§ 22. Each Manner of Singing hath a different Degree of Eminence; the Nervous and Strong is distinguished from the Puerile and Weak, as is the Noble from the Vulgar.
§ 23. A Student must not hope for Applause, if he has not an utter Abhorrence of Ignorance.
§ 24. Whoever does not aspire to the first Rank, begins already to give up the second, and by little and little will rest contented with the lowest.
§ 25. If, out of a particular Indulgence to the sex, so many female Singers have the Graces set down in Writing, one that studies to become a good Singer should not follow the Example; whoever accustoms himself to have Things put in his Mouth, will have no Invention, and becomes a Slave to his Memory.
§ 26. If the Scholar should have any Defects, of the Nose, the Throat, or of the Ear, let him never sing but when the Master is by, or somebody that understands the Profession, in order to correct him, otherwise he will get an ill Habit, past all Remedy.
§ 27. When he studies his Lesson at Home, let him sometimes sing before a Looking-glass, not to be enamoured with his own Person, but to avoid those convulsive Motions of the Body, or of the Face (for so I call the Grimaces of an affected Singer) which, when once they have took Footing, never leave him.
§ 28. The best Time for Study is with the rising of the Sun; but those, who are obliged to study, must employ all their Time which can be spared from their other necessary Affairs.
§ 29. After a long Exercise, and the Attainment of a true Intonation, of a _Messa di Voce_, of _Shakes_, of _Divisions_, and _Recitative_ well expressed, if the Scholar perceives that his Master cannot teach him all the Perfection of Execution required in the more refined Art of singing the Airs, or if he cannot always be by his Side, then will he begin to be sensible of the Need he has of that Study, in which the best Singer in the World is still a Learner, and must be his own Master. Supposing this Reflection just, I advise him for his first Insight, to read the following Chapter, in order thereby to reap greater Advantage from those that can sing the _Airs_, and teach to sing them.
If whoever introduced the Custom of repeating the first Part of the _Air_ (which is called _Da Capo_) did it out of a Motive to show the Capacity of the Singer, in varying the Repetition, the Invention cannot be blam'd by Lovers of Musick; though in respect of the Words it is sometimes an Impropriety.[56]