by Santagnello and Veneroni. The first is well Italian. adapted to the capacities of youth, and has the advantage of explanations in the English tongue : the second is written in French and Italian, and is calculated chiefly for those who have made very considerable progress in the former language. A useful companion for students will be found in a work lately published, called "The Italian Reader," consisting of extracts from the most eminent Italian writers in prose and verse. Many of the Italian books are written in a style elegant and harmonious; but we must remember, in selecting them, that the graces of diction can never be truly charming unless they serve to embellish a lesson of morality.

CHAPTER VI.

MUSIC.

In its general sense, music implies every thing that is subservient to, or susceptible of, the powers of harmony. The word in female studies simply means the theory and performance upon the piano forte, (of late years) upon the pedal harp; and, finally, the culture of melody in the voice.

It is not absolutely necessary, according to the proposed plan of this work, to inquire for reasons of the application of every young lady to the same studies and accomplishment; otherwise, upon this article we might, perhaps, fix one of these to gratify the musical fondness of parents;

Theory.

Theory.

rents; the unfolding taste of childhood; to avoid the shame of being outdone in fashion; to open another source of amusement; or to add to feminine attraction. Whichsoever may be the true cause matters nothing; the business of a governess is to consider the means of rendering this and other difficult studies, by regularity of method, more easy to the child, and less fatiguing to herself, than they sometimes are found to be.

I know not of any gentleman's or nobleman's daughter who has not attempted, at one period in her life, to learn music. So general a pursuit requires, and so elegant an accomplishment demands, our particular consideration.

Sooner than the age of eight years no little girl need begin this study; later she ought not, if we desire a finger for execution as well as a head for taste. In the art ladies seldom are, or wish to be, mistresses of the profound science of music. Of performing on the piano-forte, I shall merely examine the grand divisions, theory and practice.

It is the opinion of some professors that children should not touch the keys within less time than six or eight months from that in which they began the theory. To this plan one objection may be made, that the child will be wearied, and probably disgusted, with reading and learning from a large folio introduction for so long a period, sentences, or marks of explanation, of which she scarcely understands the separate words of reference. If we wish our pupil to suc

ceed

ceed in any undertaking, we must be careful to give pleasing impressions of it from the first moment.--Music then introduced with a smile to the little eager girl, and gently, familiarly, cheerfully talked over and explained, during five minutes at first, then fifteen, then thirty, every day for two months, will completely prepare her for touching the piano-forte. But I shall enlarge upon these first principles. Of all introductoins, perhaps, that of Clementi is the best. The preceptress from this will gather her instructions; but she will do wrong in giving up the large book to the child, for what will a little child understand of an interval, for example, in the second page, explained thus: "An interval is the dis"tance, or difference, between two sounds, in "point of gravity or acuteness?" I advise her, therefore, not to frighten with much jumbled together, but to copy from Clementi merely what is absolutely necessary. One single half-sheet of music paper, filled on both sides, will contain all that is necessary, and all that I ever found to have been wanted for the elements of theory.*

This piece of music paper the preceptress may write bit by bit, as the child stands by admiring the odd marks and wondering what is to follow. We begin to write (as the little one is earnestly gazing) the treble and bass cleffs: these, we surely

Theory.

Cleffs.

* See the Plate.