Let their attitude at the piano or the harp be easy and graceful. I strongly exhort them to avoid a stiff, awkward, elbowing position at either; they must observe an elegant flow of figure at both. The latter certainly admits of most grace, as the shape of the instrument is calculated, in every respect, to show a fine figure to advantage. The contour of the whole form, the turn and polish of a beautiful hand and arm, the richly-slippered and well-made foot on the pedal stops, the gentle motion of a lovely neck, and, above all, the sweetly-tempered expression of an intelligent countenance; these are shown at one glance when the fair performer is seated unaffectedly, yet gracefully, at the harp. Similar beauty of position may be seen in a lady’s management of a lute, a guitar, a mandolin, or a lyre. The attitude at a pianoforte, or at a harpsichord, is not so happily adapted to grace. From the shape of the instrument, the performer must sit directly in front of a straight line of keys; and her own posture being correspondingly erect and square, it is hardly possible that it should not appear rather inelegant. But if it attain not the _ne plus ultra_ of grace, at least she may prevent an air of stiffness; she may move her hands easily on the keys, and bear her head with that elegance of carriage which cannot fail to impart its own character to the whole of her figure. One of the most graceful forms that I ever saw sit at an instrument, is that of St. Cecilia, painted by Sir Joshua Reynolds, playing on the organ. It is the portrait of the late Mrs. R. B. Sheridan; and, from the simplicity of the attitude, and the graceful elevation of the head, it is, without exception, one of the most interesting pictures I ever beheld. A living instance of what beauty and grace, elegance and propriety combined, can do, has always been admired in the Marchioness of D---- by all those who ever had the felicity to see and hear her at the piano; an engraving of her portrait, in that attitude, would teach every female lover of the art unaffected elegance, much more effectually than all that the advices and ability of masters can ever be able to perform. If ladies, in meditating on grace of deportment, would rather consult the statues of fine sculptors, and the figures of excellent painters, than the lessons of their dancing-masters, or the dictates of their looking-glasses, we should, doubtless, see simplicity where we now find affectation, and a thousand ineffable graces taking place of the present _régime_ of absurdity and conceit.