money as the means of purchasing whatever it is desirable to obtain; neither ought it to surprize us, should we find the musician enamoured of that art, which is not only his mistress in the hours of solitude and labour, but which introduces him to admiration and to luxury. These are no more than the constant, the natural, the fore-doomed effects of habitual impressions.

The education of a Musician, as now conducted, but too commonly begins in severe labour and privation. In the advanced state of knowledge, the difficulties of attainment, if smoothed by the pleasures incident to the progress of discovery, are yet so much increased by the superiority science has reached, and by the competition of so many more persons who are daily struggling for precedency, that real excellence in any one branch of art, is the result of a vigorous, continued, incessant application alone. Man is not born for labour only. The mind as well as the body demands and will have variety and relaxation. Hence, the early character of the musician is liable to be tinged by opposites; by an overweening opinion of his own accomplishments, and by vulgar and dissolute habits acquired during the season of obscurity. It will now hardly be disputed, that excellence in the fine arts calls into exercise a larger portion of sensibility than belongs to excellence in any other pursuit, considered of itself, and that this sensibility receives nourishment and strength every day from the practice of music. It follows that the science not only trains its professors to this superior power of perception, but also throws them into the company of others, who are the objects of similar excitement. If these prc. mises be true, it will, and it does in point of fact, account for the moral aberrations of those employed in the fine arts, which thoug they sometimes terminate in gross sensuality, will be almost always found to begin in sentiments, the offspring of an excitability that may fairly be termed morbid.

Having thus endeavoured to lay bare the causes, we may proceed to propose those remedies which appear to me to be likely to remove the dangers and prevent the evil. The reflection that lies at the very deepest root, is, that as in a case of this kind, we can justly expect to produce no change in the opinions of the actions of others, but by a correspondent action of our own, so ought we to direct our whole attention to the formation of our desires and affections, principles and habits. We are to war with our own passions.

The rewards which music promises are perhaps as frequently the motive to adopting it for a profession, as any real or supposed aptitude, and of the hundreds of persons now annually trained to the science, perhaps there is a pretty equal portion of those who follow it from mere necessity or from some casual facility or incitement and of those who take to it by descent as it were. The education of all these persons is loose and vague. Some find their way to the theatres, more into private teaching, and but too many into the wretchedness of subordinates in every department. Few indeed are there who combine general knowledge with excellence in art. Upon such knowledge, nevertheless, depends all the estimation they can hope to enjoy in society, beyond the short-lived admiration which the exercise of particular talent immediately excites; all the estimation which gives solidity and value to the brilliancy of genius; all the moral rank, if I may so call it, which dignifies a man in society. Nor is the common neglect of general attainment at all wonderful under the circumstances. The labour of practice can scarcely ever be re lieved, except by some coarse or dissolute species of dissipation. The poor musician can find no better associates than those of his own condition, and while his sensibility is sharpened by his art, his taste occasionally awakened, and his manners improved by the good company into which that art casually introduces him, it is most probable he is only made to feel the more acutely those deficiencies which he has not the means to repair. The polite and the informed who are induced to enter into conversation with him, discover at once that his recommendations are confined to his fiddle or his voice, and they quit him under that hopeless conviction; while he himself is doomed to experience for evermore the mortification of a neglect the more cutting, as he conceives it to be the effect of the insolence of wealth, or the hard-heartedness of pride. Of his own defects unhap. pily it is a part of his portion of bitterness to remain ignorant. He has no standard of comparison, but those who are his equals in general circumstances, and his inferiors in the one pursuit to which he owes his bread and his advancement. He is therefore surrounded by causes which lead him to erroneous conclusions, both with regard to himself and to others. Our readers will clearly understand, we trust, that we now speak of the bulk of musicians. Those happier in stances of men educated under the intelligent care of parents or friends, whose previous success in the profession or in life, has enabled

them to find the easier path to greatness, give a contrast but not a contradiction to our more universal description. Were they perhaps to trace back even a single generation, they would arrive at the original of our portraiture,

It should seem then, from what I have advanced, that all who en, ter the profession of music, should have an especial regard to two material facts. First, that it is a liberal art which requires the aid and support of a liberal education; and secondly, that as the profession is sure to be associated more or less intimately with persons of high birth, affluent circumstances, and enlarged acquirements, it is essential to its prosperity that the mind should be trained to ele-,. gant pursuits and attainments, as well as to a just sense of what is due to character, independently of particular science.

In the present state of things, I hold such an understanding of the musician's case, and the prosecution of the studies necessary to com. plete such a character, to be absolutely impossible in the million of instances. The acquirements which are now, I may say, indispensi❤ ble to any thing approaching professional eminence, are far more extended than those unacquainted with the attainments of great professors conceive, and a good deal of the arrogance of persons of mere condition and mere wealth would shrink into a very painful sense of insignificance, at the deficiencies they would be forced to admit, on a comparison with those who are justly entitled to rank with superior musical elevation. I consider that a really good player on the pianoforte cannot have passed for many years, less than four hours daily in serious practice. If to this be added the cultivation of a voice to anything like perfection, two hours more must be given up to study. No musician can be considered to have reached any ge neral knowledge of art, who is not theoretically acquainted with the laws of harmony, which at the least will require one hour more for a year or two, even to obtain what is requisite to judicious accompa niment. Thus then seven hours of severe mental exertion must be daily consumed, and few minds are capable of attention to any pur pose for a longer period. Nor should I set any very high value upon a singer's knowledge, who was not versed in the Italian language and in Italian music. Yet it is not now uncommon to meet a girl under twenty years of age, who has attained all this, together with the power of conversing in French, and with a good deal of general literature. These are facts which fall within the notice of almost

every person conversant with the educated part of the world.* I put it then to the good feelings and the good sense of the eminent in the profession, whether something be not wanting that might ensure the advantages I have endeavoured to prove to be indispensible to the advancement of the professional reputation, as well as to the removal of those prejudices, which with more or less justice, now obtain against the introduction of musicians into the intimacy with the world, to which persons of infinitely lower standing in intellectual refinement are commonly admitted. It appears to me that this desideratum is a sort of COLLEGIATE ESTABLISHMENT for the edu cation of youth designed for the profession of music. If it be objected that our universities already afford such an opportunity, I must deny the assertion. The universities are closed by a multitude of opposing impediments, one of which is all powerful, viz. EXPENCE; and were this objection not insuperable, I should contend that they do not afford the necessary foundations for a good musical education. They are deficient in almost every particular.

I am not prepared, Sir, to go into the detail of what would be required for such a foundation. The object of my present essay is to

* In confirmation of our correspondent's opinion, we can quote from our own knowledge instances of artists, who have (at a later period of life) reached a far more elevated advancement than that described in the text. Miss PARKE, a lady who stood deservedly high, both in private and public esteem, had made attainments in science, in language, and in literature, which were astonishing, when combined with the exercise of her professional duties; and MRS, BIANCHI LACY was not less gifted. The acquirements of these two accomplished women would have done honour to any condition of life, and in point of brilliancy and solidity, are matter of just surprize to those who knew how incessantly their time was occupied by public calls. Both of them spoke and wrote their native language with great purity and elegance, besides Italian and French with the spirit and accuracy of natives. Both were well versed in the classical authors of their own country. They were both among the first pianoforte players of their time, and the finest singers. We believe the former added a knowledge of Spanish to her other acquisitions, and the rooms of the lätter were embellished with the productions of her pencil. They were both endowed with excellent hearts and with enlarged intellects. They were both received into the very highest circles in the kingdom with the respect such talents demanded. The one still lives to adorn a private station, and the other, we lament to say, at the call of conjugal affection, has just quitted her country, her children, and her friends, together with an ample income, for India, Mr. Lacy's health requiring a change of climate. She carries with her to the east such recommendations as few have enjoyed, in addition to those which must accompany her every where. We hope a warmer air will restore Mr. Lacy to the fullest exercise of those talents which had just begun to be known, and which had placed him at the very summit of professional attainment in England. Diron,

prove its necessity, and to assist in attracting the attention of professional eminence and public patronage towards so important a provision for the happiness of the talent employed in promoting a pursuit now almost universal, and a pleasure that is come to form so principle a share in the amusements of all ages and all classes. Your first number contained an ample proof in the history of the Fund for the relief of the widows and children of deceased musicians, of what zeal is able to effect in so good a cause-and surely those provisions which should prevent poverty and depression, are equally entitled to public patronage and private generosity with the charity that relieves them. I am one of those who think it would be an important and a fortunate change for society, if we could restore the customs of that time, when madrigals were the substitutes for cards and dice, and when" to be able to sing his part at sight" was considered as one of the requisites of "the complete gentleman."* ** I am not, Sir, a musician, but I have been a deeply-interested witness of the innocence and purity of mind the practice of the science has contributed to preserve, as well as of the happiness it has enabled large families to participate, with their parents, relations, and connections. I have also observed, that music, supported by other liberal attainments, has frequently formed the best introduction to the best company; and I have as uniformly seen, that even in connection with great particular talent, if unaided by such concomitants, it has led to dissolute habits, and the ultimate destruction both of body and soul. Considering your publication as promising a union of literature with music, which can but be favourable to the propagation of those ideas I have ventured to throw out respecting the character and conduct of professors, I beg to conclude my essay by

* Music was so generally well understood, (about 1650) that a man who had any voice or ear was always supposed to be able to sing his part, in a madrigal or song, at sight. Peacham requires of his gentleman, "to be able to sing his part sure, and at the first sight; and, withal, to play the same on the viol or lute,"-Complete Gentleman, 100. And Philomathes, in Morley's excellent Introduction to Practical Music, fol. Lond. 1597, thus complains(at the banquet of master Sophobulus)—" Supper being ended, and music books, according to custom, being brought to table, the mistress of the house presented me with a part, earnestly requesting me to sing. But when, after many excuses, I protested unfeignedly, that I could not every one began to wonder; yea, some whispered to others, demanding how I was brought up. So that, upon shame of mine ignorance, I go now to seek out mine old friend, master Guorimus, to make myself his scholar."