Answ. The strengthening and refreshing of our souls by the body and blood of Christ, as our bodies are by the bread and wine. Our learned and pious moralist, Dr. Samuel Johnson, has some. where observed, that "to quote scripture in a jocular sense is a custom which a witty man will despise for its facility, and a good man dread for its profaneness."

These are "the words of truth and soberness," upon which we mayrationally ask, if a ludicrous application of even the words of scripture be thus reprehended by one of the most indisputable and venerable of human authorities, what shall be said of an entire composition wantonly fabricated for the purpose of exciting con. tempt towards the last will and testament of the Lord and Saviour?

It has been above acknowledged that the melody and harmony of this offensive production is an entire contrast to the degrading words, the former being of the best and purest kind; and it is perfectly probable that the majority of its admirers have never even suspected the blasphemy of the design. After what has been adduced, it may be hoped that a little reflection upon the real fact will operate as a caveat against the repetition of it in musical assemblies, for surely they who can resolve to defend so nefarious an insult to religion, are answerable for no trifling inconsistency, in persevering to "profess and call themselves Christians."

PHILALETHES.

Progressive Exercises to the Art of Singing, to which are added twelve Solfeggios composed by D. Crivelli. London. (For the Author,) by Cramer, Addison, and Beale.

The readers of our miscellany will long since have discovered, that if we have paid greater attention to one branch of art than another, it is to the vocal department. And this is not more our spontaneous choice than a course directed by the universal regard which vocal music attracts. For the same reason the duty becomes more urgent to keep a steady eye upon those treatises which from time to time make their appearance. A double importance is often attached to them, for, as in the case before us, the author of a book is most commonly a teacher of singing, and his practice is elucidated by his principles. It is therefore of consequence to examine them strictly, both for the interests of the master as well as for those of the pupil.

Mr. Crivelli, the author of the book before us, is the son of the singer of that name, so justly celebrated throughout Europe as one of the most elegant and finished tenors of the present generation. Mr. C. has been selected by the Committee of the Royal Academy as the teacher of singing in that national school of art. For these reasons his work is entitled to more than common attention.

Mr. Crivelli obviously proposes this treatise as an assistant to the teacher and the pupil. To this intent he prefaces the exercises with twelve rules, containing short hints for the formation of the voice, and even the more advanced progression of the pupil. These rules have only one fault, and that fault is and must ever be common to such books-they are too short. But the fact is, that such instructions are intended rather as memoranda-as recollections of what the master has orally delivered, and to enforce his practical demonstrations, than as complete directions upon which a singer may be enabled to form himself. We so thoroughly concur with the author in this notion, (which we gather from the tenor of his work, not from any positive declaration to that effect,) that we would recommend no one to attempt to begin the study of singing without the help of a master.

The first principles-the position of the mouth, lips, &c. the

practice of the messa di voce, &c. are always the same when taught by Italian masters, and this forms the unity and the excellence of their school. These principles Mr. Crivelli has concentrated in a very plain and intelligent manner. But what is chiefly worthy of remark and of commendation is the advice he gives to trust to time and gentle practice, in preference to force. We are persuaded that he is right-not only technically right, but physically right. There are few constitutions that will bear either long, frequent, or violent exercise. The voice even does not gain so much in volume by any other means as by gradual and regular exertion; the nervous system, on the contrary, suffers dangerously by too vehement practice, the muscles of the throat are affected by sudden distension, and the effects on the lungs are hazardous in the extreme. There is no part of Mr. Crivelli's book that is more worthy of respect and consideration than the moderation by which he wishes to compass his end. At the same time the pupil should practice with the energy of one who is in earnest, and who means to task and try without overstraining his powers,

Mr. Crivelli's fourth rule stands as follows:

"It is also necessary to be cautious not to force the voice from the chest beyond its natural limits, as there is nothing which more impedes the drawing out the voice and uniting its tones with sweetness than this over exertion, and hence the best method is that of taking in the falsetto those notes which cannot be produced from the chest, and of studying the manner of uniting the two registers (viz. voce di petto and falsetto) in such a manner as to render their junction or point of union imperceptible. By practising and vocalizing the gamut after this method, the voice will daily improve both in quality and power."

This is excellent. But he has not noticed the method now adopted upon high authorities, of forming the voice (particularly the female voice) with three registers. This is a curious point. From the attention we have given to it, we believe that this formation is not so much the consequence of natural endowment as the result of art. And it seems to us capable of great effects. Madame Pasta is one of the most illustrious examples. Mademoiselle Garcia is another, Their low tones are produced like those of a base, and are sweetened and softened by constant exercise. They unite with the mixed voice, at about E or F upon the

first line of the treble staff, and the mixed voice again is to be united with the falsette at D or E (an octave higher.) There is indeed the difficulty of forming two junctions instead of one, but the use of the very low notes is obtained with far greater force, and the mixed voice can often be employed with more various change of passionate expression than in the ordinary manner of forming the middle tones, as if they were really and absolutely the voce di petto, or breast voice. The formation of three registers is said to be according to the principles of the great Roman school, and though dormant or less prominent for some time, the method has very lately been revived, and is now in much use. It is only, however, to be resorted to by those who have a most patient and determined endurance of labour. It will repay all such in the end, we are convinced; but they must not look for the reward unless they can persevere unrelentingly for a longer period than we shall dare to whisper to the majority of English virtuosi.

The eighth rule relates the formation of the shake. Mr. Crivelli makes use of the phrase "those who possess it naturally"-a very enviable gift, but one which we have never known any to enjoy from nature. Nothing is more certain than the acquisition of a shake, if slowly and regularly practiced; nothing is more certain than the failure of the student, in this particular, who will not be content to form it gradually. The Italian shake differs from the English, the former being the equal, rapid, successive articulation of two notes, without accent. The English shake, on the contrary, is the succession of two notes, with an accent on the upper note. It is this which occasions the various judgments we hear pronounced on the perfection of singers in this respect. What Italians call a fine shake, Englishmen call a mere flutter; while Italians, on the contrary, complain of the inequality of the English mode of performing this ornament. The English seldom use the slow shake, which the Italians execute with such beautiful effect in passages of tenderness and pathos. The Italians seldom employ the quick shake, and never with such various expression as first rate English singers. Now we conceive the natural shake to which Mr. Crivelli alludes to be the Italian, which is certainly more easy and frequent than the English; this last we will take upon us to pronounce is never acquired but by exercise, though it may always be acquired by well-conducted practice. We have

known persons, indeed, to have a good shake, who could do nothing else well.

Rule 11 is upon taking the breath. This is one of the most momentous points of preparatory practice to a singer. It is incredible the difference made by understanding the best method of drawing and employing the air taken into the lungs, and by previous consideration of the nature of the musical phrases about to be sung. We wish more had been said upon this subject.

The last rule refers to the necessity of filling the mind with knowledge and associations such as may inspire the singer with a feeling of the character and the passion he is about to present to his auditors. Style is certainly both technical and intellectual, and we scarcely know which attribute is the most essential; but we may safely aver, that whoever does not possess both will never move the affections of the hearer. These rules then are, as we have said, merely slight hints for improvement; but as Mr. Crivelli's book will be continually called for, both in his own and in other masters' practice, we recommend him in a future edition to enlarge this part of it.

We come now' to the musical examples. The author begins with the scale. Our opinions upon this head have been a little shaken of late by witnessing the good effects of adopting the method (long since suggested by Domenico Corri, as well as others,) of commencing the formation of the voice by the half tones. These advantages are, the flexibility of the throat to be gained by the intonation, at first, of the smallest intervals, while at the same time the ear is accustomed to close attention to pitch; for in singing the semitones instead of the scale, there is less of memory to guide its operations. These results are well worth consideration. Mr. C. introduces the chromatic scale (and indeed he is borne out by the customary practice) at a later period of advancement. We are not thoroughly satisfied with the harmonies he has given as an accompaniment to the scale; for if it be desirable to commence with the scale, in order to fix the ear to its intervals, it cannot be desirable in the first instance to disturb it by various modulations. After the scale is well fixed, various modulation is certainly very useful to try the steadiness of the pupil.

The exercises proceed separately through the intervals of the scale, and the several components of execution are arranged in such