From fifteen to twenty hours of work a week apart from special classes or recitals, are arranged for each year. Subjects are chosen according to needs. Additional hours may be elected by those who are prepared, and have sufficient physical strength.

Prospective students should have a good English education, and must present satisfactory testimonials as to character from pastors or other well-known persons. In addition, applicants who enter the professional courses must show some ability in the form of expression they choose for serious study.

The work of each student entering the School is arranged in groups of courses. Six diplomas are given, according to the number and nature of the courses mastered:

I. GENERAL CULTURE DIPLOMA. - At least thirty courses must be mastered. To master these courses requires an average of two years. Advanced students who pass the examinations upon the technical work of the first year are required to make up conditions in order to secure the diploma in one year.

II. SPEAKERS' DIPLOMA. - Thirty courses, elective, with special requirements in discussion, extemporaneous and other forms of speaking. Courses vary somewhat according to professions. For example, the professional training given to preachers, in Bible and Hymn Reading, is not the same as that given to lawyers or lecturers.

III. TEACHERS' DIPLOMA. - Forty-five courses are considered as an equivalent of the first three groups in the Horarium. At least two courses in Methods of Teaching. (See page 26.)

All the fundamental training of the School must be thoroughly mastered and reviewed. This course includes work which will fit a student to become a teacher of Voice, Vocal Expression and Speaking. Rarely is a holder of this diploma, who desires it, without a position. The average time required is three years. Advanced students and those whose health is perfect may be permitted to take the work for three years in two years, or in two years and one or two summer terms.

IV. PUBLIC READERS' OR DRAMATIC ARTISTS' DIPLOMA. The amount of work required for this course is the same as for the Teachers' Diploma. The difference is in the professional work required. Emphasis is laid on Literature, vocal interpretation, dramatic training and all forms of platform art. (See page 25.)

V. LITERATURE DIPLOMA. To secure this diploma the same amount of work is required as for the Speakers' Diploma, with special courses in English Composition and Literature.

VI. ARTISTIC DIPLOMA. - This is strictly post graduate. Fifty courses with high artistic attainment in some form of public reading or dramatic art are required.

VII. DIPLOMA OF HONOR.-The same work is required in this case as for the Artistic Diploma except that the attainment must refer to success in teaching.

Those who have attended the School at least three full years, and have achieved high attainment in their courses, will be decorated as follows for high personal development and control, the white cross; for broad knowledge of Expression and ability to teach it, the blue cross; for artistic public reading, the red cross; for dramatic and histrionic art, the purple cross; for high`attainment as a speaker, the golden cross; in artistic and creative work, the purple star; in teaching, the blue star.

By special vote of the Trustees honorary diplomas or medals are occasionally conferred upon artists who have reached high artistic attainments. Prof. Alexander Melville Bell, Prof. J. W. Churchill, and others, have been thus honored.

Students preparing to enter the School are advised to secure as wide a range of culture as possible. Special stress should be laid upon the study of literature and such subjects as will awaken the love of nature and artistic expression of every kind. The cultivation of a personal taste for literature is considered of more value than mere theoretic knowledge.

All applicants should write as early as possible for suggestions as to courses of reading, making a full statement of what they have done or are doing, and mentioning their special tastes. A fee of five dollars is charged for this special correspondence and question papers.

Students are especially advised to read for their own enjoyment, such narrative poems as Longfellow's "Tales of a Wayside Inn," Lowell's Vision of Sir Launful," Scott's "Lady of the Lake," Tennyson's "Idylls of the King,'' Morris's Earthly Paradise" or verse of kindred character. All are likewise recommended to study some prose translation of the "Iliad" and "Odyssey," and Shakespeare's dramas.

While general familiarity with English literature is advisable, a student should concentrate upon specific poems, learning them by heart, reciting them and studying them thoroughly. Students are requested to make a careful study of Emerson's essay on "Poetry and Imagination,' ," to be found in his ("Letters and Social Aims ''); also Dr. Curry's "Province of Expression,'' ''Lessons in Vocal Expres

Applicants should make known when they intend to come to the School as early as possible, that they may receive suggestions and help in their preparation for entrance. Many things can be done during the year or two before a student comes to the School which will be of infinite value afterwards.

Applicants for "advanced standing" must present certificates from former teachers stating the subjects studied and the exact number of hours taken in class or in private.

When the work amounts to four hundred hours, and is approved by the teachers of the School of Expression, these hours will count for a part of the first year's work, but extra work will be required either for deficiencies in examinations or in the amount or character of the work done. The first year work in the School of Expression is equivalent to six hundred hours of instruction, aside from the amount of time given to practice and rehearsals.

Many desire to know something regarding the aims and general importance of the work of the School of Expression. The first aim is culture. There is an endeavor to improve the voice and bearing for society and the home; an effort to train students to live, as well as to prepare them for a profession.

The importance of expressive training and its "practical uses," while almost universally recognized theoretically, are practically ignored in modern education. Some of the advantages of the study of expression which the School of Expression aims to include may be summarized as follows:

1. Man is enabled to communicate more satisfactorily with his fellows.

2. The voice is so trained that economy of strength is effected, freedom from sore throat secured, and speakers and teachers thus enabled to do their work more easily and adequately.

3. The student is brought into sympathetic appreciation of the best in art and literature.

4. A practical and natural means of studying literature is furnished. Proper vocal expression calls for comprehension of literature to precede the interpretation of the spirit. The common method of acquiring facts about literature violates the best methods of education.

5. The student acquires an art by which to mould, entertain, or teach his fellows. The call for good teachers and public readers is so great that in this work,

These practical uses" of expression, or the application of the courses of the School to artists of the several professions, may be outlined as follows:

PUBLIC READERS AND IMPERSONATORS.-Public Reading, or the Vocal Interpretation of Literature, is that special form of art based upon the trained consciousness, developed by the practical study of the languages used in the Spoken Word - namely Voice, Pantomime, and Words. Sydney Lanier called this the "art of Speech Tunes,"* and said that it was the new art of the century. Public reading, however, comprises somewhat more than " speech tunes." It is an art in which not only "speech tunes" but pantomimic forms of motion co-ordinate in a platform art. It is interpretative and manifests in living forms the very spirit of literature. It is a more imaginative art than the drama, since it does not depend upon scenery or stage accessories to accomplish its results.

MRS. CURRY.

There are as many forms of public reading as there are forms of literature to interpret. Lyric thought would find its interpretation in what Sydney Lanier calls the "art of speech tunes." Narrative and descriptive forms of poetry and prose find their expression in Participation and Impersonation: the most truly dramatic form of Literature, in impersonation and monologues; oratory in public reading.

This department of the School of Expression is under the immediate and personal instruction of Mrs. Anna Baright Curry, of whom Professor Churchill said "she is the greatest woman reader in the country,' " and of whom Professor Monroe said "her power is second to none, either on the platform or as a teacher. The success of Mr. Leland T. Powers and her other pupils indicates her unrivalled work as a teacher.

DRAMATIC AND HISTRIONIC ART.-Those who are studying for the stage or for a career in any form of dramatic art receive training of mind, body, and voice similar to public readers, with special courses in acting and stage business. Dramatic rehearsals in every form of art. The difference between burlesque, farce, comedy, melodrama, and tragedy is studied and practically applied to dramatic rendering. Students have received preference in small parts from the great actors who have come to Boston, and have received more remuneration than other persons who took subordinate characters, on account of their

training in the School. The students of dramatic art come under the direct supervision of many teachers in their training and in dramatic rehearsals. Every effort is made to give the students the most thorough training in every form which will best prepare them for their work.

(See special circular.)

TEACHERS OF VOICE, ELOCUTION, OR EXPRESSION. — Systematic programmes of exercises in training voice, body, and mind. The fundamental principles of the science of training. Each student is set to observe nature for himself, and at the same time informed of the leading methods adopted in all ages. Vocal expression is developed according to principles, not by mechanical rules. The study of the most advanced principles of education applied to teaching different forms of expression. The study of literature by practical rendering. Practical teaching with criticisms.

The first aim of the founders of the School of Expression was to reform the methods of teaching elocution. The result of their efforts is seen in the fact that graduates of the School are found in the foremost colleges and schools of the country, and that almost every week applications come for teachers from universities and other institutions, often more than can be supplied. There is special call for college educated men and women. The study of Methods of Teaching Voice and Speaking is under direct charge of the President of the School.

TEACHERS OF LITERATURE AND ENGLISH. Study of literature by practical rendering rather than by mere analysis. The nature and forms of poetry. Practical studies in all forms of literature. Development of the imagination and dramatic instinct. Expression as illustrated by different authors. Relation of literature to vocal expression. Practical study of literary art. Study of rhetoric and English composition.

TEACHERS OF PUBLIC SCHOOLS AND OTHER INSTRUCTORS. — Training of the voice to secure ease, health, and effectiveness. Development of the pleasanter qualities of the voice. Studies of human nature. Naturalness and simplicity in reading and expression. Articulation. Function of vocal expression in education. Faults of reading and the use of the voice. Conversation.

CLERGYMEN AND PUBLIC SPEAKERS. — Training of voice and body to secure economy of force and self-control. All forms of speaking to develop the power to think upon the feet. Practical training of the logical faculties. Development of the normal methods of the mind in thinking. Naturalness and simplicity in melody. Processes of the mind carefully studied and their revelation through the modulations of the voice. Development of imagination and philosophic