 II Mondo Artistico (Milan) says : "The illustrious lecturer is a 
 devoted adherent to the principles of the Old Italian School. The 
 wide observations and profound studies in the pamphlet make it a 
 useful work for all those interested." 
 
CATALOGUE OF THE PUBLICATIONS 
 
 BAILLIERE, TINDALL, &. COX, 
 
 IN 
 
 MEDICINE, SCIENCE AND ART. 
 
 CONTENTS. 
 
 
 PERIODICAL PUBLICATIONS . 
 
 DIRECTORIES 
 
 ANATOMY 
 
 ART, ARTISTIC ANATOMY, ETC. 
 
 CHEMISTRY 
 
 MEDICINE, SURGERY, AND ALLIED SCIENCES 
 
 PHARMACY 
 
 STUDENTS' AIDS SERIES 
 
 VETERINARY MEDICINE AND SURGERY . 
 
 WHITE'S PHYSIOLOGICAL MANIKIN 
 
 PAGE 
 
 j Bach of Title. 
 
 9, etc. 
 . 11, etc. 
 . 14, etc. 
 . 26, etc. 
 . 30, etc. 
 . 36, etc. 
 . 39, etc. 
 . 42 
 
 1 
 
 LONDON : 
 
 20, 21, KING WILLIAM STEEET, STRAND 
 
 [PARIS AND MADRID.] 
 
 1894. 
 
 * * Bailliere, Tindall, and Cox have special facilities for the disposal of authors' 
 * works' in the United States and abroad ; being in almost daily comi- 
 munication with the principal houses and agents. 
 
PERIODICAL PUBLICATIONS. 
 
 The Medical Press and Circular. Established- 1838. Published 
 every Wednesday in London, Dublin, and Edinburgh. Price 
 5d. ; £1 Is. per annum, post free, in advance. 
 
 Journal of the British Dental Association. A Monthly 
 Eeview of Dental Surgery. Published on the 15th of each 
 month. Price 6d., or 7s. per annum, post free. 
 
 The Analyst. The Official Organ of "The Society of Public 
 Analysts." Monthly, price Is. ; 10s. 6d. per annum, paid in 
 advance. 
 
 The Veterinary Journal, and Annals of Comparative Patho- 
 logy. Monthly, price Is. 6d. ; 18s. per annum ; Postal Union 
 19s. 6d., prepaid. 
 
 The Australasian Medical Gazette. Monthly, 2s., or yearly 
 post free, price 21s. 
 
 Indian Medico-Chirurgical Review. Monthly, Is. 6d. ; yearly 
 subscription, 16s., post free. 
 
 Pathology. A series of illustrations of Pathological Anatomy issued 
 in monthly parts. Each part contains 4 plates in colours, with 
 accompanying descriptive text by Professors Kast, of Breslau, 
 and Rumpel, of Hamburg. The English edition revised and 
 edited by M. Armand Kuffer, M.D. Oxon. Twelve parts by 
 subscription, post free, £2 8s. Single parts, 6s. each. Single 
 plates, Is. 6d. each. 
 
 International Journal of Microscopy and Natural Science. 
 
 Edited by Mr. Alfred Allen. Price 2s. 6d. Quarterly. 
 
 Transactions of the Royal Academy of Medicine in Ireland. 
 
 Annual volumes, 14s. 
 
 Foreign postage extra. 
 
 DIRECTORIES. 
 
 The Official Register of the Royal College of Veterinary 
 Surgeons ; published in accordance with the Act of Parliament. 
 Price 2s. 6d., post free in the United Kingdom. 
 
 Commercial Directory for Spain, her Colonies and South America, 
 containing 500,000 Names and Addresses of the Commercial 
 Houses, Public Officers, Offices, etc., etc. Annual, price 25s. 
 
ALPHABETICAL INDEX OF AUTHORS. 
 
 PAGE 
 
 ABERCROMBIE (J.) On Tetany in Young Children 15 
 
 ADAMS (W.) Surgical Treatment of Deformities I 
 
 ALLAN (F. J/) Aids to Sanitary Science 31 
 
 ALLAN g. H.) Tables of Doses 25 
 
 ALLEN (Alfred) Microscopical Science 27 
 
 ALLINGHAM (H. W.) Colotomy 8 
 
 ATTENDANTS. Handbook for Attendants on the Insane 24 
 
 BAKER (Benson) How to Feed an Infant 28 
 
 BALL — Nose and Pharynx 28 
 
 BANHAM— Veterinary Posological Tables 39 
 
 BANNATYNE (A.) Aids to Pathology 29 
 
 BEACH (Fletcher) Psychological Medicine 31 
 
 BERNARD (Claude) and HUETTE'S Text-book of Operative Surgery 33 
 
 BLACK (C). Atlas of the Male Organs of Generation 10 
 
 BLACKLEY (C. H.) Hay Fever, its Causes and Treatment 22 
 
 BODDY (E. M.) History of Salt 32 
 
 Hydropathy 23 
 
 BORTHWICK (T.) The Demography of South Australia 16 
 
 BOWDICH (Mrs.) Confidential Chats with Mothers IS 
 
 BOWLES (R. L. ) On Stertor and Apoplexy ir 
 
 BOYD (Stanley) Movable Atlas of the Foot, its Bones and Muscles 21 
 
 BRAND (A. T.) Pocket Case Book 14 
 
 BROCHARD (J.) Practical Guide for the Young Mother 28 
 
 BROWN (George) The Student's Case-book 14 
 
 Aids to Anatomy 9 
 
 Aids to Surgery 33 
 
 BROWNE (Lennox) The Throat and Nose, and their Diseases 34 
 
 Movable Atlases of the Throat and Ear 10 
 
 BROWNE (W. J.) The Moon, its Influence on Weather 27 
 
 BURKE— Tropical Diseases of the Horse 39 
 
 BURTON (J. E.) Translation of Ebstein's Gout 22 
 
 CAMERON (Chas.) Microbes in Fermentation, Putrefaction, and Disease ... 13 
 
 The Cholera Microbe and How to Meet It IS 
 
 CAMERON (Sir C. A. ) History of the Royal College of Surgeons in Ireland 23 
 
 CAMPBELL (C. M.) Skin Diseases of Infancy and Early Life 32 
 
 CANTLIE (Jas.) Atlas of the Hand 10 
 
 Text-book of Naked-Eye Anatomy 9 
 
 CARDWELL (B.) Translation of Hygiene of Beauty 24 
 
 CASSELLS (J. Patterson) Deaf-mutism and the Education of the Deaf-mute 17 
 
 CHARCOT (J. M.) Bright's Disease of the Kidneys '. 25 
 
 CHRISTY (T.) Dictionary of Materia Medica 25 
 
 CHURCHILL (Fleetwood) Obstetrical and Gynsecologieal Nursing 28 
 
 CLARKE (J. Jackson) Cancer, Sarcoma and other Morbid Growths 14 
 
 CLARKE (Percy) Medical Laws 26 
 
 CLARKE (E. H.) The Building of a Brain 13 
 
 COFFIN (R. J. Maitland) Obstetrics 28 
 
 COLE (M. J.) Modern Microscopy 2 7 
 
 COOMBE (Russell) Epitome of B. P 3<j 
 
 COOPER (R. T.) On Vascular Deafness - 18 
 
 COSGRAVE (C. M.) Botany, Glossary of 13 
 
 COTTERELL (Ed.) The Pocket Gray, or Anatomist s Vade Mecum 9 
 
 COURTENAY (E.) Practice of Veterinary Medicine 39 
 
 COZZOLINO (V.) The Hygiene of the Ear 19 
 
 CRAWFORD (W. S.) Ulcers and their Treatment 35 
 
2 Baillikre, Tindall, and Cox's Books. 
 
 PAGE 
 
 CROOKE(G. F.)Tne Pathology of Tubercalosis 16 
 
 CROSS (M. J.) Modem Microscopy 27 
 
 CRUISE (F. R.) Hydropathy 23 
 
 CULLIMORE (D. H.) Consumption as a Contagious Disease 16 
 
 — ■ The Book of Climates 16 
 
 DARLING (W.) Anatomography, or Graphic Anatomy 9 
 
 The Essentials of Anatomy 9 
 
 DAWSON (\Y. E.) Guide to the Examinations of the Apothecaries' Society 19 
 
 DAY (\Y. H.) Irritable Brain in Children 13 
 
 DEXXIS (Hy. J.) Second-Grade Perspective Drawing 11 
 
 Third-Giade Perspective Drawing 12 
 
 DESSAR (L. A.) Catarrhs and Colds 14 
 
 DOLAX (T. M.) Whooping Cough, its Pathology and Treatment 35 
 
 DOWSE (T. Stretch) Apoplexy 11 
 
 Syphilis of the Brain and Spinal Cord 34 
 
 Skin Diseases from Xervous Affections 32 
 
 The Brain and the Xerves and Influenza 13 
 
 DRAGEXDOREF (Prof. G.) Plan: Analysis 15 
 
 DRYSDALE (C. R.)Xature and Treatment of Svphilis 34 
 
 DRYSDALE (John) The Protoplasmic Theorv of Life 34 
 
 DUOGEOX (R E.) The Sphvgmograph ....*. 32 
 
 DUFFEY (G. F.) Xote-taking 14 
 
 EBSTEIX (Prof.) The Treatment of Gout 22 
 
 EDWARDS (F. Swinford) Urinary Surgery 35 
 
 ERSKIXE (J.) Hygiene of the Ear 19 
 
 EVANS (C. W. De Lacy) How to Prolong Life? 18 
 
 Consumption: its Causes, Treatment, etc 16 
 
 EWART (W.) Cardiac Outlines 14 
 
 Heart-Studies, Chiefly Clinical 22 
 
 ■ How to Feel the Pulse 32 
 
 Symptoms and Physical Signs 14 
 
 FAU (J.) Artistic Anatomy of the Human Body 11 
 
 Anatomy of the External Form of Man 11 
 
 FIELD (G. P.) Diseases of the Ear 18 
 
 FIXXY (F. M.) Clinical Fever Chart ..... 21 
 
 FITZGERALD (H. P.) Dictionary of British Plants and Flowers 13 
 
 FLAXMAX (J.) Elementary Anatomical Studies for Artists 11 
 
 FLEMIXG (G.) Text-book of Veterinary Obstetrics 39 
 
 Xeumann's Parasites of Domestic Animals 39 
 
 Text-book of Veterinary Surgery 39 
 
 Roaring in Horses 4° 
 
 Practical Horse-Shoeing 40 
 
 Animal Plagues, their History, Xature and Treatment 40 
 
 Contagious Diseases of Animals 40 
 
 Tuberculosis 4° 
 
 Human and Animal Variolic 4° 
 
 Heredity and Contagion in the Propagation of Tuberculosis 40 
 
 FORD — Ophthalmic Notes 20 
 
 FOTHERGILL (J. Milner) Chronic Bronchitis 13 
 
 The Physiological Factor in Diagnosis 17 
 
 Aids to Diagnosis 18 
 
 The Physiologist in the Household 31 
 
 Diseases of Sedentary and Advanced Life 29 
 
Baillikre, Tindall, and Cox's Books. 3 
 
 PAGB 
 
 FOTHERGILL ( J. Milner) Aids to Rational Therapeutics 34 
 
 Vaso-Renal Changes 24 
 
 FOY (Geo.) Anaesthetics : Ancient and Modern 9 
 
 FUCHS (Dr.) The Causes and Prevention of Blindness 20 
 
 GANT (F. J.) Text-book of the Science and Practice of Surgery 33 
 
 Diseases of the Bladder, Prostate Gland, a nd Urethra 13 
 
 Examinations by the Conjoint Board 19 
 
 Students' Surgery 33 
 
 GARMANY (J. J.) Surgery on the Cadaver 33 - 
 
 GARROD (A. E.) Handbook of Medical Pathology 29 
 
 GEMMELL (Win.) Dermic Memoranda 32 
 
 GIRAUD-TEULON— Anomalies of Vision 20 
 
 GLASGOW-PATTESON (R.) Skin and Hair 32 
 
 GOOD ALL (E.) Microscopical Examinations of the Brain 23 
 
 GORDON (Chas. A.) Our Trip to Burmah 14 
 
 ■ — Aids to Psychological Medicine 38 
 
 Life on the Gold Coast 8 
 
 — Lessons in Military Hygiene and Surgery 23 
 
 A Manual of Sanitation 23 
 
 Rabies and Hydrophobia 23 
 
 GORDON (T. Hurd) Aids to Practical Chemistry 36 
 
 GORE (Albert A.) Our Services Under the Crown 27 
 
 Medical History of African Campaigns 8 
 
 GOULD — Illustrated Dictionary of Medicine, Biology, etc 18 
 
 GOW(W. J.) Handbook of Medical Pathology 29 
 
 GREEN (F. W. Edridge) Memory 27 
 
 Detection of Colour Blindness 20 
 
 GREENWOOD (J.) Laws Affecting Medical Men 26 
 
 GREENWOOD (Major) Aids to Zoology 35 
 
 GRESSWELL (J. B. and A. G.) Manual of Equine Medicine and other works 40 
 
 GREVILLE (H. Leicester) Student's Hand-book of Chemistry IS 
 
 GRIFFITHS (A. B.) Micro-Organisms 12 
 
 GRIFFIT HS ( W. H. ) Text-book of Materia Medica and Pharmacy 25 
 
 Notes for Pharmacopceial Preparation 30 
 
 Posological Tables 3 1 
 
 GUBB (Alfreds.) Aids to Gynecology 22 
 
 GUILLEMARD (F. H. H.) Endemic Hematuria 21 
 
 HAIG-BROWN— Tonsillitis 35 
 
 HALTON (R. J.) Short Lectures on Sanitary Subjects 24 
 
 HANDBOOK for Attendants on the Insane 28 
 
 HARRIS (Vincent) Manual for the Physiological Laboratory 23 
 
 HARRIS (V. D.) Kiihne's Guide to the Demonstration of Bacteria 12 
 
 HARTMANN (Prof.) On Deaf-mutism, Translation by Dr. Cassells 17 
 
 HAYNES (Stanley) Healthy Homes 24 
 
 HAZARD (W. P.) Diseases of Live Stock 4 1 
 
 HE1BERG (Jacob) Atlas of Cutaneous Nerve Supply 27 
 
 HEPPEL— Analytical Conic Sections 21 
 
 HERRINGHAM (W. P.) Handbook of Medical Pathology 29 
 
 HERSCHELL (Geo.) Indigestion 24 
 
 Heart Diagrams and Case-book 22 
 
 HEWITT (Frederic) Anaesthetics 9 
 
 HILL (J. W.) Principles and Practice of Bovine Medicine 40 
 
 Management and Diseases of the Dog 4° 
 
 HIME (T. W.) Cholera: How to Prevent and Resist It IS 
 
 The Practical Guide to the Public Health Acts 3 T 
 
Baillikre, Tindall, and Cox's Books. 
 
 HOARE — Veterinary Therapeutics 40 
 
 HOGG (Jabez) The Cure of Cataract 20 
 
 The Impairment of Vision from Shock 20 
 
 Parasitic or Germ Theory of Disease 12 
 
 HOPGOOD (T. F.) Notes on Surgical Treatment 33 
 
 HORNER (Professor) On Spectacles 20 
 
 HOWAT (G. R.) How to Prevent and Treat Consumption 16 
 
 HUNTER (Ch.) Manual for Dental Laboratory 17 
 
 HUSBAND (H. Aubrey) Handbook of Forensic Medicine 21 
 
 Aids to the Analysis of Food and Drugs 21 
 
 Handbook of the Practice of Medicine 26 
 
 Student's Pocket Prescriber 31 
 
 Urine 35 
 
 HUTCHINSON (Jonathan) Aids to Ophthalmic Medicine and Surgery 20 
 
 INCE (J.) Latin Grammar of Pharmacy 30 
 
 INTERNATIONAL MEDICAL CONGRESS 24 
 
 JAMES (Brindley) Replies to Questions in Therapeutics 38 
 
 JAMES (M. P. ) Therapeutics of the Respiratory Passages 34 
 
 Vichv and its Therapeutical Resources 35 
 
 JENNINGS (C. E.) On Transfusion of the Blood and Saline Fluids 35 
 
 Cancer and its Complications 14 
 
 JENNINGS (Oscar) On the Cure of the Morphia Habit -. 27 
 
 JES SETT (F. B. ) Surgical Diseases of Stomach and Intestines 8 
 
 Cancer of the Mouth and Tongue 14 
 
 Cancer of the Uterus 14 
 
 JONES (H. Macnaughton) The Diseases of Women 22 
 
 Subjective Noises in the Head and Ears 18 
 
 Hints for Midwives 28 
 
 ■ and STEWART— Handbook of Diseases of the Ear and Naso- 
 pharynx 19 
 
 JONES (H.) Guide to Sanitary Science Exams 32 
 
 JONES (T. Wharton) Blood in Inflammation 24 
 
 JUKES-BROWNE (A. J. ) Palaeontology (in Penning's Field Geology) 21 
 
 KAST AND RUMPEL— Illustrations of Pathological Anatomy 29 
 
 KEETLEY (C.R. B.) Guide to the Medical Profession 26 
 
 Surgery of Knee Joint 33 
 
 KENNEDY (Hy.) An Essay on Fatty Heart 22 
 
 KINGZETT— Nature's Hygiene 23 
 
 KNIGHT (G. D.) Movable Kidney ., -25 
 
 KUHNE— Demonstration of Bacteria 12 
 
 LAMBERT (J.) The Germ Theory of Disease 40 
 
 LEASK (J. G.) Questions at Medical Science Examinations 20 
 
 LEDWICH (J. ) Anatomy of Inguinal and Femoral Regions 9 
 
 LEONARD (H.) The Pocket Anatomist 9 
 
 Bandaging 13 
 
 Hair 22 
 
 and C HRISTY— Dictionary of Materia Medica 25 
 
 LE SUEUR — Analytical Geometry, Straight Line and Circle 21 
 
 LETHEBY(Hy.) The Sewage Question 32 
 
 LIAUTARD(A.) Animal Castration 40 
 
 Diseases of Live Stock 41 
 
 : — Lameness of Horses 40 
 
 Operative Veterinary Surgery 40 
 
Baillikre, Tindall, and Cox's Books. 5 
 
 PAGE 
 
 I JTHGOW (R. A . Douglas) From Generation to Generation 22 
 
 LOWNE (B. T.) Aids to Physiology 37 
 
 LUNN (C.) The Philosophy of Voice 35 
 
 Artistic Voice in Speech and Song 35 
 
 LUPTON (J. I.) Horses : Sound and Unsound 40 
 
 MACDOUGALL (A..M.) The Maybrick Case 21 
 
 MACKENZIE (Sir M.) Diseases of the Throat (in Gant's Surgery) 33 
 
 McCAW (John) Aids, to the Diagnosis and Treatment of Diseases of Children 15 
 
 MADDEN (T. More) Clinical Gynaecology 22 
 
 Churchill's Obstetrical Nursing 28 
 
 MADDICK (Distin) Stricture of the Urethra 33 
 
 MAGNE (Dr.) How to Preserve the Sight 20 
 
 MARTIN (B. R.) Diphtheria 18 
 
 MARTIN (J. W. & J. ) Ambulance Work (Questions and Answers) 8 
 
 -* Nursing (Questions and Answers) 28 
 
 MASSE (J. N.) Textbook of Naked-Eye Anatomy 9 
 
 McARDLE (J. S.) Notes on Materia Medica 26 
 
 McBRIDE Anatomical Outlines of the Horse 41 
 
 McLACHLAN (John) Anatomy of Surgery 33 
 
 MEARS (W. P.) Schematic Anatomy 9 
 
 MELDON (Austin) A Treatise on Gout 22 
 
 MEYRICK (J. J.) Stable Management in India 41 
 
 MILLARD (H. B.) Bright's Disease of the Kidneys 25 
 
 MILLER (B. E.) Diseases of Live Stock 41 
 
 MOLONY (M. J.) Rupture of the Perineum '. 32 
 
 MONIN (E.) Hygiene of Beauty 24 
 
 MOORE (E. H.) Clinical Chart for Hospital and Private Practice 34 
 
 MOORE (J. W.) Text Book of Eruptive and Continued Fevers 21 
 
 MORDHORST (Carl) Rheumatism. Its Treatment by Electric Massage ... 32 
 
 MORGAN (John) The Dangers of Chloroform and Safety of Ether 8 
 
 MORRIS (Malcolm) The Skin (in Gant's Surgery) 33 
 
 MUCKLEY (W. J. \ Student's Manual of Artistic Anatomy II 
 
 r- A Handbook for Painters, and Art Students on the Use of Colours l<5 
 
 MURRAY (R. Milne) Pregnancy 10 
 
 MURRELL (W.) Aids to Forensic Medicine and Toxicology 21 
 
 MUTER (J.) Key to Organic Materia Medica 25 
 
 Manual of Analytical Chemistry IS 
 
 NALL (S.) Aids to Obstetrics 28 
 
 NAPHEYS (G. H) Handbook of Popular Medicine 18 
 
 Modern Therapeutics 34 
 
 NATIONAL SOCIETY FOR PREVENTION OF BLINDNESS 20 
 
 NEUMANN (L. G.) Treatise on Parasites and Parasitic Diseases of Domes- 
 ticated Animals 39 
 
 NORTON (A. T.) Text-book of Operative Surgery 33 
 
 Osteology for Students 23 
 
 Affections of the Throat and Larynx 35 
 
 Movable Atlas of the Skeleton 10 
 
 — Clinical Lectures on Recent Surgery 33 
 
 OGSTON On Unrecognised Lesions of the Labyrinth 18 
 
 ORMSBY(L. H.) Deformities of the Human Body ..... 17 
 
 Phimosis and Paraphimosis 30 
 
 PALFREYQ.) Atlas of the Female Organs of Generation 18 
 
 PALMER (J. F.) How-to Bringup Childrenby Hand a8 
 
6 Bailliere, Tindall, and Cox's Books. 
 
 PAGB 
 
 PARKE (Surgeon) Climate of Africa (in Cullimore's Book of Climates) 16 
 
 PEDDIE (M.) Manual of Physics 30 
 
 PENNING (W. H.) Text-book of Field Geology 21 
 
 PENNING (W. H.) Engineering Geology 21 
 
 Notes on Nuisances, Drains, and Dwellings 24 
 
 PETTENKOFER (Von) Cholera : How to Prevent and Resist It 15 
 
 PIERSOL (G. A.) Text-book of Normal Histology 23 
 
 POLITZER (Prof.) Dissections of the Human Ear 19 
 
 Text-Book of Diseases of the Ear 19 
 
 POWER (Hy.) Movable Atlas of the Eye, and the Mechanism of Vision 10 
 
 Diseases of the Eye (in Gant's Surgery) 33 
 
 POWER (D'Arcy) Handbook for the Physiological Laboratory 23 
 
 POYSER (R.) Stable Management of Troop Horses in India 41 
 
 PRATT (W.) A Physician's Sermon to Young Men 27 
 
 PROCTOR (Richd.)The Stars and the Earth 12 
 
 PSYCHOLOGIGAL ASSOCIATION'S Handbook for Attendants on the 
 
 Insane 28 
 
 PURVES (L.) Aural Diseases (in Gant's Surgery) 33 
 
 RABAGLIATI (A.) Muscular Affections which Simulate Diseases of the 
 
 Pelvic Organs in Women 22 
 
 The Classification and Nomenclature of Diseases 18 
 
 REMSEN (Ira) Principles of Theoretical Chemistry 15 
 
 REN TO UL— Reform of Medical Charities 26 
 
 REYNOLDS (R. S.) The Breeding and Management of Draught Horses 41 
 
 RICHARDS (J. M.) A Chronology of Medicine 26 
 
 RICHARDSON (B. W.) The Healthy Manufacture of Bread 21 
 
 RIVINGTON ( W. ) Medical Education and Organization 26 
 
 ROBERTSON (William) A Handbook of the Practice of Equine Medicine... 41 
 
 ROCHE (J.) Hernia and Intestinal Obstruction 22 
 
 ROCHET (Chas.) The Prototype of Man, for Artists 12 
 
 ROSE (W.) Neuralgia , 28 
 
 ROTH (W. E.) Elements of School Hygiene 23 
 
 Theatre Hygiene 23 
 
 ROUTH (C. H. F.) Overwork and Premature Mental Decay 29 
 
 On Checks to Population 3 1 
 
 RUFFER (Armand) Illustrations of Pathological Anatomy 29 
 
 SARCEY (F.) Mind your Eyes 20 
 
 SCHOFIELD (A. T.) Examination Cards— Pathology . 20 
 
 Minor Surgery and Bandaging .' 33 
 
 SEMPLE (C. E. A.) Aids to Botany 13 
 
 Aids to Chemistry 14 
 
 Aids to Materia Medica , 25 
 
 Aids to Medicine 26 
 
 Aids to Pharmacy 3° 
 
 Diseases of Children IS 
 
 The Voice Musically and Medically Considered 35 
 
 The Pocket Pharmacopceia 30 
 
 SEWILL (Hy.) Manual of Dental Surgery 17 
 
 Dental Caries and the Prevention of Dental Caries 17 
 
 SHARMAN (J. S.) Notes on Inorganic Materia Medica 26 
 
 SIMON (W.) A Manual of Chemistry 15 
 
 SMITH (F. A. A.) Keep your Mouth Shut 32 
 
 SMITH (F.) Manual of Veterinary Hygiene 41 
 
 Manual of Veterinary Physiology 41 
 
Baillikre, Tindall, and Cox's Books. 7 
 
 PAGE 
 
 SOHN (C. E. ) Dictionary of the Active Principles of Plants 15 
 
 SPARKES (John C. L. ) Artistic Anatomy 11 
 
 SQUIRE (P. W.)Posological Tables 31 
 
 STARK (A. Campbell) Practical Pharmacy 20,3a 
 
 STARR (M. Allen) Brain Surgery 33 
 
 STEPHENSON (J. B.) Medicinal Remedies 26 
 
 STEVENS (Geo. T.) Nervous Diseases 27 
 
 STEWART (W. R. H.) Practitioner's Handbook of Diseases of the Ear 19 
 
 Aids to Otology 18 
 
 STONE (G.) Translation of Politzer's Dissections of the Human Ear 19 
 
 STRAHAN (J.) Extra-Uterine Pregnancy 28 
 
 STUDENTS' AIDS SERIES 36 
 
 SUTTON (H. G.) Lectures on Medical Pathology 29 
 
 SUTTON (Bland) Dermoids 17 
 
 SWEETING (R. D. R.) The Sanitation of Public Institutions .24 
 
 SYMINGTON (J.) Anatomy of the Child 9 
 
 TELLOR (L. V.) Diseases of Live Stock 41 
 
 TEULON (G.) The Functions of Vision 20 
 
 THIN (George) Introduction to Practical Histology 23 
 
 THOROWGOOD (J. C .) Consumption ; its Treatment by the Hypophosphites 16 
 
 The Treatment of Bronchial Asthma 12 
 
 Aids to Physical Diagnosis 18 
 
 THUDICHUM (J. L. W.) The Physiological Chemistry of the Brain 13 
 
 Aids to Physiological Chemistry 38 
 
 —Aids to Public Health 31 
 
 • Polypus in the Nose 31 
 
 The Coca of Peru, and its Remedial Principles 16 
 
 TICHBORNE (Professor) The Mineral Waters of Europe 27 
 
 TIDY (Meymott) and CLARKE (Percy) Medical Laws 26 
 
 TIMMS (G.) Consumption ; its Nature and Treatment 16 
 
 Alcohol in some Clinical Aspects, a Remedy, a Poison 8 
 
 TOMSON— Medical Electricity 19 
 
 TRANSACTIONS of Royal Academy of Medicine in Ireland Inside cover 
 
 TUCKEY (C. Lloyd) Psycho-Therapeutics 24 
 
 TURNER (Dawson) Manual of Medical Electricity.... 19 
 
 TYSON (J.) The Urine, a. Guide to its Practical Examination 35 
 
 UNDERWOOD (Arthur S.) Aids to Dental Surgery 17 
 
 Aids to Dental Histology 17 
 
 USHER (J. E.) Alcoholism 8 
 
 WAGSTAFFE (W. W.) Atlas of Cutaneous Nerve Supply 27 
 
 WALLACE (J.) Localised Peritonitis 29 
 
 WALSH (D.) Aids to Examinations 19 
 
 WALSHAM— Deformities of the Foot 21 
 
 WALSHAM and POWER— Surgical Pathology 33 
 
 WHERRY (Geo.) Clinical Notes on Nerve Disorders 27 
 
 WILLIAMS (J. W.) Aids to Biology 13 
 
 WILLIAMSON (J.M.) Ventnor and the Underchff 16 
 
 WILLSON (A. Rivers) Chemical Notes for Pharmaceutical Students 15 
 
 WILSON (J.) A Manual of Naval Hygiene -24 
 
 VLVDLE (B. C. A.) Proportions of the Human Body '. 12 
 
 WINSLOW (L. S. Forbes) Fasting and Feeding 20 
 
 WITKOWSKI (G. J.) Movable Atlases of the Human Body 10 
 
8 Baillikre, Tindall, and Cox's Books. 
 
 AN 
 
 ALPHABETICAL INDEX OF WORKS, 
 
 IN 
 MEDICINE, SURGERY, SCIENCE AND ART, 
 
 PUBLISHED BY 
 
 BAILLIERE, TINDALL, & COX, 
 
 Abdominal Surgery. Colotomy, Inguinal, Lumbar or Transverse ; 
 for Cancer, or Stricture with Ulceration, of the large Intestine. 
 By Herbert W. Allingham, F.R.C.S., Surgeon to the Great 
 Northern Hospital, Assistant Surgeon to St. Mark's Hospital 
 for Diseases of the Rectum, Surgical Registrar to St. George's 
 Hospital. With six plates and numerous illustrations. Price 6s. 
 
 Abdominal Surgery. The Surgical Diseases and Injuries of the 
 Stomach and Intestines. By F. Bowreman Jessett, F.R.C.S. 
 Eng., Surgeon to the Cancer Hospital. Copiously illustrated. 
 Price 7s. 6d. 
 
 Africa. A Contribution to the Medical History of our West 
 African Campaigns. By Surgeon-Major Albert A. Gore, M.D., 
 Sanitary Officer on the Staff. Price 10s. 6d. 
 
 Africa. Life on the Gold Coast. A Description of the Inhabitants, 
 their Modes and Habits of Life ; Hints to Travellers and others 
 in Western Africa. By Surgeon-General Gordon, M.D., C.B., 
 Hon. Physician to the Queen. Price 2s. 6d. 
 
 Alcohol, in some Clinical Aspects : A Remedy, a Poison. By 
 Godwin Timms, M.D., M.R.C.P. Lond., Senior Physician to 
 the North London Consumption Hospital. Price Is. 
 
 Alcoholism and its Treatment. By John E. Usher, M.D., 
 F.R.G.S. Price 3s. 6d. 
 
 " Will be found interesting and suggestive."— The Times. 
 
 " A very full account of the methods of treating the disease of inebriety is contained in this 
 interesting work."— British Medical Journal. 
 
 Ambulance Work. Questions and Answers on "First Aid to the 
 Injured." By John W. Martin, M.D., and John Martin, 
 F.R.C.S. Twentieth thousand. Price Is. net. 
 
 Anaesthetics. The Dangers of Chloroform and the Safety and 
 Efficiency of Ether in Surgical Operations. By John Morgan, 
 M.D., F.R.C.S. Second thousand, price 2s. 
 
Baillifere, Tindall, and Cox's Books. 9 
 
 Anaesthetics. Selected Methods in the Administration of Nitrous 
 Oxide and Ether. By Frederic Hewitt, M.A., M.D. Cantab., 
 Lecturer on Anaesthetics at the London Hospital. Price 2s. 6d. 
 
 Anaesthetics : Ancient and Modern. Their Physiological Action, 
 Therapeutic Use, and Mode of Action. By George Foy, 
 F.E.C.S., Surgeon to the Kichmond Hospital. Price 3s. 6d. net. 
 
 Anatomography ; or, Graphic Anatomy. A new method of 
 grasping and committing to memory the most difficult points 
 required of the student. By W. Darling, M.D., F.R.GS. Eng., 
 Professor of Anatomy in the University of New York. Price Is. 
 
 Anatomy. Aids to Anatomy. By George Brown, M.RC.S., Gold 
 Medallist, Charing Cross Hospital. Price 2s. 6d. cloth, 2s. sewn. 
 
 Anatomy. Text-Book of Naked-Eye Anatomy. With 113 Steel 
 Plates, designed under the direction of Professor Masse. Text by 
 Jas. Cantlie, M.B., CM. (Honours), F.R.C.S., Charing Cross 
 Hospital. Third edition. Plain, 25s., coloured, 50s., half calf. 
 
 Anatomy. The Essentials of Anatomy. A Text-book for Students 
 and a book of easy reference to the Practitioner. By W. 
 Darling, M.D., F.R.C.S., and A. L. Ranney, M.D. 12s. 6d. 
 
 Anatomy. The Pocket Gray, or Anatomist's Vade-Mecum. Com- 
 piled from the works of Gray, Ellis, Holden, and Leonard. 
 By E. Cotterell, F.R.C.S. Eng., late Demonstrator of Anatomy, 
 University College, London. Fourth edition, 3s. 6d. 
 
 "A marvellous amount of information condensed into a remarkably small space." — Med. Press. 
 
 Anatomy. The Pocket Anatomist. By H. Leonard, M.D. 
 Enlarged Edition, illustrated. Price 3s. 6d. 
 
 Anatomy, Schematic Anatomy ; or Diagrams, Tables and Notes 
 treating of the Association and Systematic arrangement of 
 Structural Details of Human Anatomy. By William P. 
 Mears, M.B., Professor and Examiner in Anatomy at the 
 University of Durham. Profusely illustrated. Price 7s. 6d. 
 
 Anatomy. Anatomy of the Child. With 14 coloured plates and 
 33 woodcuts. By Johnson Symington, M.D., F.R.S.E., 
 F.R.C.S.E., Lecturer on Anatomy, Edinburgh. Price 42s. 
 
 Anatomy of the Inguinal and Femoral Regions in Relation 
 to Hernia. By E. Ledwich, Lecturer on Anatomy in the 
 Ledwich School of Medicine, Dublin. Price 3s. 
 
10 Baillikre, Tindall, and Cox's Books. 
 
 Anatomy. Human Anatomy and Physiology, illustrated by a 
 series of Movable Atlases of the Human Body, showing the 
 relative positions of the several parts, by means of Superposed 
 Coloured Plates, from the designs of Professor G. J. WlTKOWSKl, 
 M.D. Each part complete in itself. Price 7s. 6<J. net. 
 
 Part I. — Neck and Trunk. With Text Descriptive and Ex- 
 planatory of the physiology and functions of the several parts. 
 By Bobert Hunter Semple, M.D., F.R.C.P. Lond. Price 7s. 6d. 
 The same enlarged to Life Size. Price £2 2s. 
 Part II. — Throat and Tongue, showing the Mechanism of 
 Voice, Speech, and Taste. Text by Lennox Browne, P.E.C.S. 
 Ed. Price 7s. '6d. 
 
 Part III. — The Female Organs of Generation and Reproduc- 
 tion. Text by James Palerey, M.D., M.R.C.P. Lond., late 
 Senior Obstetric Physician, London Hospital. Price 7s. 6d. 
 
 Part IV. — The Eye and the Apparatus of Vision. Text by 
 Henry Power, F.R.C.S., Senior Ophthalmic Surgeon to St. 
 Bartholomew's Hospital. Price 7s. 6d. 
 
 Part V. — The Ear and Teeth. The Mechanism of Hearing, 
 and of Mastication. Text of the Ear by Lennox Browne, 
 F.R.C.S.E. The Teeth by H. Sewill, M.E.C.S. Price 7s. 6d. 
 Part VI. — The Brain and Skull. (Cerebrum, Cerebellum, 
 and Medulla Oblongata.) Text by T. Stretch Dowse, M.D., 
 F.R.C.P. Ed. Price 7s. 6d. 
 
 Part VII. — The Male Organs of Generation. Text by D. 
 Campbell Black, M.D., Physician to the Glasgow Royal 
 Infirmary. Price 7s. 6d. 
 
 Part VIII. — The Skeleton and its Articulations, showing the 
 Bones and Ligaments of the Human Body and Limbs. Text 
 by A. T. Norton, F.R.C.S. Price 7s. 6d. 
 
 Part IX. — The Hand; its Bones, Muscles and Attachments. 
 Text by Jas. Cantlie, M.B., F.RC.S. Price 7s. 6d. 
 
 Part X.- — The Foot ; its Bones, Muscles and Attachments. 
 Text by Stanley Boyd, M.B., B.S. Lond., F.R.C.S., Assistant 
 Surgeon, Charing Cross Hospital. Price 7s. 6d. 
 
 Part XL-^Progress of Gestation. A Synopsis of Practical 
 
 Obstetrics. Text by R. Milne Murray, F.R.C.P. Edin., M.B. 
 
 Edin. Price 7s. 6d. 
 
 The Set of Eleven Parts, complete in cloth-covered Box, with lock and key, £4 net. 
 
 %* No such simple, reliable, and comprehensive method of learning the 
 
 several parts, positions, and functions of the body has hitherto been attempted; 
 
 the entire Series being unique, will be most valuable to the Teacher, the 
 
 Student, and to all who wish to become acquainted with the anatomy and 
 
 physiology of the human economy. 
 
Baillikre, Tindall, and Cox's Books. 11 
 
 Apoplexy. On Stertor, Apoplexy, and the Management of the 
 Apoplectic State. By Robert L. Bowles, M.D., FRCP. 
 Lond., Consulting Physician to the Victoria Hospital, and to 
 the St. Andrew's Convalescent Hospital, Folkestone. With 13 
 Illustrations. Price 4s. 6d. 
 
 "The information is both practical and useful, and based on extensive clinical and experi- 
 mental investigation. The principles advocated by the author deserve to be more widely 
 known and acted on than they are at present." — British Medical Journal. 
 
 " The author has produced a book which is at present the only authority on the subject." — 
 Medical Press. 
 
 Apoplexy. Diagnosis and Treatment of Apoplexy. By T. Stretch 
 Dowse, M.D., F.R.C.P.E., formerly Medical Superintendent, 
 Central London Sick Asylum. Price Is. 
 
 Army Hygiene. Lessons in Military Hygiene and Surgery. By 
 Surgeon-General Gordon, M.D., O.B., Hon. Physician to H.M. 
 the Queen. Illustrated. Price 10s. 6d. 
 
 Artistic Anatomy. Anatomy of the External Forms of Man, for 
 the use of Artists, Sculptors, etc. By Dr. J. Fau. Used at the 
 Government School of Art, South Kensington. Twenty-nine 
 plates. Folio. New edition. 30s. coloured, 15s. plain. 
 
 Artistic Anatomy. Elementary Anatomical Studies of the Bones 
 and Muscles, for Students and Schools, from the drawings of 
 J. Flaxman, R.A. Lately used as a Text-book in the Art 
 Schools at South Kensington. 20 plates, with Text, price 2s. 
 
 Artistic Anatomy. The Student's Manual of Artistic Anatomy. 
 With 25 etched plates of the bones and surface muscles of 
 the human figure. By W. J. MuCKLEY. Used at the Govern- 
 ment School, South Kensington. Second edition. Price 5s. 6d. 
 
 Artistic Anatomy. Elementary Artistic Anatomy of the Human 
 Body. From the French of Dr. Fau. With English Text. Used 
 at the Government School of Art, South Kensington. Price 5s. 
 
 Artistic Anatomy. Description of the Bones and Muscles that 
 influence the External Form of Man. With 43 plates. By 
 John C. L. Sparkes, Principal of the National Art Training 
 School, South Kensington. Adopted as a text-book at the 
 Government Art Schools. Price 7s. 6d. 
 
 Artistic Drawing". Second Grade Perspective (Theory and Prac- 
 tice), containing 30 block illustrations, 21 plates, and many 
 examination exercises. Used at the Government Science and 
 Art Schools. By H. J. Dennis, Art Master, Lambeth School of 
 Art, Dulwich College, etc. Price 2s. 6d. 
 
12 Baillikre, Tindall, and Cox's Books. 
 
 Artistic Drawing. Third Grade Perspective, for the use of Art 
 Students. By H. J. Dennis. Used at the Science and Art 
 Schools. In two parts, 7s. 6d. each. Part 1, Angular and Oblique 
 Perspective. Part 2, Shadows and Eeflections ; or, half-bound 
 leather in one vol., price 15s. 
 
 Artistic Drawing. The Prototype of Man, giving the natural laws 
 of Human proportion in both sexes. A manual for artists and 
 professors of drawing. By Chas. Bochet, of Paris. Price Is. 
 
 Artistic Drawing. A Manual of the Proportions of the Human 
 Body for Artists. By Bertram C. A. Windle, M.A., M.D., 
 D.Sc., Queen's Professor of Anatomy in the Mason College, 
 Professor of Anatomy to the Royal College of Artists, and 
 Lecturer in the Municipal School of Birmingham. Price 2s. 
 
 Artists' Colours. Their Preparation, Uses, etc. (See Colours.) 
 
 Asthma. On Asthma and Chronic Bronchitis — their Causes, 
 Pathology and Treatment. Lettsomian Lectures. By J. C. 
 Thorowgood, M.D., F.R.C.P. London, Senior Physician to 
 the City of London Hospital for Diseases of the Chest. Fourth 
 edition. Price 4s. 
 
 Astronomy. The Stars and the Earth ; or, Thoughts on Time, 
 Space, and Eternity. With Notes by B. A. Proctor. B.A. 
 Fourteenth thousand. Price Is. 
 
 Ataxia. Nervous Affections associated with the Initial or Curative 
 Stage of Locomotor Ataxy. ;' By T. Stretch Dowse, M.D., 
 FRC.P.E. Second edition. Price 2s. 
 
 Aural Diseases. (See Ear.) 
 
 Bacteriology. Researches in Micro-Organisms, including recent 
 Experiments in the Destruction of Microbes in Infectious Diseases, 
 etc. By A. B. Griffiths, Ph.D., F.C.S., F.R.S.E. With 52 
 Illustrations. Price 6s. 
 
 "An enormous amount of material, the author has taken great trouble to collect a large 
 number of the references bearing on the points he mentions." — Lancet. 
 
 " The work . . . may be recommended to those who wish to have in a convenient form 
 a very large number of facts and references relating to bacteria."— British Medical Journal. 
 
 Bacteriology. A Parasitic or Germ Theory of Disease : the 
 Skin, Eye, and other affections. By Jabez Hogg, M.R.C.S., 
 Consulting Surgeon to the Royal Westminster Ophthalmic 
 Hospital. Second edition. Price 2s. 6d. 
 
 Bacteriology. Guide to the Demonstration of Bacteria in the Tissues. 
 By Dr. H. KtJHNE, of Wiesbaden. Translated and Edited by 
 Vincent Dormer Harris, M.D. Lond., F.R.C.P., Demonstrator 
 of Physiology at St. Bartholomew's Hospital. Price 2s. 6d. 
 
Baillikre, Tindall, and Cox's Books. 13 
 
 Bacteriology. Microbes in Fermentation, Putrefaction, and 
 Disease. By Charles Cameron, M.D., LL.D., M.P. Price Is. 
 
 Professor Tyndall, F.R.S., writes : " Matthew Arnold himself could not find fault with its 
 lucidity, while as regards knowledge and grasp of the subject I have rarely met its equal." 
 
 Bandaging. A Manual for Self -instruction. By C. H. Leonard, 
 A.M., M.D., Professor of Diseases of Women in the State College, 
 Michigan. With 139 illustrations. Price 3s. 6d. 
 
 Biology. Aids to Biology. Specially prepared to meet the require- 
 ments of students reading for the first examination of the Con- 
 joint Board. By Joseph W. Williams. Price 2s. sewn, and 
 2s. 6d. cloth. 
 
 Bladder. On Diseases of the Bladder, Prostate Gland, and Urethra. 
 By F. J. Gant, F.E.C.S., Senior Surgeon to the Royal Free 
 Hospital. Fifth edition. Price 12s. 6d. 
 
 Botany. A Dictionary of British Plants and Flowers ; their names, 
 pronunciation, origin, etc. By H. P. Fitzgerald. Price 2s. 6d. 
 
 Botany. Aids to Botany. Outlines of the Elementary Facts, includ- 
 ing a Description of some of the most important Natural Orders. 
 By C. E. Armand Semple, B.A., M.B. Cantab., M.B.C.P. 
 Lond. Price 2s. 6d. cloth ; 2s. paper wrapper. 
 
 Botany. The Student's 'Botany. Encyclopaedic Glossary. ByE. 
 
 MacDowel Cosgrave, M.D., Lecturer on Botany, Carmichael 
 
 College. Price 2s. 6d. 
 Brain. The Building of a Brain. By E. H. Clarke, M.D. (author 
 
 of " Sex in Education "). Price 5s. 
 
 " Carefully and elegantly written, and full of sound physiology."— lancet. 
 
 Brain. On Irritable Brain in Children. By W. H. Day, M.D., 
 
 M.E.C.P. Lond., Physician to the Samaritan Hospital for Women 
 
 and Children. Price Is. 6d. 
 Brain. The Physiological and Chemical Constitution of the Brain, 
 
 based throughout on original researches. By J. L. W. Thudi- 
 
 CHUM, M.D., F.E.C.R Lond. Price 10s. 6d. 
 Brain. On Brain and Nerve Exhaustion (Neurasthenia), and on 
 
 the Exhaustions of Influenza. By the same Author. Price 
 
 Brain : examination of. (See Histology.) 
 
 Brain : Surgery of. (See Surgery.) 
 
 Bronchitis. Chronic Bronchitis : its Forms and Treatment. By J. 
 
 Milner Fothergill, M.D. Ed., M.B.C.P. Lond. Second 
 
 edition. Price 4s. 6d. 
 
 " It bristles with valuable hints for treatment."— British Medical Journal. 
 " The pages teem with suggestions of value."— Philadelphia Medical Times. 
 
14 Baillikre, Tindall, and Cox's Books. 
 
 Burmah. Our Trip to Burmah, with Notes on the Ethnology, 
 Geography, Botany, Habits and Customs of that Country, by 
 Surgeon-General Gordon, C.B., M.D., Physician to the Queen. 
 Illustrated with numerous Photographs, Maps, Coloured Plates, 
 and Sketches in gold by native Artists. Price 21s. 
 
 " We lay down this book, impressed with its many beauties, its amusing sketches and 
 anecdotes, and its useful and instructive information." — The Times. 
 
 Cancer and its Complications. Its Local Origin, Preventive 
 
 and Curative Treatment. By C. E. Jennings, F.RC.S. Eng., 
 
 M.S., M.B. Second edition. Price 3s. 6d. net. 
 Cancer of the Mouth, Tongue and (Esophagus. By F. Bowre- 
 
 man Jessett, F.R.C. S. Eng., Surgeon to the Cancer Hospital. 6s. 
 Lectures on Cancer of the Uterus, with cases. By the same 
 
 Author. Price 3s. 6d. 
 Cancer, Sarcoma, and other Morbid Growths considered in 
 
 relation to the Sporozoa. By J. Jackson Clarke, M.B. Lond., 
 
 F.R.C.S., Curator of the Museum, and Pathologist at St. Mary's 
 
 Hospital. Illustrated. Price 3s. 6d. net. 
 Case Books. A Pocket Case-book for Practitioners and Students. 
 
 With diagrams, charts, and suggestions for note-taking. By 
 
 Alex. Theodore Brand, M.D., CM. Bound in limp leather 
 
 cover. Price 4s. Loose sheets per doz. Is., 50 3s. 6d., 100 6s. 
 Case Taking. Cardiac Outlines for Clinical Clerks and Practitioners; 
 
 and First Principles in the Physical Examination of the Heart. 
 
 By W. Ewart, M.D., F.R.C.P. Lond., Physician to St. George's 
 
 Hospital, London. With fifty illustrations. Price 5s. 6d. 
 %* A supply of thoracic and cardiac outlines (4J by 3| inches), on 
 
 gummed paper, is included in each copy. 
 Case Taking. Symptoms and Physical Signs, a formulary for 
 
 medical note-taking, with examples. Bythe sameAuthor. Price2s. 
 Case Books. Student's Case-book. For recording cases as seen, 
 
 with full instructions for methodizing clinical study. By George 
 
 Brown, M.R.C.S., Gold Medallist, Charing Cross Hospital. 
 
 Fourth thousand, cloth. Price Is. net. 
 Case-book. Suggestions for a plan of taking notes in medical cases. 
 
 By Geo. F. Duffey, M.D. Dublin. Price 6d. 
 Catarrhs. Home Treatment for Catarrhs and Colds. By Leonard 
 
 A. Dessar, M.D. Illustrated. Price 5s. 
 Chemistry. Aids to Chemistry. By C. E. Armand Semple, B.A., 
 
 M.B. Cantab., M.R.C.P. Lond.' 
 Part I. — Inorganic. The Non-metallic Elements. Price 2s. 6d. 
 
 cloth ; 2s. paper wrapper. 
 Part II. — Inorganic. The Metals. Price 2s. 6d. cloth ; 2s. paper. 
 Part III. — Organic. Cloth, 2s. 6d. ; paper, 2s. 
 Part IV. — Tablets of Chemical Analysis. Price Is. 6d. and Is. 
 
 ' ' Students preparing for Matriculation at the London University, and other Examinations 
 will find it simply invaluable." — Students' Journal. 
 
Baillikre, Tindall, and Cox's Books. 15 
 
 Chemistry. A Manual of Chgmistry ; a complete guide to Lectures 
 and Laboratory work for beginners in Chemistry, and a text- 
 book for students in Medicine and Pharmacy. By W. Simon, 
 Ph.D., M.D. Coloured plates, 56 Chemical reactions. 15s. 
 
 Chemistry. Dictionary of the Active Principles of Plants : Alka- 
 loids, Bitter Principles, Glucosides, with tabular summary and 
 classification of Reactions. By Charles E. Sohn, F.I.C., F.C.S. 
 An entirely original book. Price 10s. 6d. 
 
 Chemistry. Plant Analysis, Quantitative and Qualitative. By G. 
 Dragendorff, Professor of Chemistry and Pharmacy in the 
 University of Dorpat. Price 7s. 6d. 
 
 Chemistry. The Principles of Theoretical Chemistry, with special 
 reference to the Constitution of Chemical Compounds. By Ira 
 Remsen, M.D., Ph.D., Professor of Chemistry in the John 
 Hopkins University. 4th edit., enlarged and revised. 7s. 6d. 
 
 Chemistry. The Student's Hand-book, with Tables and Chemical 
 Calculations. By H. Leicester G-reville, F.I.C., F.C.S. 
 Second edition. Price 6s. 
 
 Chemistry. Chemical Notes for Pharmaceutical Students. By 
 A. Rivers Willson. Second edition. Price 3s. 6d. 
 
 " Of exceeding value to students going up for examination." — Pharmaceutical Journal. 
 
 Chemistry. A Short Manual of Analytical Chemistry for Labora- 
 tory Use. By John Muter, Ph.D., M.A., F.C.S. Second 
 edition. Price 6s. 6d. 
 
 Children. The Diseases of Children : their History, Causes and 
 Treatment. By C. E. Armand Semple, B.A., M.B. Cantab., 
 M.R.C.P. Lond. Price 6s. 
 
 Children. Aids to the Diagnosis and Treatment of Diseases of 
 Children. By John McCaw, M.D., L.R.C.P. Price 3s. 6d. 
 cloth ; 3s. paper cover. 
 
 Children. Confidential Chats with Mothers on the healthy rearing 
 of Children. By Mrs. Bowdich. Price 2s. 
 
 Children. On Tetany in Young Children. By J. Abercrombie, 
 M.D., M.R.C.P. Lond. Price 2s. 
 
 Cholera: How to Prevent and Resist it. By Professor von Petten- 
 kofer and T. Whiteside Hime, A.B., M.B. Second edition. 
 Illustrated. Price 3s. 6d. 
 
 Cholera. The Cholera Microbe and How to Meet It. Read at 
 the Congress of the British Medical Association. By Charles 
 Cameron, M.D., LL.D., M.P. Price Is. 
 
16 Baillike, Tindall, and Cox's Books. 
 
 Climatology. Ventnor and the Undercliff. By J. M. Williamson, 
 M.D., M.B. Ed., Hon. Surgeon to the National Hospital for Con- 
 sumption. Second edition, price Is. 
 
 Climatology. The Demography of South Australia. By Thos. 
 Borthwick, M.D. Ed., Medical Officer of Health for South 
 Australian District. With three plates. Price 2s. 6d. 
 
 Climatology. The Book of Climates in all Lands. A Handbook 
 for Travellers, Invalids, and others in search of Health and 
 Eecreation. By D. H. Cullimore, M.D., M.EC.P. Lond, 
 With a chapter on the Climate of Africa by Surgeon Parke, 
 D.C.L. Second edition, price 4s. 6d. 
 
 " A very useful book." — The Graphic. 
 
 "There is much which entitles it to a large circulation." — Westminster Review. 
 
 " A work of supreme interest to the traveller in search of health." — Freeman's Journal. 
 
 Coca. The Coca of Peru, its Eemedial Principles, and Healing 
 Powers. By J. L. W. Thudichum, M.D., F.B.C.P. Price Is. 
 
 Colours. A Hand-book for Painters and Art Students, on the use 
 of Colours, Vehicles, etc. By W. J. Mtjckley. Fourth 
 edition enlarged. Price 4s. 
 
 Consumption. Consumption as a Contagious Disease ; the Merits 
 of the Air of Mountains and Plains. By D. H. Cullimore, 
 M.D, M.E.C.P. Lond., formerly H.M. Indian Army. Price 5s. 
 
 Consumption. Consumption and its Treatment by the Hypophos- 
 phites. By John C. Thorowgood, M.D., F.E.C.P. Lond., 
 Physician to the City of London Hospital for Diseases of the 
 Chest, Victoria Park. Third edition, price 2s. 6d. 
 
 Consumption. A Ee-investigation of its Causes. By C. W. De 
 Lacy Evans, M.E.C.S. Eng. Price 2s. 6d. 
 
 Consumption. How to Prevent and Treat Consumption. By G. 
 Eutland Howat, B.A. Lond. Price 2s. 6d. 
 
 Consumption. An Essay on Consumption : Its True Nature and 
 Successful Treatment. By Godwin W. Timms, M.D. Lond. 
 Second edition, revised and enlarged, price 10s. 6d. 
 
 Consumption. Tuberculosis from a Sanitary and Pathological 
 Point of View. By G. Fleming, C.B., F.E.C.V.S., President of 
 the Eoyal College of Veterinary Surgeons. Price Is. 
 
 Consumption. The Pathology of Tuberculosis (Pulmonary Tuber- 
 culosis and Tubercular Phthisis). Post Graduate Lectures 
 delivered at Queen's Hospital, Birmingham, 1891. By Geo. F. 
 Crooke, M.D., Physician and Pathologist to Queen's Hospital, 
 and Lecturer on Pathology in Queen's College. Price 5te. 6d. 
 
Baillikre, Tindall, and Cox's Books. 17" 
 
 Deaf-mutism. On the Education of Deaf-mutes by Lip-Reading 
 and Articulation. By Professor Hartmann. Translated by 
 Dr. Patterson Cassells. Price 7s. 6d. 
 
 "The instruction of deaf-mutes is here rendered easy." — Atkenceum. 
 
 " We can honestly recommend it to anyone seeking for knowledge."— The Lancet. 
 
 Deafness. (See Ear.) 
 
 Deformities. The Nature and Treatment of Deformities of the 
 Human Body. By Lambert H. Ormsby, M.B. Dub., Surgeon 
 to the Meath Hospital and Dublin Infirmary.. Price 5s. 
 
 Deformities. The Surgical Treatment of Deformities. By Wm. 
 Adams, F.RC.S. Price 2s. 6d. 
 
 Deformities. Three Lectures on the Growth Bates of the Body, 
 and Especially of the Limbs, in their Relation to the Processes 
 of Rectification of Deformity. By Walter Pye, F.RC.S. Eng. 
 Price Is. 
 
 Dental Surgery. A Manual of Dental Surgery : Including Special 
 Anatomy and Pathology. For Students and Practitioners. 
 By Henry Sewill, M.R.C.S., L.D.S. Eng. Third edition, 
 with upwards of 200 illustrations, chiefly original. Price 10s. 6d. 
 
 Dental- Dental Caries and the Prevention of Dental Caries. By 
 Henry Sewill, M.R.C.S., L.D.S. Second edition. Price 2s. 6d. 
 
 Dental. Aids to Dental Surgery. By Arthur S. Underwood, 
 M.R.C.S., L.D.S. Eng. Price 2s. 6d. cloth; 2s. paper. 
 
 Dental- Aids to Dental Histology. By the same Author. Price 
 2s. 6d. cloth ; 2s. paper wrapper. 
 
 Dental. Manual for the Dental Laboratory. A Practical Guide 
 to its Management, Economy, and Methods of Manipulation. 
 By Charles Hunter, Author of " A Treatise on Mechanical 
 Dentistry." Price 5s. 
 
 Dermatology. (See Skin.) 
 
 Dermoids. A Course of Lectures delivered at the Royal College of 
 Surgeons, 1889, on "Evolution in Pathology." By J. Bland 
 Sutton, F.R.C.S., Hunterian Professor. Illustrated. Price 3s. 
 
 " We commend the study of this book to all interested in the elucidation of pathological 
 problems." — The Lancet. 
 
 Diagnosis. The Physiological Factor in Diagnosis. By J. MlLNER 
 Fothergill, M.D., M.R.C.P. Lond. Second ed. Price 7s. 6d. 
 
 " An exceedingly clever and well-written book, put together in a very plain, practical, and 
 taking way."— Edinburgh Medical Journal. 
 
18 Baillikre, Tindall, and Cox's Books. 
 
 Diagnosis, Aids to. Three Parts. Price Is. and Is. 6d. each. 
 
 Part I. — Seineiologieal. By J. Milner Fotheegill, M.D. 
 Part II.— Physical. By J. C. Thorowgood, M.D., F.R.C.P. 
 Part III. — What to Ask the Patient. By J. Milner 
 
 FOTHERGILL, M.D. 
 
 The three parts in 1 vol. Edited by Dr. Thorowgood. 
 Price 3s. 6d. cloth. 
 
 " A mine of valuable information." — Edinburgh Medical Journal. 
 
 Dictionary. Illustrated Dictionary of Medicine, Biology, and 
 Allied Sciences, including Pronunciation, Derivation. By 
 George M. Gould, A.M., M.D. Half morocco. Price 40s. net. 
 
 Diphtheria. A Practical Treatise on Diphtheria and its successful 
 Treatment. By B. B. Martin, M.B. Dub. Price Is. 6d. 
 
 Diseases. The Classification and Nomenclature of Diseases. By A. 
 Rabagliati, M.A, M.D., Senior Surgeon Bradford Infirmary, 
 Surgeon to the Children's Hospital. Price 2s. 6d. 
 
 Domestic Medicine. Handbook of Popular Medicine for family 
 instruction, colonists and others out of reach of medical aid. 
 By G. H. Napheys, A.M., M.D. With movable plate and 
 100 illustrations. Price 7s. 6d. 
 
 Diet. How to Prolong Life. Showing the Diet and Agents best 
 
 adapted for a lengthened prolongation of existence. By C. W. 
 
 De Lacy Evans, M.R.C.S. Second edition. Price 5s. 
 
 (See also Food.) 
 Ear. Diseases of the Ear. By George P. Field, M.R.C.S., Aural 
 
 Surgeon to St. Mary's Hospital, and Lecturer on Aural Surgery. 
 
 Fifth edition, enlarged, with 23 coloured plates and numerous 
 
 woodcuts. Price 12s. 6d. 
 
 Ear. The Pathology and Treatment of Suppurative Diseases of the 
 Ear. By the same author; Price 2s. 6d. 
 
 Ear. On Unrecognised Lesions of the Labyrinth. The Cavendish 
 Lecture, 1890. By AlexOgston, M.D., CM., Regius Professor 
 of Surgery, University of Aberdeen. Illustrated. Price Is. 
 
 Ear. On Vascular Deafness. By Robert J. Cooper, M.D., 
 Trinity College, Dublin. Price 3s. 6d. 
 
 Ear. Aids to Otology. By W. R. H. Stewart, F.RC.S.E. Price 
 2s. 6d. cloth. 
 
 Ear. Subjective Noises in the Head and Ears. Their Etiology, 
 Diagnosis and Treatment. By H. Macnaughton Jones, M.D., 
 F.R.C.S. I. and E., Fellow of the Medical, Obstetrical, Gynaeco- 
 logical and Ophthalmological Societies of London. Profusely 
 illustrated, price 4s. 6d. *" 
 
Bailli&re, Tindall, and Cox's Books. 19 
 
 Ear. The Hygiene of the Ear. By Cavaliere Vincenzo Cozzo- 
 lino, Professor in the Royal University of Naples, and Director 
 of the Hospital Clinic for Diseases of the Ear, Nose, and Throat. 
 Translated from the fifth Italian edition by James Erskine, 
 M.A., M.B. Price Is. 
 
 Ear. Practitioner's Hand Book of Diseases of the Ear and Naso- 
 pharynx. By Dr. H. Macnaughton Jones and Mr. W. E. H. 
 Stewart, F.R.OS.E. Fifth edition, with plates and numerous 
 woodcuts. Price 10s. 6d. 
 
 Ear. Text-book of Diseases of the Ear and Adjacent Organs. By 
 Professor Politzer, of Vienna. Translated from the third 
 German edition by Oscar Dodd, M.D., and Edited by Sir Wm. 
 Dalby, B.A., MB., F.R.CS. Profusely illustrated. Price 21s. 
 
 Ear. The Anatomical and Histological Dissection of the Human 
 Ear, in its Normal and Diseased Conditions. By Professor 
 Politzer, of Vienna. Translated at the author's request by 
 George Stone, F.B.C.P. Ed. Profusely illustrated. 10s. 6d. 
 
 Electricity. A Manual of Practical Medical Electricity. By Dawson 
 Turner, B.A., M.D., FRCP. Ed., M.R.C.P. Lond. Profusely 
 II ustrated. Price 7s.. 6d. 
 
 "Valuable alike to students and practitioners."— Practitioner. 
 
 " We cordially recommend this text-book, both to the student and the practitioner, as a 
 thoroughly reliable and practical manual of the subject which it professes to teach." — Medical 
 Press and Circular. 
 
 "Dr. Turner gives us an admirable and complete exposition of electricity, as applied to the 
 practice of medicine and surgery, which is well up to date, and conveyed in a clear and lucid 
 manner, such as will readily attract the attention of practitioners and students, for whom 
 the book is intended." — Medical Reprints. 
 
 Electricity. Electricity in General Practice. By W. Bolton 
 Tomson, M.D. Price 2s. 6d. 
 
 Etiquette. A few Rules of Medical Etiquette. By a L.R.C.P. 
 Lond. Price Is. 
 
 Examinations. Aids to Examinations. By D. Walsh, M.B., CM,, 
 L.R.C.P. Being Questions and Answers on Materia Medica, 
 Medicine, Midwifery, Pathology, and Forensic Medicine. New 
 edition. Price 2s. 6d. cloth ; 2s. paper wrapper. 
 
 Examinations. A Guide to the Examinations of the conjoint Board 
 in England and for the Fellowship of the College of Surgeons, 
 with Examination Papers. By F. J. Gant, F.R.CS. Sixth 
 edition, revised and enlarged. Price 5s. net. 
 
 Examinations. A Guide to the Examinations of the Apothecaries' 
 Society of London with Questions, Tables on Materia Medica, etc. 
 By W. E. Dawson, L.S.A. Second edition. Price 2s. 6d. 
 
 " May be studied with great advantage by a student, shortly before presenting himself for 
 examination." — British Medical Jovirnal. 
 
20 Baillikre, Tindall, and Cox's Books. 
 
 Examinations. Examination Questions on the Medical Sciences, 
 including the Army, Navy and University Examinations. 
 Selected and arranged by James Greig Leask, M.B. Abdn. 
 Second edition. Price 2s. 6d. 
 
 "Dr. Leask 's questions are particularly suitable for pure examination study. Students 
 should test themselves thereby." — British Medical Journal. 
 
 Examinations. Practical Pharmacy for Medical Students; specially 
 adapted for the Examination in Practical Pharmacy of the 
 Conjoint Board. By A. Campbell Stark, Demonstrator on 
 Materia Medica and Pharmacy at St. George's Hospital. Price 
 3s. 6d., or interleaved for note-taking, 4s. 6d. 
 
 Examination Cards : Questions and Answers. By A. T. Scho- 
 field, M.D. Pathology, 2 sets, 9d. each, net. Minor Surgery, 
 Bandaging, etc., 9d., net. 
 
 Eye. Aids to Ophthalmic Medicine and Surgery. By J. Hutchin- 
 son, jun., F.E.C.S., Ophthalmic Surgeon to the Great Northern 
 Hospital. Cloth, 2s. 6d. 
 
 Eye. Ophthalmic Notes. A Pocket Guide to the Nature and Treat- 
 ment of Common Affections of the Eye. By A. Vernon Ford, 
 M.E.C.S. Eng., L.K.Q.C.P. Ire. Price 2s. 6d. 
 
 Eye. The Detection of Colour Blindness, from a practical point of 
 view. By F. W. Edridge-Green, M.D., F.G.S., Author of 
 "Memory," etc., etc. Price Is. 
 
 Eye. The Cure of Cataract and other Eye Affections. By Jabez 
 Hogg, M.R.C.S., Consulting Surgeon to the Eoyal Westminster 
 Ophthalmic Hospital. Third edition. Price 2s. 6d. 
 
 Eye. On Impairment or Loss of Vision from Spinal Concussion or 
 Shock. By the same Author. Price Is. 6d. 
 
 Eye. The Functions of Vision and its Anomalies. By Dr. Giratjd 
 Teulon. Translated by Lloyd Owen, F.E.C.S.L, Surgeon to 
 the Midland Eye Hospital, Ophthalmic Surgeon to the Hospital 
 for Sick Children, Birmingham. Price 5s. 
 
 Eye. Movable Atlas of the Eye and the Mechanism of Vision. 
 By Prof. G. J. Witkowski. Price 7s. 6d. (See Anatomy.) 
 
 (The following four works have been translated for the National Society for the 
 Prevention and Cure of Blindness.) 
 Mind your Eyes. By F. Sarcey. Price 2s. 6d. 
 The Causes and Prevention of Blindness. By Professor 
 Fuchs, University of Liege. Price 7s. 6d. 
 How to Preserve the Sight. By Dr. MaGNE. Price 6d. 
 On Spectacles, their History and Uses. By Prof. Horner 
 Price 6d. 
 Fasting and Feeding, Psychologically considered. By L. S. 
 Forbes Winslow, M.B. Cantab., D.C.L. Oxon. Price 2s. 
 
Baillikre, Tindall, and Cox's Books. 21 
 
 Fever. On the Endemic Hsematuria of Hot Climates, caused by 
 the presence of Bilharzia Hsematuria. By F. H. H. Guillemard, 
 M.A., M.D., F.RG.S. Price 2s. 
 
 Fever. Text-Book of the Eruptive and Continued Fevers. By John 
 William Moore, B.A., M.D., M. Ch. Univ. Dub., F.E.C.P.I., 
 Joint Professor of Practice of Medicine in the Schools of Sur- 
 gery of the Royal College of Surgeons in Ireland, Physician to 
 the Meath {Hospital, Dublin, Consulting Physician to Cork 
 Street Fever Hospital, Dublin, ex-Scholar and Diplomate in 
 State Medicine of Trinity College, Dublin. Price 15s. 
 
 Fever Charts. Daily Clinical Fever Charts, to record the progress 
 of a case of fever. By F. Magee Finny, M.D, Price 5s. 
 
 Food. Aids to the Analysis of Food and Drugs. By H. Aubrey 
 Husband, M.B., F.R.C.S., Lecturer on Public Health in the 
 Edinburgh Medical School. Price Is. 6d. cloth ; Is. paper. 
 
 Food The Healthy Manufacture of Bread. By B. W. Richardson. 
 M.D., F.R.S. Price 6d. paper cover ; cloth, Is., -with Vignette. 
 
 Foot. Movable Atlas of the Foot; its Bones, Muscles, etc. By 
 Prof. Witkowski. Price 7s. 6d. (See Anatomy.) 
 
 Foot. Deformities of the Foot. By W. J. Walsham, M.B., 
 F.R.C.S. Eng., Surgeon to St. Thomas's Hospital. Profusely 
 illustrated. [In the Press. 
 
 Forensic Medicine. The Maybrick Case. A Treatise by A. M. 
 Macdougall, B.A., LL.D. Price 10s. 6d. 
 
 Forensic Medicine. The Student's Handbook of Forensic Medicine 
 and Public Health. By H. Aubrey Husband, M.B., F.R.C.S.E. 
 Sixth edition. Price 10s. 6d. 
 
 Forensic Medicine. Aids to Forensic Medicine and Toxicology. 
 By Wm. Mubrell, M.D., FRCP. Lond., Physician to, and 
 Lecturer on Materia Medica, Westminster Hospital. Sixth 
 thousand. Price 2s. 6d. 
 
 Geology. Field Geology, with a Section on Palaeontology. By 
 W. Hy. Penning, F.G.S., of H.M. Geological Survey, and 
 A. J. Jukes-Browne, B.A., F.G.S. With woodcuts and 
 coloured map. Second edition, revised and enlarged. Price 7s. 6d. 
 
 " Others have taught us the principles of the science, but Mr. Penning, as an accomplished 
 field-geologist, introduces us to the practice."- The Academy. 
 
 Geology. Engineering Geology. By the same Author. Illustrated 
 with coloured maps and woodcuts. Price 3s. 6d. 
 
 "A full and lucid description of surveying and mapping, the diagnosing of the various 
 minerals met with, the value of sites, rocks, etc."— Popular Science Review. 
 
 Geometry. Aids to Analytical Geometry. I. The Straight Line 
 
 and Circle. By A. Le Sueur, B. A. Cantab. Second edition, 2s. 
 
 II. The Conic Sections, with solutions of questions set at 
 
 the London University and other Examinations by George 
 
 Heppel, M.A. Cantab. Price 2s. 
 
22 Baillikre, Tindall, and Cox's Books. 
 
 Gout. A Treatise on Gout. By Austin Meldon, M.K.Q.C.P., 
 F.R.C.S.I., Senior Surgeon Jervis Street Hospital, Consulting 
 Physician Dublin General Infirmary. Tenth edition. Price 2s. 6d. 
 
 Gout. The Nature and Treatment of Gout. By Professor Ebstein 
 of Gottingen University. Translated by J. E. Burton, L.E.C.P. 
 Lond. Price 3s. 6d. 
 
 Gynaecology. The Diseases of Women and their Treatment. 
 By H. Macnaughton Jones, M.D., F.R.C.S.I., F.RC.S.E, 
 Examiner in Midwifery, Royal College of Surgeons, Ireland. 
 Sixth edition. Illustrated, price 12s. 6d. 
 
 "A storehouse of information." — The Lancet. 
 
 " The work of a mature and experienced authority." — British Medical Journal. 
 
 " Of exceptional merit drawn from a field of wide personal experience." — Medical Press. 
 
 Gynaecology. Clinical Gynecology : beiDg a Handbook of 
 Diseases peculiar to Women. By Thos. More Madden, M.D., 
 F.R.C.S. Ed., Obstetric Physician and Gynaecologist, Mater 
 Misericordise Hospital, Dublin. Price 12s. 6d. 
 
 Gynaecology. Aids to Gynaecology. By Alfred S. Gubb, 
 M.D. Paris, M.E.C.S., L.R.C.P., D.P.H., Obstetric Assistant and 
 Gold Medallist Westminster Hospital. Second edition, enlarged. 
 Cloth, 2s. 6d., and 2s. sewn. 
 
 Gynaecology. Muscular Affections which Simulate Diseases of the 
 Pelvic Organs in Women, and their Treatment. By A. C. F. 
 Rabagliati, M.A., M.D., F.R.C.S. [In the Press. 
 
 Hair. The Hair : its Growth, Care, Diseases, and Treatment. By 
 C. H. Leonard, AM., M.D. Illustrated, price 7s. 6d. 
 
 Hair. A Synopsis of Diseases of the Skin and Hair. By R. Glasgow- 
 Patteson, M.B., Surgeon to St. Vincent's Hospital. Price Is. 
 
 Hand. Movable Atlas of the Hand ; its Bones, Muscles and Attach- 
 ments. By Prof. Witkowski. Price 7s. 6d. (See Anatomy.) 
 
 Hay Fever : its Causes, Treatment, and Effective Prevention ; Ex- 
 perimental Researches. By Chas. Harrison Blackley, M.D. 
 Second edition, revised and enlarged. Price 10s. 6d. 
 
 Heart. Heart-Studies, Chiefly Clinical. By Wm. Ewart, M.D. 
 Cantab., F.R.C.P., Physician to St. George's Hospital; 
 Examiner in Medicine at the Royal College of Physicians. 
 I. — The Pulse-Sensations. A Study in Tactile Sphygmology. 
 Price 15s. 
 
 Heart. An Essay on Fatty Heart. By Henry Kennedy, A.B., 
 M.B. Physician to the Whitworth Hospitals. Price 3s. 6d. 
 
 Heart. Clinical Diagrams, with Directions for Recording Cases of 
 Heart Disease. By Geo. Herschell, M.D. Lond. Price Is. 
 
 Heredity and Disease. From Generation to Generation. By 
 Douglas Lithgow, LL.D, M.R.C.P. Lond. Price 4s. 6d. 
 
 Hernia and Intestinal Obstruction. By J. Roche, M.D. 6d. 
 
Baillifere, Tindall, and Cox's Books 23 
 
 Histology. Manual for the Physiological Laboratory. By Vincent 
 D. Harris, M.D., F.R.C.P., Examiner in Physiology, the Royal 
 College of Physicians of London, and D'Arcy Power, MB. 
 Oxou., Examiner, St. Bartholomew's Hospital. Fifth edition. 
 Price 7s. 6d. 
 
 " This manual is already well and favourably known, and the new edition contains many 
 valuable additions." — Lancet. 
 
 Histology. Introduction to Practical Histology. By George 
 
 Thin, M.D. Price 5s. 
 Histology. Text-book of Normal Histology : including an Account 
 
 of the Development of the Tissues and of the Organs. By 
 
 Geo. A. Piersol, M.D., Professor of Anatomy in the University 
 
 of Pennsylvania. Price 15s. 
 Histology. The Microscopical Examinations of the Human 
 
 Brain ; Methods of Eesearch, etc. By Edwin Goodall, M.D. 
 
 Lond., Pathologist to the West Biding Asylum. Price 5s. 
 History of the Royal College of Surgeons in Ireland. By 
 
 Sir C. A. Cameron. Price 10s. 6d. 
 Hydrophobia. Inoculation for Babies and Hydrophobia. A Study 
 
 of the Literature of the subject. By Surgeon-General C. A. 
 
 Gordon, C.B. Price 2s. 6d. 
 Hydrophobia. Comments on the Beports of the Committee on 
 
 M. Pasteur's Treatment. By Surgeon-General C. A. Gordon, 
 
 M.D., C.B. Price 2s. 6d. 
 Hydropathy, or the Practical Use of Cold Water. By E. MARLETT 
 
 Boddy, F.R.C.S., F.S.S., L.E.C.P. Price Is. 
 Hydropathy. Notes of Visits to Contrexeville and Royat-les- 
 
 Bains. By F. R Cruise, M.D. Price 6d. 
 Hydropathy. Vichy and its Therapeutical Resources. By Prosser 
 
 James, M.D., M.R.C.P. Lond., Lecturer on Materia Medica and 
 
 Therapeutics at the London Hospital. Price 2s. 6d. 
 Hygiene. Lessons in Military Hygiene and Surgery, from the 
 
 Franco-Prussian War. Prepared on behalf of Her Majesty's 
 
 Government By Surgeon-General Gordon, M.D., C.B., Hon. 
 
 Physician to the Queen. Illustrated, price 10s. 6d. 
 Hygiene. A Manual of Sanitation ; or, First Help in Sickness and 
 
 when Wounded. Alphabetically arranged. By the same Author. 
 
 Cloth, 2s. 6d.; sewn, Is. 
 
 " A most useful and practical manual, and should be placed in the hands of officers and 
 men alike." — The Orapfdc. 
 
 Hygiene. Nature's Hygiene. A Systematic Manual of Natural 
 
 Hygiene. By C. T. Kingzett. F.I.O., F.C.S. Fourth Edition. 
 
 Price 10s. 
 Hygiene. The Elements of School Hygiene for the Use of 
 
 Teachers and Schools. By W. E. Roth, B.A. Price 3s. 6d. 
 Hygiene. Theatre Hygiene, a study in construction, safety and 
 
 healthy arrangement. By W. E. Roth, B.A. Oxon. Price Is. 6d. 
 
24 Baillikre, Tindall, and Cox's Books. 
 
 Hygiene. Healthy Homes. By Stanley Haynes, M.D., M.E.C.S., 
 F.R.G.S. Price Is. 
 
 Hygiene- Notes on Nuisances, Drains, and Dwellings. By W. H. 
 Penning, F.G.S. Second edition. Price 6d. 
 
 Hygiene- Short Lectures on Sanitary Subjects. By Richard J. 
 Halton, L.K.Q.C.P., L.B.C.P. Ed., L.RC.S.L, etc. Price 5s. 
 
 Hygiene. A Manual of Naval Hygiene, with Instructions and 
 Hints on the Preservation of Health and the Prevention of 
 Disease on board Ship. By Joseph Wilson, M.D. Second 
 edition. 10s. 6d. 
 
 Hygiene. The Sanitation of Public Institutions. The Howard 
 Prize Essay. By R. D. R. Sweeting, M.R.C.S., Medical 
 Superintendent of the Western Fever Hospital. Price 3s. 6d. 
 
 Hygiene of Beauty. By Dr. Monin. Translated by B. Cardwell. 
 Price 3s. 6d. 
 
 Hypnotism. Psycho-Therapeutics. Treatment by Hypnotism and 
 Suggestion. By J. Lloyd Tuckey, M.D. Third edition, 
 enlarged. Price 6s. 
 
 Indigestion : a Manual of the Diagnosis and Modern Treatment of 
 the Different Varieties of Dyspepsia. By George Herschell, 
 M.D. Lond. New edition. [In the Press. 
 
 Inflammation. The State of the Blood and the Bloodvessels in 
 Inflammation. By T. Wharton Jones, F.R.C.S., F.R.S., 
 Emeritus Professor of Ophthalmic Medicine and Surgery in 
 University College, London. Price .2s. 6d. 
 
 'The work is that of a man of genius of the highest order." — Dr. Richardson, F.R.S., in 
 
 " A thoughtful study founded on the ripe experience of an author entitled to the highest 
 respect." — Medical Press. 
 
 Insanity. Handbook for Attendants on the Insane. Price 2s. 
 
 International Medical Congress. The Commemorative Portrait- 
 Picture of the International Medical Congress, 1881. De- 
 signed and executed by Mr. Barraud ; nearly 700 Likenesses 
 of Members, representing Medicine and Surgery in every part of 
 the world ; special sittings accorded for every Portrait. 
 
 The Picture is Printed by the New Permanent Carbon Process in two Sines : 
 
 EXTRA SIZE, 47 x 80, Mounted, but Uneramed £7 10s. Framed £10 0s. 
 
 POPULAR SIZE, 20 x 20, Mounted, but TJneramed £3 3s. Framed £A 10s. 
 
 Intestinal Surgery. (See Abdominal Surgery.) 
 
 Kidneys. Vaso-Renal Change versus Bright's Disease. By J. 
 Milner Fothergill, M.D. Ed. Price 7s. 6d. 
 
Baillikre, Tindall, and Cox's Books. 25 
 
 Kidneys. Bright's Disease of the Kidneys. By Professor J. M. 
 Charcot. Translated by H. B. Millard, M.D., A.M. Re- 
 vised by the Author, with coloured plates, price 7s. 6d. 
 
 Kidneys. Movable Kidney and Intermitting Hydronephrosis. By 
 G. D. Knight, M.D. Price 3s. 6d. 
 
 Materia Medica. A Dictionary of Materia Medica and Thera- 
 peutics. A Resume of the Action and Doses of all Officinal and 
 Non-officinal Drugs nowin Common Use. By C. Henri Leonard, 
 A.M., M.D., and Thos. Christy, F.L.S., F.C.S. Price 6s. ; 
 half morocco, 8s. 6d. 
 
 This volume has been in preparation for the past four years. The drugs of as late intro- 
 duction as 1891 are to be found in its pages. The authors claim to have incorporated every- 
 thing of merit, whether officinal or non-officinal, that could be found eitherin standard works 
 or from many manufacturers' catalogues. The scheme embraces the Pronunciation, Genitive 
 case-ending, Common Name, Dose, and Metric Dose. Then the Synonyms, English, French, 
 and German. If a Plant the Part Used, Habitat, Natural Order, and Description of Plant 
 and Flowers, with its Alkaloids, if any. // a Mineral, its Chemical Symbol, Atomic Weight, 
 looks, taste, and how found, and its peculiarities. Then the Action and Uses of the Drug, 
 its Antagonists, Incompatibles, Synergists and Antidotes.' Then follow its Officinal and Non- 
 officinal preparations, with their Medium and Maximum Doses. Altogether it will be found 
 a handy volume for either the Physician, Student, or Druggist, and will be frequently 
 appealed to if in one's possession. 
 
 ' ' Will, we are sure, fulfil a long- felt want. " — British and Colonial Druggist, 
 
 " Well up to date. . Contains an index of great value." — Chemist and Druggist. 
 
 Materia Medica. Table of Doses. By J. H. Allan, F.C.S. 
 Price 6d., cloth. 
 
 Materia Medica. A Key to Organic Materia Medica. By John 
 Muter, Ph.D., M.A., F.C.S., President of the Society of Public 
 Analysts. Third edition. Price 12s. 6d. 
 
 Materia Medica. Aids to Materia Medica and Therapeutics. By 
 
 C. E. Armand Semple. 
 Part I. — The Non-metallic and Metallic Elements, Alcoholic and 
 
 Ethereal Preparations, etc. Cloth, 2s. 6d. ; paper, 2s. 
 Part II. — The Vegetable and Animal Substances. 2s. 6d., 2s. 
 Part III. — Classification of Remedies. Cloth, Is. 6d. ; paper, Is. 
 Part IV. — New Remedies of the British Pharmacopoeia. Cloth, 
 
 2s. 6d. ; paper, 2s. 
 Part V. — Tablets of Materia Medica. Price, cloth, Is. 6d.; paper, Is. 
 
 Materia Medica and Pharmacy. A Text-Book for Medical 
 
 and Pharmaceutical Students preparing for Examination. By 
 W. Handsel Griffiths, Ph.D., F.C.S., F.RC.P. Ed. Third 
 edition. Edited by A. S. Gubb, M.D. Paris, L.R.C.P. Lond., 
 M.R.C.S., D.P.H., Gold Medallist, Prizeman in Materia Medica, 
 Westminster Hospital. Price 7s. 6d. 
 
 11 A book of great value . . . a standard text-book." — Edin. Med. Journal. 
 
 " One of the ablest, if not the best, work on the subject in our language."— 3Tei. Press. 
 
26 Baillikre, Tindall, and Cox's Books. 
 
 Materia Medica Notes on Inorganic Materia Medica, and its 
 Chemistry. By J. S. Sharman. Second edition. Price Is. 6d. 
 
 Materia Medica- Notes on Materia Medica and Therapeutics. 
 Mineral Drugs, Part I. By J. S. McArdle. Price Is. 
 
 Medical Charities. The Reform of Our Voluntary Medical 
 Charities. By Robert Reid Rentoul, M.D. Price 5s. 
 
 Medical Education. Medical Education and Organization. The 
 Hunterian Oration for 1880. By Walter Rivington, B.A., 
 M.B., F.R.C.S., Surgeon to the London Hospital. Price Is. 
 
 Medical Etiquette. A Few Rules of Medical Etiquette. By a 
 L.R.C.P. Lond. Price Is. 
 
 Medical Jurisprudence. (See Forensic Medicine.) 
 Medical Laws. Medical Law for Medical Men : their Legal 
 Relations popularly explained. By Professor Meymott Tidy, 
 M.B., F.C.S., Barrister-at-Law, and Percy Clarke, LL.B., 
 Solicitor. Leather, gilt edges, price 4s. 
 
 Medical Laws. The Laws Relating to Medical Men. By James 
 Greenwood, Barrister-at-Law. Price 5s. 
 
 " Admirably suited as a guide to the busy practitioner, who frequently runs great risks of 
 becoming involved in legal penalties, in consequence of an imperfect knowledge of the law." 
 — Glasgow Medical Journal. 
 
 Medical Profession. A Guide to the Medical Profession in all 
 its branches, including the Public Services. By C. R. B. 
 Keetley, F.R.C.S. Second edition. Price 3s. 6d. 
 
 Medical Profession. Medical Men and Manners of the Nineteenth 
 Century. By a Physician. Third Thousand. Price 3s. 
 
 "At times scathing, at others amusing, the author is never dull, and writes as one who 
 knows the many blots on our system, and honestly tries to remedy them." — Medical Press. 
 
 Medicine. Dictionary of Medicine. (See p. 18.) 
 Medicine. Aids to Medicine. By C. E. Armand Semple, B.A. 
 M.B. Cantab., M.R.C.P. Lond. 
 Part I. — General Diseases. Price 2s. 6d. and 2s. 
 Part II. — -The Urine, Kidneys, Stomach, Peritoneum, Throat, and 
 
 Oesophagus. Third Thousand. Price 2s. 6d. and 2s. 
 Part III. — Diseases of the Brain, Nervous System, and Spinal 
 
 Cord. Third Thousand. Price 2s. 6d, and 2s. 
 Part IV. — Fevers, Skin Diseases. Price 2s. 6d. and 2s. 
 
 Medicine. A Chronology of Medicine from the Earliest Times. 
 
 By J. Morgan Richards. Price 10s. 6d. 
 Medicine. Student's Handbook of the Practice of Medicine. By 
 
 H Aubrey Husband, M.B., CM., B.Sc. Fifth edition. 
 
 Illustrated. [In the Press. 
 
 Medicinal Remedies. Notes on Medicinal Remedies. By J. B. 
 
 Stephenson. Price Is. 6d. 
 
Baillikre, Tindall, and Cox's Books. 21 
 
 Medico-Military Services. Our Services under the Crown. A 
 Historical Sketch of the Army Medical Staff. By Surgeon-Major 
 A. Gore, M.D., Sanitary Officer on the Staff. Price 6s. 
 
 Memory. Its Logical Relations and Cultivation. By F. W. 
 Edridge-Green, M.D., F.G.S., Author of "Colour Blindness." 
 Second edition. Price 6s. 
 
 Meteorology. The Moon and the Weather- the Probability of 
 Lunar Influence Reconsidered. Showing how storms and 
 depressions may be predicted. By Walter J. Browne (St. 
 Petersburg). Second edition. Price 3s. 
 
 Microscopical Science. The International Journal of Microscopy 
 and Natural Science. Edited for the Postal Microscopical 
 Society by Alfred Allen. Quarterly, with Plates. Price 2s*. 6d. 
 
 Microscopical Science. Modern Microscopy. A Handbook for 
 Beginners, in two parts. I. The Microscope, and Instructions 
 for its Use. II. Microscopic Objects : How Prepared and 
 Mounted. By M. I. Cross and Martin J. Cole. Price 2s. 6d. 
 
 Midwifery. (See Obstetrics.) 
 
 Mineral Waters. The Mineral Waters of Europe. A complete 
 Analytical Guide to all the Bottled Waters, and their Medicinal 
 and Therapeutic Values. By Professor Ticheorne, LL.D., 
 and M. Prosser James, M.R.C.P. Lond. Price 3s. 6d. 
 
 " Such a book as this is simply invaluable." — The World. 
 
 Morals. A Physician's Sermon to Young Men. By William 
 Pratt, M. A., M.D., etc. Eighth thousand. Price Is. cloth. 
 
 " The delicate topic is handled wisely, judiciously, and religiously, aswell as very plainly." 
 — The Guardian. 
 
 Morals. Revelations of Quacks and Quackery. • With Facts and 
 Cases in Illustration of their Nefarious Practices. By "De- 
 tector." Thirtieth thousand. Price 2s. 
 
 Morphia. On the cure of the Morphia Habit. By Oscar Jennings, 
 M.D. Paris, F.R.C.S. Eng. Price 2s. 6d. 
 
 Nerve Supply. Atlas of Cutaneous Nerve Supply. By Jacob 
 Heiberg, M.D., and W. W. Wagstaffe, F.RC.S. Containing 
 10 plates in colours. Price 4s. 6d. 
 
 Nervous Diseases. Functional Nervous Diseases, their Causes 
 and Treatment. By Geo. T. Stevens, M.D., Ph.D. With 
 plates. Price 12s. 
 
 Nervous Diseases. Clinical Notes on Nerve Disorders in Surgical 
 Practice. By Geo. Wherry, M.A., M.S. Cantab., F.R.C.S. 
 Price 2s. 
 
 Nervous Diseases. (See also Brain.) 
 
28 Baillifere, Tindall, and Cox's Books. 
 
 Neuralgia. The Surgical Treatment of Neuralgia of the Fifth 
 Nerve ; being the Lettsomian Lectures for 1892. By Wm. 
 Eose, M.B., B.S. Lond., F.R.O.S., Joint Professor of Surgery 
 in King's College, London, and Surgeon to King's College 
 Hospital. Illustrated. Price 4s. 6d. 
 
 Nose. A Handbook of Diseases of the Nose and Pharynx. By 
 Jas. B. Ball, M.D. (Lond.), M.E.C.P., Physician to the West 
 London Hospital. Second edition. Price 7s. 6d. 
 
 Nursing. Handbook for Attendants on the Insane. Published by 
 the authority of the Medico-Psychological Association. With 
 illustrations and questions for examinations. Second edition. 
 Price 2s. 
 
 Nursing. Handbook of Obstetrical and Gynaecological Nursing, 
 being the fifth edition of " A Manual for Midwives." By the 
 late Dr. Fleetwood Churchill. Eevised and greatly en- 
 larged by Thos. More Madden, M.D., F.E.C.S. Eng. With 
 numerous illustrations. Price 4s. net. 
 
 Nursing. Questions and Answers" on Nursing, for St. John's 
 Ambulance Associations, Nursing Institutes,andNurses generally. 
 By John W. Martin, M.D., Author of "Ambulance Work." 
 Fourth thousand. Price Is. 6d. net. 
 
 Nursing. How to Feed an Infant, With an Appendix on the Common 
 Ailments of Infancy, with their Hygienic and Curative Treat- 
 ment. By Benson Baker, M.D. Price Is. 6d. 
 
 Nursing. How to bring up Children by Hand. By J. Foster 
 Palmer, L.E.C.P. Price 6d. 
 
 Nursing. Practical Guide for the Young Mother. From the 
 French of Dr. Brochard, Director- General of Nurseries and 
 Creches, with Notes and Hints by a London Physician. Price 2s. 
 
 Obstetrics. Aids to Obstetrics. By Samuel Nall, M.B. Cantab., 
 M.E.C.P. Lond., First Class Honours Nat. Sci. Cambridge, 
 late Eesident Obstetric Assistant, St. Bartholomew's Hospital. 
 Twelfth thousand. Price 2s. 6d. cloth ; 2s. paper wrapper. 
 
 Obstetrics. Hints for Midwives on Pregnancy and Labour. 
 Abstracts of a Series of Lectures by H. Macnaughton Jones, 
 M.D., M.C.H., F.E.C.S. Price Is. net. 
 
 Obstetrics. The Diagnosis and Treatment of Extra-uterine 
 Pregnancy. By John Strahan, M.D., M.Ch. (The Jenks 
 Triennial Prize Essay awarded by the College of Physicians, 
 1889.) Price 4s. 6d. 
 
 Obstetrics. Hints for the Use of Midwives preparatory to their 
 Examinations. By E. J. M. Coffin, F.E.C.P. Ed. Second 
 Edition, enlarged. Price 2s. 
 
Baillike, Tindall, and Cox's Books. 29 
 
 Odontology. (See Dental.) 
 
 Old Age. The Diseases of Sedentary and Advanced Life. By 
 J. Milner Fothergill, M.D., M.E.C.P. Lond. Price 7s. 6d. 
 
 Ophthalmology. (See Eye.) 
 
 Osteology. Osteology for Students, with Atlas of Plates. By 
 Arthur Trehern Norton, F.E.C.S., Surgeon to, and Lecturer 
 on Surgery at, St. Mary's Hospital. Atlas and Text in one 
 volume, 7s. 6d. ; in two volumes, 8s. 6d. 
 
 " The handiest and most complete handbook on Osteology." — The Lancet. 
 
 Osteology. Atlas of the Skeleton and its Articulations, showing 
 the Bones and Ligaments of the Human Body and Limbs. By 
 Professor Witkowski. Price 7s. 6d. (See Anatomy.) 
 
 Overwork. Overwork and Premature Mental Decay : its Treatment. 
 By C. H. F. Eouth, M.D., M.E.C.P. Lond. Fourth edition. 
 Price 2s. 6d. 
 
 Pathology. Lectures on Medical Pathology. By H. G. Sutton, 
 M.B., F.E.C.P. Lond., late Physician to, and Lecturer on 
 Pathology at, the London Hospital. Price 5s. 
 
 " Such a work is to be accepted with gratitude for the thoughts it contains, and the 
 on which they are based."— TAe Lancet. 
 
 Pathology. Handbook of Medical Pathology for the use of 
 Students in the Museum. By Drs. Herringham, Garrod, 
 and Gow, of St. Bartholomew's Hospital. Price 7s. 6d. 
 
 Pathology. Handbook of Surgical Pathology. Edited by W. J. 
 Walsham, M.B., F.E.O.S., and D'Arcy Power, M.B. Oxon., 
 F.E.C.S. Second edition. Price 9s. 
 
 "An embodiment of the most modern pathological teaching." — The Lancet. 
 
 Pathology. Aids to Pathology. By Gilbert A. Bannatyne, M.D. 
 General : Cloth, Is. 6d. sewn, Is. Special : Cloth, 2s. 6d. ; 
 sewn, 2s. 
 
 Pathology. Illustrations of Pathological Anatomy issued in parts, 
 each containing 4 plates in colours, with descriptive text by 
 Professors Kast, of Breslau, and Eumpel, of Hamburg. The 
 English edition revised and edited by M. Armand Buffer, 
 M.D. Oxon. Twelve parts by subscription, post free, £2 8s. 
 Single-parts, 6s. each. Single plates, Is. 6d. each. 
 
 Pathology Examination Cards. Arranged as questions and 
 answers for self-examination. By A. T. Schofield, M.D., 
 M.E.C.S. Complete in two sets of cards, price 9d. net per set. 
 
 Mr. Jonathan Hutchinson, F.B.G.S., writes : " It is an invaluable means of self-tuition." 
 
 Peritonitis. Localised Peritonitis : its Etiology, Diagnosis, and 
 Treatment. By John Wallace, M.D:, Professor of Midwifery 
 in the Victoria University. Illustrated. Price Is. 
 
30 Bailltere, Tindall, and Cox's Books. 
 
 Pharmacopoeia. A Vest-Pocket Epitome of the British Pharma- 
 copoeia. By Russell Coombe, M.A., F.R.C.S. Cloth, price Is. 
 
 Pharmacopoeia. The Pocket Pharmacopoeia. A Precis of the British 
 Pharmacopoeia, including the Therapeutical Action of the Drugs, 
 their Natural Orders and Active Principles. By C. Armand 
 Semple, M.D., M.R.C.P. Second edition, with the Appendix 
 of 1890. Price 3s. 6d. 
 
 Pharmacopoeia. Notes on the Pharmacopceial Preparations for 
 Pharmaceutical Students. By Handsel Griffiths ; revised by 
 A. S. Gubb, M.D. Paris, L.B.C.P., M.RC.S, D.P.H. Price 3s. 6d. 
 
 Pharmacy. Latin Grammar of Pharmacy, for the use of Students, 
 with an Essay on Latin Prescriptions. By Joseph Ince, 
 A.K.O.L., formerly Examiner and Member of Council, Phar- 
 maceutical Society. Sixth edition. Price 5s. 
 
 Pharmacy. Aids to Pharmacy. By C. E. Armand Semple, M.B. 
 Cantab., M.R.C.P. Lond. Cloth, price 2s. 6d.; paper, 2s. 
 
 Pharmacy. Practical Pharmacy for Medical Students. By A. 
 Campbell Stark, Demonstrator on Materia Medica and 
 Pharmacy at St. George's Hospital. Price 3s. 6d., or interleaved 
 for note-taking, 4s. 6d. 
 
 Pharmacy. Doses and Strengths of the British Pharmacopoeia. By 
 the Principals of the Middlesex College of Chemistry. Price 6d. 
 
 Phimosis. Its Causes, Symptoms, and Treatment ; with a descrip- 
 tion of the ancient rite of circumcision. By L. H. Ormsby, 
 M.D., F.R.C.S.I., Lecturer on Clinical and Operative Surgery 
 at, and Surgeon to, the Children's Hospital, Dublin. Price Is. 
 
 Physics. A Manual of Physics. Being an Introduction to the 
 Study of Physical Science designed for University Students. 
 By W. Peddie, D.Sc, F.R.S.E., Lecturer on Physics in the 
 University of Edinburgh. {University Series of Manuals.) 7s. 6d. 
 
 1 ' Altogether worthy of praise. . . .We have no hesitation in giving it high commenda- 
 tion. . . . We wish it all success, feeling well satisfied that it meets a decided want." — 
 Nature. 
 
 " Dr. Peddie's manual is deserving of the highest praise.'' — Lancet. 
 
 " Written with a precision of statement and clearness of exposition which does the writer 
 infinite credit." — Dundee Advertiser. 
 
 " A very handy work of reference." — University Correspondent. 
 
 " The work must be pronounced highly satisfactory _, creditable to author and publishers, 
 t and calculated to be useful to the readers for whom it is intended."' — Chemical News. 
 
 "The book deserves an extended circulation." — Science and Art. 
 
 Physiological Chemistry. Aids to Physiological Chemistry. By 
 J. L. Thudichum, M.D., F.R.C.P. Lond., St. Thomas's 
 Hospital. Cloth, price 2s. 6d. Sewn, 2s. 
 
 Physiological Factor in Diagnosis. By J. Milner Fothergill, 
 M.D., M.R.C.P. Lond., Physician to the City of London 
 Hospital for Diseases of the Chest. Second edition. Price 7s. 6d. 
 
Baillifere, Tindall, and Cox's Books. 31 
 
 Physiology. A Manual of Physiology. By G. N. Stewart, M.A., 
 D.Sc. University of Cambridge. (University Series of Manuals.) 
 
 [In the Press. 
 
 Physiology. The Physiologist in the Household. By J. Milner 
 Fothergill, M.D., M.RC.P. Part I.— Adolescence. Price Is. 
 
 Physiology. Aids to Physiology. By B. Thompson Lowne, 
 F.R.C.S., Arris and Gale Lecturer, and Examiner in Physiology, 
 Royal College of Surgeons of England. Fourth thousand, illus- 
 trated. In two parts, 2s. each, or in one vol., cloth, 4?. 6d. 
 
 " As ' aids ' and not substitutes, they will prove of real value to students." — Medical Press. 
 " Certainly one of the best of the now popular 'Aid Series.' " — Students' Journal. 
 
 Plant Analysis. (See Chemistry.) 
 
 Polypus in the Nose and other Affections of the Nasal Cavity; 
 
 their successful treatment. By J. L. W. Thudichum, M.D., 
 
 F.R.C.P. Lond. Seventh edition, enlarged. Price 2s. 6d. 
 Population. On the Evils, Moral and Physical, likely to follow, 
 
 if practices, intended to act as checks to population, be not 
 
 strongly discouraged and condemned. By C. H. F. Routh, M.D., 
 
 F.R.C.P. Second thousand. Price Is. 
 PoSOlogy. Posological Tables : a Classified Chart, showing at a 
 
 glance the Dose of every Officinal Substance and Preparation. 
 
 By Handsel Griffiths, Ph.D., L.R.C.P. Fifth edition, 
 
 revised by Peter W. Squire, F.L.S., F.C.S. Price Is. ; or 
 
 mounted on linen, rollers, and varnished, 3s. 6d. 
 Pregnancy. (See Obstetrics.) 
 Prescriptions. The Student's Pocket Prescriber. By H. Aubrey 
 
 Husband, M.B., F.RC.S.E. Price Is. cloth. 
 Psychological Medicine in John Hunter's Time and the Progress 
 
 it has made. By Fletcher Beach, M.B., F.R.C.P. Price Is. 
 Psycho-Therapeutics. (See Hypnotism.) 
 Public Health. Aids to Sanitary Science, for the Use of Candidates 
 
 for Public Health Qualifications. ByF. J. Allan, M.D., Dipl. 
 
 Public Health, Camb., Assistant Professor of Hygiene, College 
 
 of State Medicine. Price 4s. 6d. cloth. 
 
 "A really admirable synopsis of what it is most necessary for a candidate to know." — 
 Glasgow Medical Journal. .... 
 
 " The information contained is correct, well expressed and well arranged."— Public Health. 
 
 " The work has been well done. . . . Will be found a serviceable and reliable aid."— 
 Edinburgh Medical Journal. 
 
 Public Health. The Practical Guide to the Public Health Acts 
 and Correlated Acts for Officers of Health and Inspectors of 
 Nuisances. By Thos. Whiteside Hime, B.A, M.B. Second 
 edition, enlarged. Price 
 
 Public Health. Aids to Public Health. By J. L. Thudichum, 
 M.D., F.R.C.P. Lond Price Is. 6d. cloth ; Is. paper. 
 
32 Baillikre, Tindall, and Cox's Books. 
 
 Public Health. Guide to Sanitary Science Examinations. By 
 Hekbert Jones, D.P.H. Cantab. Price 2s. 6d. 
 
 Pulse. How to feel the Pulse and what to Feel in it. Practical 
 Hints for Beginners. By William Ewart, M.D., F.B.O.P. 
 Lond., Physician to St. George's Hospital. With a glossary and 
 twelve illustrations. Price 3s. 6d. 
 
 Pulse. The Sphygmograph : its History and use as an aid to 
 Diagnosis. By B. E. Dudgeon, M.D. Price 2s. 6d. 
 
 Rabies- (See Hydrophobia.) 
 
 Respiration. Keep your Mouth Shut ; a Popular Treatise on 
 Mouth-breathing. By Feed. A. A. Smith, M.D., CM. Glas. 
 Price 2s. 6d. 
 
 Rheumatism. Its Treatment by Electric Massage, etc., in con- 
 nection with the Wiesbaden Thermal Waters. By Carl 
 Mordhorst, M.D. Kiel. Price Is. 
 
 Rupture of the Perineum. Its Causes, Prevention and Treatment. 
 By Michael Joseph Molony M.E.C.P., L.R.C.S. Price 2s. 
 cloth, Is. 6d. paper. 
 
 Salt. History of Salt, with Observations on its Medicinal and 
 Dietetic Properties. By Evan Marlett Boddy, F.R.C.S., 
 F.S.S., L.R.C.P. Price 2s. 6d. 
 
 Sewage. The Sewage Question : Reports upon the Principal 
 Sewage Farms and Works of the Kingdom, with Notes and 
 Chemical Analyses. By the late Dr. Letheby. Price 4s. 6d. 
 
 Skin Diseases of Infancy and Early Life. By C. M. Camp- 
 bell, M.D., CM. Edin. Price 5s. 
 
 Skin. A Synopsis of Diseases of the Skin and Hair. By R. 
 Glasgow Patteson, M.B., Surgeon to St. Vincent's Hospital, 
 Price Is. 
 
 Skin. Dermic Memoranda : An Introduction to the Study of Skin 
 Disease, with Special Reference to the Exanthemata. By 
 William Gemmel, M.B., Glasgow Fever Hospital. Price 3s. net. 
 
 Skin. Some Diseases of the Skin produced by Derangements 
 of the Nervous System. By T. Stretch Dowse, M.D., 
 F.RCP.E. Price 2s. 
 
 Stomach. The Surgical Diseases and Injuries of the Stomach and 
 Intestines. By F. Bowreman Jessett, F.R.C.S., Surgeon to 
 the Cancer Hospital. Numerous engravings. Price 7s. 6d. 
 
Baillifere, Tindall, and Cox's Books. 33 
 
 Stricture. Stricture of the Urethra : its Diagnosis and Treatment. 
 By E. Distin Maddiok, F.K.C.S. Edin., late Surgeon R.N. 4s. 
 
 Surgery. The Science and Practice of Surgery, a Complete Text- 
 book. By P. J. Gant, F.R.C.S., Senior Surgeon Eoyal Free 
 Hospital. Third edition, with nearly 1,100 engravings. 2 vols., 
 price 36 s. 
 
 "The entire work has been revised to present the modern aspects of Surgery." — Lancet. 
 " Does credit to the author's thorough surgical knowledge."— British Medical Journal. 
 
 Surgery. The Student's Surgery : a Multum in Parvo. By F. J. 
 Gant, F.R.C.S. 850 pp., illustrated. Price 10s. 6d. 
 
 " It well fulfils the object for which it is written." — Lancet. 
 
 "From the student's point of view it is a necessity. "—British Medical Journal.". 
 
 Surgery. Operative Surgery on the Cadaver. By Jasper J. 
 Garmany, A.M., M.D., F.R.C.S. Price 8s. 6d. 
 
 Surgery. Aids to Surgery. By George Brown, M.R.C.S. 
 2 parts, price Is. 6d. cloth, and Is. sewn, each; or in 1 vol., 2s. 6d. 
 
 Surgery. The Text-book of Operative Surgery. With 88 beauti- 
 fully engraved steel plates, after Bernard and Huette. Text 
 by Arthur Trehern Norton, F.R.C.S., Surgeon to, and 
 Lecturer on Surgery at, St. Mary's Hospital. Second edition, 
 half calf, plain, 25s. ; hand-coloured, 50s. 
 
 Surgery. Clinical Lectures on Recent Surgery. By Arthur 
 
 Trehern Norton, F.R.C.S. Price 3s. 
 Surgery. The Anatomy of Surgery. By John McLachlan, M.B., 
 
 M.R.C.S. With 74 illustrations. Two vols., price 18s. 
 
 Surgery. The Surgery of the Knee-Joint, and the Responsibility 
 placed on the Physician and General Practitioner by the 
 Modern Process of Surgery. By C. B. Keetley, F.R.C.S., 
 Senior Surgeon to the West London Hospital, and Surgeon to 
 its Orthopaedic Department. Cloth, price Is. 6d. 
 
 Surgery. Brain Surgery. By M. Allen Storr, M.D. With 
 59 illustrations. Price 10s. 6d. 
 
 Surgery, Minor — and Bandaging. Questions and Answers for 
 Self-examination. By A. T. Schofield, M.D. Price 9d. net. 
 
 Surgical Pathology- Handbook of Surgical Pathology. By 
 W. J. Walsham, M.B., F.R.C.S., and D'Arcy Power, M.B., 
 F.R.C.S. Second edition. Price 9s. 
 
 "An embodiment of the most modern pathological teaching." — The Lancet. 
 
 Surgical Anatomy. (See Surgery.) 
 
 Surgical Treatment. Notes on Surgical Treatment and Minor 
 Operations. Designed especially for House Surgeons and 
 Students. By T. F. Hopgood/L.R.C.P., M.R.C.S. Surgeon to 
 the Sunderland Infirmary. Price 2s. 6d. 
 
34 Bailliere, Tindall, and Cox's Books. 
 
 Syphilis. Syphilis of the Brain and Spinal Cord, showing the part 
 which this agent plays in the production of Paralysis, Epilepsy, 
 Insanity, Headache, Neuralgia, Hysteria, and other Mental 
 and Nervous Derangements. By T. Stretch Dowse, M.D., 
 F.R.C.P. Ed. Second edition, illustrated. Price 5s. 
 
 Syphilis. The Nature and Treatment of Syphilis, and the other so- 
 called Contagious Diseases. By C. R. Drysdale, M.D., M.R.C.P. 
 Lond., F.B.C.S. Eng. Fifth edition. Price 5s. 
 
 Temperature Charts for Recording the Bange of Temperature, 
 Pulse, Respiration, History, Progress, and Treatment of Cases. 
 By E. W. Moore, M.D., M.B.C.P. Price Id. each, 9d. per 
 dozen ; or mounted, similar to a blotting-pad, 50, 3s. 6d.; 100, 7s. 
 
 Theories of Life. The Protoplasmic Theory of Life. By John 
 Drysdale, M.D., F.B.M.S. Price 5s. 
 
 Theories of Life. How to Prolong Life. Showing the Diet and 
 Agents best adapted for a lengthened prolongation of existence. 
 By C. W. De Lacy Evans, M.B.C.S. Second edition. Price 5s. 
 
 " A good account of the changes which occur with the advance of age." — lancet. 
 
 Therapeutics. Modern Therapeutics, Medical and Surgical. By 
 Geo. H. Napheys, A.M., M.D. Ninth edition. Revised and 
 enlarged by Drs. Allen Smith and Aubrey Davis. 
 Vol. I. — General Medicine, and Diseases of Children. Price, 
 
 half morocco, £1 10s. 
 Vol. II. — General Surgery, Gyneeeology, and Obstetrics. Price, 
 half morocco, £1 10s. 
 
 Therapeutics. The Therapeutics of the Respiratory Passages. By 
 Prosser James, M.D., Lecturer on Materia Medica and Thera- 
 peutics at the London Hospital. Price 10s. 6d. 
 
 "Dr. Prosser James has produced a scholarly treatise."— New York Medical Record. 
 
 Therapeutics. Aids to Rational Therapeutics, for the guidance of 
 Practitioners and Senior Students. By J. Milner Fothergill, 
 M.D. Seeond edition. Price 2s. 6d. cloth; 2s. paper wrapper. 
 
 Throat. Movable Atlas of the Throat, and the Mechanism of Voice 
 Speech and Taste. By Prof. WlTKOWSKl. (See Anatomy.) 
 
 Throat. Diseases of the Throat and Nose. A Practical Guide to 
 Diagnosis and Treatment. With 220 typical illustrations in 
 chromolithography and numerous wood engravings. By Lennox 
 Browne, F.R.C.S. Edin., Senior Surgeon to the Central London 
 Throat and Ear Hospital. Fourth edition. Price 21s. 
 
 "One of the completest treatises on diseases of the throat in any language." British 
 
 MeHcal Journal. 
 " The best text-book in the English language."— Edinburgh Medical Journal. 
 
Baillifere, Tindall, and Cox's Books. 35 
 
 Throat. Affections of the Throat and Larynx. By Arthur 
 Trehern Norton, F.E.C.S., Surgeon to St. Mary's Hospital. 
 Second edition, illustrated. Price 6s. 
 
 " Short, simple, and thoroughly practical instruction." — Medical Press.*, 
 
 Throat. Tonsillitis in Adolescents. By C. Haig-Brown, M.D., 
 
 CM., Medical Officer to the Charterhouse. Price 3s. 
 Transfusion. On Transfusion of Blood and Saline Fluids. By 
 
 C. Egerton Jennings, F.R.C.S. Third edition, with Preface 
 
 by Sir Spencer Wells, Bart. Price 4s. 6d. 
 Tuberculosis. (See Consumption.) 
 Ulcers. Ulcers and their Treatment. Intended for the Use of 
 
 Dressers, and as an Aid to those Preparing for Examinations. 
 
 By W. S. Crawford, B.A. Cantab. Price, paper cover, Is. ; 
 
 cloth, Is. 6d. 
 Urinary Diseases. Diseases of the Bladder, Prostate Gland, and 
 
 Urethra. By F. J. Gant, F.R.C.S., Senior Surgeon to the Royal 
 
 Free Hospital Fifth edition, enlarged. Price 12s. 6d. 
 
 " The work throughout bears evidence of having been written by a thoroughly practical 
 and experienced surgeon." — Lancet. 
 
 Urinarv Surgery. Urinary Surgery of the present day contrasted 
 with that of twelve years ago. By F. Swinford Edwards, 
 F.R.C.S. Price Is. 
 
 Urine. The Urine in Health and Disease, and Urinary 
 Analysis. By D. Campbell _ Black, M.D., Professor of 
 Physiology in Anderson's College, Glasgow. Price 7s. 6d. 
 
 Urine. The Urine ; a Guide to its Practical Examination. By 
 J. Tyson, M.D., Professor of Morbid Anatomy in the University, 
 and President of the Pathological Society of Philadelphia. 
 Seventh edition, with numerous illustrations. Price 7s. 6d. 
 
 " We think it the most practically useful guide we have on the subject."— Medical Record. 
 
 Vichy, Vichy and its Therapeutical Resources. By Prosser James, 
 
 M.D., M.R.C.P. Lond. Price 2s. 6d. 
 Voice. The Philosophy of Voice. Showing the right and wrong 
 
 Action of the Breath and Vocal Cords in Speech and Song. 
 
 By Charles Lunn. Seventh edition. [In preparation. 
 
 Voice. Artistic Voice in Speech and Song. Dedicated to Mr. Sims 
 
 Reeves and Mr. Santley. By the same Author. Is. 
 Voice. The Voice Musically and Medically Considered. By C. 
 
 Armand Semple, M.B. Cantab., M.R.C.P. Lond., Physician 
 
 to the Royal Society of Musicians. Part I. Musical, price Is. ; 
 
 Part II., Medical, price 2s. ; or in one vol., cloth, 3s. 6d. 
 WhOOping-Cough. Its Pathology and Treatment. Fothergillian 
 
 Prize Essay. By Thos. M. Dolan, M.D., F.R.C.S.E. Price 3s.6A 
 Zoology and Comparative Anatomy, Aids to. By Major 
 
 Greenwood, M.D., Honours. Price 2s. 6d., and 2s. 
 
36 Baillikre, Tindall, and Cox's Books. 
 
 THE STUDENTS' AIDS SERIES. 
 
 Specially designed to assist Students in committing to memory and 
 grouping the subjects upon which they are to be examined. 
 
 Aids to Analysis of Food and Drugs. By H. Aubrey 
 Husband, M.B., F.R.C.S. Is. 6d. cloth ; Is. paper. 
 
 Aids to Anatomy. By George Brown, M.B.O.S., Gold Medal- 
 list, Charing Cross Hospital. 2s. 6d. cloth ; 2s. paper. 
 
 Aids to Biology. By Joseph W. Williams. 2s. 6d. cloth; 
 2s. paper wrapper. 
 
 Aids to Botany. By C. E. Armand Semple, B.A., M.B. Cantab., 
 M.R.C.P. Lond., late Senior Examiner in Arts at Apothecaries' 
 Hall. Third thousand. 2s. 6d. cloth ; 2s. paper. 
 
 Aids to Chemistry. By the same Author. 
 
 Part I. — Inorganic : Non-Metallic Substances. 2s. 6d. cloth ; 
 
 2s. paper wrapper. 
 Part II. — -Inorganic : The Metals. 2s. 6d. and 2s. 
 Part III. — Organic. Price, 2s. 6d. and 2s. 
 Part IV. — Tablets of Chemical Analysis. Is. 6d. and Is. 
 
 Aids to Practical Chemistry. Especially arranged for the 
 Analysis of Substances containing a Single Base and Acid 
 Radicle. By T. Hurd Gordon. 2s. 6d. cloth ; 2s. paper. 
 
 Aids to the Diagnosis and Treatment of Diseases of Children. 
 
 By John McCaw, M.D., L.R.C.P. Price 3s. 6d. cloth; 
 3s. paper. 
 
 Aids to Dental Surgery. By Arthur S. Underwood, M.B., 
 M.R.C.S., Lecturer on Dental Surgery at the Dental Hospital 
 of London. 2s. 6d. cloth ; 2s. paper. 
 
 Aids to Dental Histology. By the same Author. 
 Illustrated. 2s. 6d. cloth ; 2s. paper. 
 
 Aids to Diagnosis. Part I. — Semeiological. By J. Milner Fother- 
 gill, M.D., M.B.C.P. Lond. Is. 6d. cloth ; Is. paper. 
 
 Part II.— Physical. By J. C. Thorowgood, M.D., F.R.C.P. 
 Lond. Is. 6d. and Is. 
 
 Part III. — What to Ask the Patient. By J. Milner 
 Fothergill, M.D., M.RC.P. Lond. Is. 6d. and Is. The 
 three in one vol., 3s. 6d. 
 
 " A mine of valuable information." — Edinburgh MedicaZ Journal. 
 
Baillikre, Tindall, and Cox's Books. 37 
 
 Aids to Examinations. Being Questions and Answers on Materia 
 Medica, Medicine, Midwifery, Pathology, etc. By D. Walsh, 
 M.B., CM., L.E.C.P. New edition. 2s. 6d. and 2s. 
 
 Aids to Forensic Medicine and Toxicology. By Wm. Muekell, 
 M.D., F.B.C.P. Lond., Physician to Westminster Hospital. 
 New edition. Price 2s. 6d. cloth ; 2s. paper wrapper. 
 
 Aids to Gynaecology. By Alfred Gubb, M.D. Paris, D.P.H., 
 Obstetric Assistant and Gold Medallist, Westminster Hospital. 
 New edition. Cloth, 2s. 6d. ; paper wrapper, 2s. 
 
 Aids to Materia Medica and Therapeutics. By 0. E. Armand 
 Semple, B.A., M.B. Cantab., M.E.C.P. Lond. 
 
 Part I. — The Non-Metallic and Metallic Elements, Alcoholic 
 and Ethereal Preparations. 2s. 6d. cloth ; and 2s. paper. 
 
 Part II. — Vegetable and Animal Substances, 2s. 6d. and 2s. 
 
 Part III. — Classification of Bemedies, Is. 6d. and Is. 
 
 Part IV. — New Bemedies. 2s. 6d. and 2s. 
 
 Part V. — Tablets of Materia Medica. Price Is. 6d. and Is. 
 
 Aids to Medicine. By the same Author. 
 
 Part I. — General Diseases. Lungs, Heart, and Liver. Cloth, 
 2s. 6d. ; paper, 2s. 
 
 Part II. — The Urine, Kidneys, etc. 2s. 6d. and 2s. 
 
 Part III.— The Brain and Nervous System. 2s. 6d. and 2s. 
 
 Part IV.— The Fevers, Skin Diseases, etc. 2s. 6d. and 2s. 
 
 Aids to Obstetrics. By Samuel Nall, B.A, M.B. Cantab., 
 M.E.C.P. Lond., late House Physician and Resident Obstetric 
 Assistant, St. Bartholomew's Hospital. Twelfth thousand. Cloth, 
 2s. 6d. ; paper, 2s. 
 
 Aids to Ophthalmic Medicine and Surgery. By Jonathan 
 Hutchinson, jun., F.B.C.S. Cloth, 2s. 6d. ; paper, 2s. 
 
 Aids to Otology. By W. E. H. Stewart, F.E.C.S. Ed., Aural 
 Surgeon to the Great Northern Hospital, etc. Price 2s. 6d. 
 cloth ; 2s. paper wrapper. 
 
 Aids to General Pathology. By Gilbert A. Bannatyne, M.D. 
 Cloth, Is. 6d. ; paper wrapper, Is. 
 
 Aids to Special Pathology. By the same Author. Cloth, 2s. 6d.; 
 paper, 2s. 
 
 Aids to Pharmacy. By C E. Armand Semple, B.A..M.B. Cantab., 
 M.EC.P. London. Cloth, 2s. 6d. ; paper, 2s. 
 
 Aids to Physiology. By B. Thompson Lowne, F.E.C.S., Ex- 
 aminer in Physiology, Eoyal College of Surgeons. Fourth thou- 
 sand. In two parts, price 2s. each ; or in one vol., cloth, 4s. 6d. 
 
 " Certainly one of the best of the now popular Aids Series."— Students' Journal. 
 
38 Bailliere, Tindall, and Cox's Books 
 
 Aids to Practical Physiology. By J. Brindley James, M.R.C.S. 
 Cloth, Is. 6d. ; paper, Is. 
 
 Aids to Physiological Chemistry. By J. L. Thudichum, M.D., 
 F.R.C.P. Lond., formerly Lecturer on Physiological Chemistry, 
 St. iThomas's Hospital. Cloth, 2s. 6d. ; paper, 2s. 
 
 Aids to Psychological Medicine. By Edwin Goodall, M.D. 
 Lond. [In Reparation. 
 
 Aids to Public Health. By J. L. Thudichum, M.D., F.R.C.P. 
 Lond. New edition. Is. 6d. cloth; Is. paper wrapper. 
 
 Aids to Sanitary Science for the Use of Candidates for Public 
 Health Qualifications. By F. J. Allan, M.D., Assistant 
 Professor of Hygiene, Coll. State Medicine. 236 pp. Cloth, 
 4s. 6d.; or in two parts, paper, 2s. each. 
 
 Aids to Surgery. In two parts. By George Brown, M.R.C.S. 
 Is. 6d. cloth, and Is. paper, each; or in one vol., cloth, 2s. 6cL 
 
 Aids to Rational Therapeutics. By J. Milner Fothergill, 
 M.D., M.R.C.P. Lond. 2s. 6d. cloth ; 2s. paper. 
 
 Replies to Questions in Therapeutics. By Brindley James, 
 M.R.C.S. Is. 6d. cloth; Is. paper. 
 
 Aids to Zoology. By Major Greenwood, M.D. Honours in 
 
 Zoology, University of London. 2s. 6d. cloth ; 2s. paper. 
 
 Aids to Mathematics of Hygiene. By R. Bruce Ferguson, 
 M.A., M.B. Price 2s. 6d. ; 2s. 
 
 Aids to Analytical Geometry. 
 
 The Straight Line and Circle. By A. Le Sueur, B.A. 
 Cantab. Second edition. Price 2s. 
 
 The Conic Sections, with solutions of questions set at the 
 London and other University Examinations. By George 
 Heppel, M.A., St. John's College, Cambridge, Member of 
 London Mathematical Society. Price 2s. 
 
 A Catalogue of Standard French Works on Medicine, Swgery, 
 and the Allied Sciences will be sent post free on application. 
 
Baillike, Tindall, and Cox's Books. 39 
 WORKS 
 
 ON 
 
 VETERINARY MEDICINE AND SURGERY. 
 
 Amateur. Horses : their Rational Treatment and the Causes of 
 
 their Premature Decay. By Amateur. Price 5s. 
 
 An Abridgment of the above. By the same Author. Price Is. 
 
 Banham. Tables of Veterinary Posology and Therapeutics. With 
 
 Weights, Measures, etc. By Professor George A. Banham, 
 
 F.R.C.VS. Price 2s. 6d. 
 Beacock. Prize Essay on the Breeding, Rearing, and Fattening of 
 
 Cattle and Sheep, and proper treatment of Cows at time of 
 
 Calving. By Joseph Beacock. Price 3d. 
 Burke. The Tropical Diseases of the Horse. By Captain R. W. 
 
 Burke, M.R.C.V.S., A.V.D. Third edition. [In the Press. 
 
 Courtenay. The Practice of Veterinary Medicine and Surgery. 
 By E. Courtenay. Price 10s. 6d. 
 
 " Written in a clear and concise style : will form a welcome addition to the library of the 
 horse-owner, and those who take an interest in domesticated animals generally." — Mark 
 Lane Express. 
 
 Fleming. A Text-Book of Veterinary Obstetrics, including the 
 diseases and accidents incidental to pregnancy, parturition and 
 early age in the Domesticated Animals. By George Fleming, 
 C.B., LL.D., F.R.C.V.S., F.R.G.S., President of the Royal 
 College of Veterinary Surgeons, late Principal of the Army 
 Veterinary Department. Profusely illustrated. Cloth, price 30s. 
 
 " Has filled up a void in a more satisfactory and complete way than any other member of 
 his profession could have done." — The Field. 
 
 "No man who makes any pretensions to veterinary science or stock breeding can dispense 
 with this work." — Live Stock Journal. 
 
 . Parasites and Parasitic Diseases of the Domesticated 
 
 Animals. A Treatise by L. G. Neumann, Professor at the 
 National Veterinary School of Toulouse. Translated and 
 Edited by Geo. Fleming, C.B., LL.D., F.R.C.V.S., with 365 
 illustrations. Price 25s. 
 
 " The value and Importance of Neumann's Treatise cannot be over-estimated ; it is certainly 
 the most scientific, interesting, and useful work that has graced veterinary literature for some 
 vears."— The Veterinary Journal. 
 
 " We do not hesitate to say that this is a work which all pathologists ought to possess ; and 
 the practitioner . . . will not fail to add to his reputation if he has this book on his shelves. 
 
 _ " This is' one of the most useful of the many works with which Dr. Fleming has enriched 
 English Veterinary literature. Although intended as a text-book for the veterinary student 
 and practitioner, the translation has rendered it so readable that every intelligent farmer may 
 derive a fund of useful information from its copiously illustrated pages."— Mark Lane Express. 
 ' ' Cannot fail to be of immense value to both the veterinary profession and to British stock- 
 breeders,"— Sell's Weekly Messenger. 
 
 A Text-Book of Operative Veterinary Surgery. Part I. 
 
 price 10s. 6d. Part II. in the Press. 
 
40 Baillikre, Tindall, and Cox's Books. 
 
 Fleming. The Contagious Diseases of Animals : their influence on 
 the wealth and health of the nation. Price 6d. 
 
 Animal Plagues ; their History from the Earliest Times, 
 
 Nature, and Prevention. Vol. I., to 1800. Price 15s. 
 
 Vol. II, from A.D. 1800 to 1844. Price 12s. 
 
 On Roaring in Horses (Laryngismus Paralyticus). Its 
 
 History, Pathology, and Treatment. With coloured plate and 
 woodcuts. Price 6s. 
 
 Tuberculosis from a Sanitary and Pathological point of view. 
 
 Price Is. 
 
 Human and Animal Variolae. A Study of Comparative 
 
 Pathology. Price Is. 
 
 — - Practical Horse Shoeing. With 37 illustrations. 2s. 
 
 The Influence of Heredity and Contagion on the Propagation 
 
 of Tuberculosis. By G. Fleming, F.R.C.V.S., Herr A. 
 Lydtin, and M. Van Hertsen. Price 6s. 
 Gresswell. AManual of the Theoryand Practice of Equine Medicine. 
 By J. Brodie Gresswell, F.E.C.V.S., and Albert Gress- 
 well, M.R.C.S. Eng. Second edition, enlarged. Price 10s. 6d. 
 
 BY THE SAME AUTHORS. 
 
 Equine Hospital Prescriber. Second edition. Price 2s. 6d. 
 
 Bovine Prescriber. Second Edition. Price 2s. 6d. 
 
 Veterinary Pharmacopoeia. Materia Medica and Therapeutics. 
 Price 10s. 6d. 
 
 Diseases and Disorders of the Horse. A Treatise on Equine 
 Medicine and Surgery. Price 5s. 
 Hill. Principles and Practice of Bovine Medicine and Surgery, 
 
 with woodcuts and coloured plates. By J. Woodroefe Hill, 
 
 F.E.C.V.S. New edition. [In preparation. 
 The Management and Diseases of the Dog. By J. W. HlLL, 
 
 F.R.C.V.S. Third edition. Illustrated. Price 7s. 6d. 
 Hoare. Manual of Veterinary Therapeutics. By E. Wallis 
 
 Ho are, F. R. C. V. S. [In the Press. 
 
 Lambert. The Germ Theory of Disease, Concisely and Simply 
 
 Explained. By Colonel James Lambert, F.R.C.V.S., Army 
 
 Veterinary Department. Price Is. 
 Liautard. Manual of Operative Veterinary Surgery. By A. 
 
 Liautard, M.D., F.RC.V.S. 600 illustrations. Price 30s. 
 
 Animal Castration. Price 7s. 6d. 
 
 Lameness of Horses and Diseases of the Locomotor 
 
 Apparatus. Price 10s. 6d. 
 Lupton. Horses : Sound and Unsound, with the Law relating to 
 
 Sales and Warranty. By James Irvine Lupton, F.R.C.V.S. 
 
 Price 5s. 
 
Bailli&re, Tindall, and Cox's Books. 41 
 
 Miller — Tellor. The Diseases of Live Stock, and their most efficient 
 remedies. A Popular Guide for the Treatment of Horses, Cattle, 
 Cows, Sheep, Swine, Fowls, Dogs, etc. By Wm. B. E. Miller,- 
 D.V.S., President of U.S. Veterinary Association, Willis P. 
 Hazard, A. Liautard, M.D., F.B.C.V.S., and Lloyd V. 
 Tellor, M.D. New edition. Price 10s. 6d. 
 
 McBride. Anatomical Outlines of the Horse. By J. A. McBride, 
 Ph.D., M.E.C.V.S. Third edition. Illustrated. Price 8s. 6d. 
 
 Meyrick. Stable Management and the Prevention of Diseases 
 among Horses in India. By J. J. Meyrick, C.B., F.B.C.V.S., 
 Superintendent of Horse Breeding for the Punjab. Price 2s. 6d. 
 
 Poyser. The Stable Management of Troop Horses in India. "The 
 Collinsian" Prize Essay. By Major E. Poyser, A.V.D., 
 F.E.C.V.S. Price 2s. 
 
 Reynolds. The Breeding, Bearing, and Management of Draught 
 Horses. By Eichard Eeynolds, M.E.C.V.S. Price 3s. 6d. 
 
 Robertson. A Handbook of the Practice of Equine Medicine. 
 By Wm. Eobertson, F.E.C.V.S., late Principal of the Eoyal 
 Veterinary College, London. Second edition. Price 25s. 
 
 Smith. A Manual of Veterinary Hygiene. By Captain Frederick 
 Smith, A.V.D., M.E.C.V.S., Professor in the Army Veterinary 
 School, Aldershot. Second edition. Price 10s. 6d. 
 
 "The work is a "very solid one, and it is a pleasure to recommend it. " — Army and Navy Mag. 
 " It should be on the bookshelf of every horseman, horsekeeper, and veterinary surgeon." 
 — United Service Gazette. 
 
 A Manual of Veterinary Physiology. By the same Author. 
 
 Price 12s. 6d. 
 
 " The work will commend itself to those for whom it was written by its conciseness and 
 the able manner in which the important facts are dealt with and arranged." — Lancet. 
 
 " We offer our hearty congratulation to Captain Smith for his welcome contribution to our 
 scanty professional literature."— Veterinary Journal. 
 
 "A Valuable addition to the too small list of good veterinary text-books." — Journal of 
 Comparative Pathology (Mac Fadyean). ,., . .,, ,, . t 
 
 " We do not remember to have met with a scientific book which is more readable ; and it 
 supplies one of the greatest wants in our literature."— Veterinary Record. 
 
 '' This work ought to delight the heart of the veterinary student."— Nature. 
 
 Veterinary Diagrams in Tabular Form. With coloured 
 and plain engravings. Size of sheet 28£ by 22 inches. 
 
 No. 1. — The External Form and Elementary Anatomy of the 
 Horse. Price 3s. 6d., or mounted on roller and varnished, 6s. 6d. 
 
 No. 2. — The Age of Domestic Animals. Price 2s. 6d., or 
 mounted, 5s. 6d. 
 
 No. 3. — The Unsoundnesses and Defects of the Horse. Price 
 2s. 6d., or mounted, 5s. 6d. 
 
 No. 4 — The Shoeing of the Hcrse, Mule and Ox. Price 
 2s. 6d., or mounted, 5s. 6d. 
 
 No. 5. The Elementary Anatomy, Points and Butcher's 
 
 Joints of the Ox. Price 3s. 6d., or mounted, 6s. 6d. 
 
 Price per set of Five, 12s. ; or mounted, 27s. 
 
NOW READY. Price £6 nett. 
 A NEW AND GREATLY IMPROVED EDITION 
 
 WHITE'S PHYSIOLOGICAL MANIKIN. 
 
 soa 
 
 S * 
 
 .2 n 
 
 DESIGNED TJNDEK THE DIRECTION OP 
 
 FRANK H. HAMILTON, M.D., LL.D. 
 
 -a 
 H 
 
 a 
 
 03 
 
 ft 
 O 
 
 a . 
 
 m 
 
 J3 a 
 
 ■J a 
 
 „r a_ 
 
 tj a 
 .2 S 
 
 * S 
 
 2-2 
 
 ° r^ 
 MH ~ 
 
 Ti n 
 
 a s 
 
 cj o 
 
 '?§ 
 «§ £