English performers next claim our notice and attention.  In this new field of observation we find little to commend; defective training is the great cause of our inferiority in the practical performance of music, in all its branches.  This is especially manifest in the home-taught singers of the English school.  The voice is never perfectly formed nor developed, and brought out in the correct and scientific manner possessed by the accomplished artists of other countries.  Some of the most popular of our singers sing with the mouth nearly closed, with others the voice is forced and strained, proceeding not from the chest, but from the throat, the muscles of which are necessarily contracted in the effort.  We have, no doubt, many difficulties to overcome in the structure of our language, in which the accent is thrown on the consonants rather than on the vowels.  Unlike the Italian, which is thrown out, ore rotundo, directly from the chest, the English language is spoken from the throat, and, in general, also with the mouth nearly closed.  The Italian singer finds no difficulty in bringing out his voice; but the Englishman has first to conquer the habit of his life, and to overcome the obstacles his native tongue opposes to his acquirement of this new but necessary, mode of using the voice.  The difficulty, of laying this only foundation of real sterling excellence in the vocal art, is very great, and much care and study is indispensable.  Those who have occasion to use the voice loudly in the open air, insensibly acquire the power of thus eliciting the voice.  The chest tones in which many of the “Cries of London” are often heard in the streets of the metropolis, are a familiar example of nature’s teaching; another instance of which may probably still be found among the “bargees,” of Cambridge, whose voices, in our younger days, we well remember to have often heard and admired, as they guided or urged forward their sluggish horses along the banks of the still more sluggish Cam, in tones proceeding imo profundo of the chest, and magnificent enough to have made the fortune of many a singer.  These men, indeed, seemed to pride themselves upon their vocal powers; and many of them could execute a rapid shake, with accuracy and precision.  The voice is nature’s instrument, but, like the instruments fashioned by the hand of man, it will not yield its best tones to the unskilful.  There are many instrumental performers whose chief excellence lies in their tone, and who could call forth tones, from even an ordinary instrument, far superior to those which an inferior performer would be able to produce from the best Straduarius or Amati.  To the singer, tone is even of greater value than to the instrumental performers; for the method of instruction which improves the qualities of the vocal organ, also imparts a power and certainty of expression and execution, which cannot be otherwise acquired.  The finest singers are ever found to be those, who have best