will be needed. Let them only learn, from a friend, how to This we mention for the sake of any artisans who may wish to strike the chord (DOH, ME, SOH) to any sound that may be make one. The cheapest of these instruments-which may be given, and the rest will easily follow. We ourselves were bought for nine pence or a shilling-contains eight glasses, exactly in their position, and did thus "make out" tunes, and which are tuned to the single octave in the key of c. These teach ourselves to sing plain tunes at sight,-constantly using glasses are marked CDEFGABC'. Our pupils should paste the modulator, and pointing as we sang, and often having to run little letters on them with the initials of the solfa syllables, DOH, up or down from one note to another in order to know how to RAY, ME, FAH, SOH, LAH, TE, DOH'. Then, he will only have to strike an interval. We had nothing but a c1 tuning-fork, by strike with his hammer the glasses that are marked with the means of which we found out the key-note. Everything de- syllables named in his exercise, and he would hear his wishedpends on the faithfulness with which you master the exercises for " 'pattern.' With this instrument, he can play all the exerof the first three lessons. But to many persons, doubtless, cises which do not run beyond the range of a single octave. Of who have no friend to set the pattern, some simple instrument course he can only play them in the key of c, however prewill be necessary. If you are already acquainted with an in-ferable some other key-note may be. But this is not of se strument, whatever it is, use that. Only let us warn you not great consequence as he may suppose, for when once the ear to sing with your instrument, that is, to use it as a "pattern," and voice are tuned to a single key, the other keys (which are not as a "leader,"-to make yourself independent of the pat- all of the same structure, only higher or lower in pitch) are tern as soon as possible, often endeavouring to do without it, easily mastered. Let the pupil who has learned to sing the and to trust more and more to your own perception of the chord DOH, ME, SOн, by such an instrument, and can sing it mental effect of notes, as developed in our lessons; for in-perfectly without the instrument, exercise himself in striking struments may be out of tune, and some of them-the piano the sound &, and raising a chord (DOH, мE, SOH) upon that, and organ for instance-are systematically (to however small without a pattern. Next, let him raise a chord on the sound an extent) imperfect in tune. The flatness of the fifths on the D, next on the sound A, next on E, and next on B, in the same piano, for instance, are very obvious. The fifth note of the manner as before. After this let him try to sing, not only the scale (soH) should be brilliant and trumpet-like in its effect. chord, but the whole scales of G, D, A, and B. Many will be The pupil's knowledge may thus correct the slight inaccuracies able to do this; and they, when they have learnt their tune by of his instrument. We have been at some pains to make in-pattern in the key of c, will easily manage to pitch the proper quiries with a view of recommending some cheap instrument key-note, raise the chord upon it, and afterwards sing the tune to our pupils with which they may set the pattern. We shall, itself in the key for which it was written. We should, howin this article, describe two of the most accessible,-"the ever recommend our pupils to purchase the glass-harmonicon Glass-harmonicon," and "the German concertina." with two octaves (fifteen notes), which they can get for one shilling and ninepence. Let them mark it with the syllables, and use it in the same way as that with one octave. For a slight additional expense, any maker of these instruments would construct one for you tuned in the key of o, or in any other key you may desire. In that case, you must paste your DOн upon the glass marked a, RAY upon that marked A, and so on. With these two instruments you would be able to play most of the tunes very fairly. You would still lack the socalled "accidentals," not yet explained in our lessons. these are added to your two octaves of glasses, the instrument would cost you from five to seven shillings. The prices we have named are those of Mr. T. Bull, 34, Windmill-street, Finsbury-square, who sells these instruments more cheaply than any one we have yet discovered. Mr. Hack, of Fleetstreet, makes very good ones of plate glass, but, of course, at much higher prices. 4. The glass-harmonicon is a well-known and cheap instruIment, in which the sounds are produced by striking with a light hammer on small plates of glass. These are of different lengths, and are placed in a row, fastened to two slightlyconverging tapes, thus: d m f The acuteness or gravity (highness or lowness) of the sound in each glass, depends on the fineness of the substance of the glass, the thickness of the plate, and its length; but is not DOH SOHI DOH sohi te1 ray If affected by its breadth. The plates of glass should be fastened to the tape by strong cement (bored and tied would be better), at the distance of one quarter of their length from each end. 5. The German concertina consists of two hand-boards with bellows between. The metallic tongues by which the sound is produced and the machinery by which the little pegs, when pressed by the hand, direct the current of air upon them are all concealed. We have drawn the hand-boards as though they were made to face us. The right hand is passed through the strap so that its thumb can command the valve at the side, and its fingers the pegs by which the notes are produced. In a similar manner the left hand is passed through the other strap, so that its fingers can press the pegs of the other board. You can thus open or close the bellows with the hands while the fingers are at liberty to play. Be very careful not to draw or press the bellows without either opening the valve or pressing one of the pegs. If you use such careless violence the metallic tongues will soon be put out of tune. The use of the valve is this: If you have drawn out the bellows to the full extent and wish, for the production of some note, to draw them again, hold down the valve and press the bellows. The air will thus escape without a sound, and you are liberty to draw the bellows again just as you please. If you have pressed down the bellows to the full extent and should wish to press them yet again, you can, in a similar way, draw with the valve held down, and then press as you please. Holding down any one of the pegs with your finger you can produce two notes, one while the bellows is pressed together, and the other while it is drawn out. We have placed above the pegs in the diagram the solfa names of the notes which they produce. Those printed in capitals are produced by pressing the bellows, those in small letters are produced by drawing out the bellows. These solfa names of the notes apply to both rows of pegs alike; the higher row of pegs playing in the key of c, and the lower row in the key of G. will give him ME and FAH. In the same manner the fifth peg will give him soH and LAH. But now, in order to continue ascending the scale on the right-hand board, he must no longer press and draw, but draw and press. A similar alteration in the recurrence of the pressing and drawing ours in the higher part of the right-hand board, where the two draw-notes, LAH and TE, are required to follow each other. Our diagram will explain this. The first and second pegs of the left-hand board give notes which are very useful as accompanying harmony, but of harmony we must not begin to speak at present. With this instrument our pupils can play most of our exercises. They can play them in two parts if they please. Two of the "accidentals," those most frequently occurring, can be obtained on the instruments with two rows of pegs. Thus, if you are playing in the key of c, that is, on the higher row of pegs, you can get the "accidental," which we call Tu (commonly called the sharp fourth, but really the seventh of a new key, of which we shall have more to say in future lessons), by drawing, on the first peg of the lower row on the right-hand board, or on the second peg of the left-hand board. Tu is, in fact, the TE of another key. Again, if you are playing in the key of a, that is, on the lower row of pegs, you can get the "accidental" FI (commonly called the flat seventh, but really the fourth of a new key), by drawing, on either the fourth peg of the left-hand board or the third peg of the right-hand board. Fi is, in fact, the FAH of another key. These instruments are now commonly sold, if with one row of pegs on each board (playing only in the key of c), for about eight or ten shillings; if with two rows of pegs (playing in the keys of c and o), for about fifteen or eighteen shillings. The cheapest we have seen were at the musical-instrument makers above named. More expensive instruments are made with three rows of pegs, and with two additional pegs. They need not be here described. Of the other difficulty of our correspondents, the "moveable DOH, or key-note," we must speak in the next lesson. Meantime let our pupils practise carefully the following exercise. It is intended to exhibit the contrasted effects of ME and sox (the third and fifth of the scale) in a somewhat quick movement. I LOVE TO LINGER. KEY A. M. 160. The learner will notice that all the press-notes are those of the tonic chord DOH, ME, SOH. So that if you were to hold down all the pegs at once, and press the bellows, you would produce good harmony. This is a great help to the memory. Let the pupil who possesses such an instrument begin by holding down the middle peg of the left-hand board, and pressing the bellows. This will give him DOH. Next let him draw the bellows, holding down the same peg. This will give him RAY. Next, holding down the fourth peg, let him press and draw. This EXERCISE 19. LESSONS IN FRENCH. 4. Ne rien valoir means to be good grand'chose, to be worth little, not to That cloth is good for nothing. Ce drap ne vaut rien. Our house is not good for much. Notre maison ne vaut pas grand'chose. 5. Etre riche de . . . means to be worth, to possess; when a person is the nominative of the verb, valoir is never used in this sense. Cette personne est riche de cinq That person is worth five thousand mille piastres. dollars. 14. Je ne puis 13. De combien le négociant, est il riche? EXERCISE 96. 1. How much is my house worth? 2. It is worth about twenty thousand francs. 8. Is that horse worth as much as this one? 4. This horse is worth two hundred dollars, and 5. Is it worth the while to write to that one three hundred. 7. Is it 6. It is not worth the while. your brother? worth the while to go out when one does not wish to walk? 8 9. Does it suit you to write It is not (n'en) worth the while. to my brother to-morrow? 10. It does not suit me to write to him. 11. Does it become you to reproach me with my neglect? 12. It becomes me to blame (blamer) you when you 14. I cannot tell deserve it. 13. What is that man worth? 15. Is that cloth you exactly, about fifty thousand francs. good? 16. No, Sir, it is good for nothing. 17. Is your gun worth as much as mine? 18. Yes, Sir, it is worth more. 19. Will you go to my father's? 20. No, Sir, I have something else to do. 21. Is it better to go to market early than late? 22. It is better to go early. 23. How much may your horse be worth? 24. It is not worth much, it is very old. 25. Is your watch better than mine? 26. It is not worth much, it does not go. 27. Is that book worth two francs? 28. It is worth one, at most. 29. Have you asked your sister what that.book is worth? 30. I have not. [Sect. 24, R. 12. Sect. 46, R. 4.] 31. What must I do? 32. You must speak to your father. 33. 6. Valoir mieux, conjugated unipersonally, means to be bet-Must he have money? 34. He must have som.e. 35. Has he not ter; valoir la peine, to be worth the while : Il vaut mieux travailler que d'être It is better to labour than to be idle. oisif. sold his horse? 36. He has sold it, but it was not worth much. SECTION XLIX. 1. When the verbs prendre [4 ir. see § 62], to take; voler, to Il ne vaut pas la peine de parler It is not worth the while to speak when rob, to steal; acheter, to buy; demander, to ask for; payer, to quand on n'a rien à dire. Assur-er, 1. to assure; 2. When the verbs above mentioned are accompanied by several regimens holding different relations, the regimen representing the thing or object will be direct, and come under the above rule, and that representing the person, will, if a noun be preceded by the preposition a, and, if a pronoun, assume the form of the indirect regimen: lui, to him, to her; leur, to them :I have taken the book from my brother J'ai pris le livre à mon frère. I have paid the bookseller for the book. J'ai payé le livre au libraire. I have paid him for it. Je le lui ai payé, &c. 3 Demander is used also in the sense of to inquire for, to Is it not better to read than to play? | ask for :- Montre, f. watch; Pouvoir, 3 ir. to be able; Tout au plus, at most; 1. Vous sied-il de nous reprocher notre négligence? 2. Il me sied de vous faire des reproches quand vous le méritez. 3. Vous convient il d'aller trouver mon frère? 4. Il ne me convient pas d'aller le trouver, j'ai autre chose à faire. 5. Combien ce champ peut il valoir? 6. Il peut valoir une vingtaine [§ 27 (2)] de mille francs. 7. Valez vous mieux que votre frère. 8. Mon frère vaut beaucoup mieux que moi. 9. Ce couteau ne vaut il pas plus que le vôtre? 10. Le mien est meilleur, il vaut davantage. 11. Combien votre montre vaut elle? 12. Elle ne vaut pas grand'chose, elle ne va pas bien. I asked for that gentleman. RESUME OF EXAMPLES. Vous a-t-on volé vos livres ? On me les a volés [Sect. 34. 1, 2]. On ne les lui a pas encore payés. On lui a pris son argent. votre ami? Je ne lui en ai pas demandé. Has any one stolen your books from They have been stolen from me. He has not been paid for them. His moncy has been taken from him. I bought books from the bookseller. I have not asked him for any. Chapelier, m. hatter; EXERCISE 97. Loyer, m. rent; Rend-re, 4. to return; Renseignements, m. p. information; 6. 1. Que vous a-t-on pris? 2. On m'a pris mes livres, mes crayons et mon canif. 3. Savez vous qui vous les a pris 4. Je ne connais pas celui qui me les a pris, mais je sais qu'il demeure ici. ́ 5. Avez vous demandé vos livres ? Je les ai demandés à mon cousin. 7. Vous les a-t-il rendus? 8. Il me les a payés. 9. Vous a-t-on volé beaucoup de fruit cette année? 10. On m'a volé des légumes, mais on ne m'a point volé de fruit. 11. Avez vous payé votre chapeau au paysan? 12. Je ne le lui ai pas payé, je l'ai payé au chapelier. 13. A qui avez vous demandé des renseignements? 14. J'en ai demandé au voyageur. 15. Savez vous qui vient de frapper à la porte? 16. C'est M. L., qui vous demande.. 17. Qui avez vous demandé? 18. J'ai demandé votre frère. 19. Votre frère a-t-il payé toutes ses dettes? 20. Il ne les a pas encore payées, parce qu'il n'a pas reçu ses revenus. 21. Lui avez vous payé ce que vous lui avez acheté? 22. Je le lui ai payé. 23. Ne leur avez vous pas payé votre loyer? 24. Je le leur ai payé, 25. Ils nous ont payé notre maison. rent. EXERCISE 98. 1. Have you paid your landlord? 2. I have paid him my 3. Have you paid him for the windows which you have broken? 4. I have paid him for them. 5. Has the hatter paid for all his hats? 6. He has not paid for them, he has bought them on credit (à crédit). 7. Do you pay what you owe, every day? 8. I pay my butcher every week. 9. Have you paid him for his meat? 10. I have paid him for it. 11. For whom did you inquire this morning? 12. I inquired for your brother. 13. Why did you not inquire for my father? 14. I know that your father is in England. 15. Has the hatter been paid for his hats? 16. He has been paid for them. 17. Has your money been taken from you? 18. My hat has been stolen from me. 19. Have you asked your brother for your money? 20. I have asked him for it, but he cannot return it to me. 21. Has he no money? 22. He has just paid all his debts, and he has no money left (de reste). 23. Have you asked your father for money? 24. I have not asked him for any, I know that he has none. 25. From what bookseller have you bought your books? 26. I bought them from your bookseller. 27. Are you wrong to pay your debts? 28. I am right to pay them. 29. Who is inquiring for me? 30. The physician is inquiring for you. 31. Who knocks? 32. Your shoemaker knocks. LESSONS IN GEOLOGY.-No. XII. that is called by geologists the elevation and subsidence of the land. Instances of these processes are found abundantly in England, especially in Sussex, Hampshire, and the Isle of Wight. These elevations and subsidences are the results, in some instances, of the vertical action of earthquakes; and in others, they are the consequences of the intense heating and of the subsequent cooling of rocks deeply seated in the interior of the earth. §i. Elevation and subsidence by earthquakes. It is well known that during the paroxysms of earthquakes some districts of the land are elevated above their former level, while other districts are depressed and sink below it. The instances in which towns, cities, and regions on the coast, have been either completely or partially submerged under the sea, are almost innumerable. I will mention a few of the most remarkable. JAMAICA was agitated by a violent earthquake in 1692. At Port Royal, then the capital of the island, several large storehouses in the harbour subsided, some 24 feet, some 36, and some 48 feet, under water. The buildings remained whole and standing, and the tops of their chimneys were seen erect above the waves. A large tract of land around the town, about 1,000 acres in extent, sank down in less than a minute, and became the bottom of the sea. In the harbour, was the Swan frigate repairing near the wharf. This ship was raised, and driven over the tops of many buildings, and was, at last, thrown upon one of the roofs, which it crushed. In PERU, in 1746, a tremendous earthquake destroyed Lima, and the whole coast near Callao was converted into a bay of the sea. The main-land near Lima shows that it had been subject to such changes before, even within the human epoch. At a place inland, a rock is found 80 feet above the sea. On this elevation there is a stratum full of sea-weeds and shells. What proves that this bed was the bottom of the sea since man wa created, is that the stratum contains cotton-thread and plaited rushes, which must have been of human manufacturing. Just before the earthquake of LISBON, in 1755, a new quay had been built in the harbour, consisting of massive and solid marble. To escape the dangers from tottering houses during the convulsions, a vast concourse of people collected for safety on this large quay. Suddenly the whole quay sank down with all the people on it, and not one of the bodies ever floated to the surface again. At a little distance off the quay, boats and vessels lay at anchor, and full of people. Suddenly the body of water beneath them sank, the boats and ships went down as into a whirlpool, and not a single fragment of the wrecks ever came to the surface. When, a short time afterwards, the spot occupied by these boats was sounded, it was found unfathomable, and subsequently it was ascertained to be two hundred yards deep. During the earthquake at MESSINA, in 1783, of which you. have had an illustration in fig. 24 of Lesson X., similar phenomena were observed. The ground along the port of Messina was perfectly level before the earthquake, but afterwards it sloped much towards the sca, and the sea itself became deeper ON THE ACTION OF VOLCANOES ON THE EARTH'S CRUST and deeper according to its distance from the shore. This SECTION VIII. ON THE ELEVATION AND SUBSIDENCE OF LAND. IN reading geological works you find that geologists describe certain strata, which rest upon one another, as being some marine beds, and others fresh-water beds. They are called so, because in the marine beds they find the shells and other remains of fish, which only live in the salt water of the ocean; and in the fresh-water beds they find fossils of animals which live in rivers, lakes, estuaries, and marshes. Try your own reason upon these strata. At the bottom there is a stratum full of marine shells. A few feet higher up is a stratum full of fresh-water remains. Some feet yet higher, another marine bed, and higher still, another fresh-water stratum. How can you account for this? At one time the lower marine bed must have been the bottom of the sea. It then rose a little beyond the reach of the sea, and became perhaps a marsh, perhaps the estuary of a river. Both beds sank again and became the bottom of the sea. In the course of ages the three beds now rose, and the surface became again the bottom of an estuary, or perhaps a lake. It is this rising and sinking of the surface shows that the sloping of the coast continued far under the sca, and that, consequently, the bottom of the sea, as well as the shore, had sunk. Even the quay itself had sunk about fourteen inches. If the shore sank seaward it is natural to infer that the coast had also sloped inland. This inference was established by facts. In the interior of the island, Sicily, it was found that several new ravines had been formed by the fissures of the earthquake. The fresh faces of the rocks on each side of these ravines proved that there had been considerable shiftings of the strata that were continuous before they were fissured. Some of them had risen, and others had sunk, six or ten feet above or below each other respectively. This elevation and subsidence, or the shifting of strata, is well explained by a disturbance of regular masonry in the walls of the Round Tower at TERRA NOVA, in Calabria. In many streets of the town, some houses had been raised above their usual level, and others had sunk down in the ground. Adjoining the town was a massive circular tower of solid masonry. One part of this tower remained undestroyed_by the earthquake, but it was divided by a vertical rent. One side of it was raised much above the other, and the foundation by Mr. Cuming, the celebrated conchologist, who was at Valparaiso at the time; but it has been verified by the German travellers, Dr. Meyen M. Freyer, and by our own Darwin. Fig. 27. of the upraised portion was brought up to view. It is remark- In North America, just above the falls of the Columbia River, there is a district twenty miles in length, and one mile in breadth, where a remarkable subsidence took place towards the close of the last century. In 1807, American travellers found here a forest of pines standing erect, under water, in the body of the river, some twenty In 1819 a great subsidence of land took place in Hindostan, at the mouth of the river Indus, where the bed of the river sank eighteen feet, and the fort of Sindree became submerged. To the southeast of the eastern branch of the Indus, is an island district called Cutch. From the delta of the Indus to Cutch was an inlet of the sea, about a foot deep when the tide was out, and never more than six feet at flood-tide. After an earthquake in 1819, this inlet was deepened to more than eighteen feet at low water. In consequence of this sinking of the district, many parts of the inland navigation that had been closed for centuries be came again practicable. The fort of Sindree, on the eastern branch of the Indus, was completely submerged; and yet the masonry of the houses was not disturbed, either by the vioFig. 28. The shift in the Round Tower of Terra Nova in Calabria, occasioned feet deep. Another traveller, in 1835, found the trees still roots were seen through the clear water, spreading as they had grown in their native forest. This phenomenon occurs in a region of extinct volcanoes; for the river passes amid and through hills of basaltic rocks. The most extensive elevation of land by earthquake is that which took place on the coast of CHILI, South America, in 1822. The shock was felt along the coast for 2,000 miles. For more than one hundred miles the whole coast was elevated three or four feet high, and an area of about 100,000 square miles, nearly half the size of all France, was thus raised above the level of the sea. Some geologists suppose that the whole country, from the foot of the Andes to a great distance under the sea, was thus elevated; for the greatest rise was at the distance of two miles inland from the shore. On the coast, the rise was two or Present state of the Temple of Serapis at Puzzuoli, Italy. lence of the earthquake, or by the rush of the sea. When this region was examined in 1826-1827, it was found that, after the earthquake, the sea rushed into the mouth of the Indus, and then, in a few hours, converted a tract of land, about 2,000 square miles in area, into an inland sea. After the subsidence, one of the towers of Fort Sindree continued to stand above the water, and the inhabitants betook themselves in boats to this elevation for safety. While they were on this tower, they could see at the distance of full five miles to the north-west of them, an elevated land, where, before the earthquake, all had been level plains. This new-raised district turned out to be more than fifty miles in length from east to west. Its breadth from north to south was about sixteen miles. Its uniform rise above the level four feet; but a mile inland, it was six or seven feet. This | of the delta was ten feet. Its direction ran parallel to the elevation has been disputed by several naturalists, especially district that had sunk, so that as one region subsided, the |