F d in the one as it would be in see the importance of having a of which we are enabled to draw i horizontal and inclined, accurately. man may be very correct, but he must not disdain to use a help which is not only true in principle, ownward- VP of retires more easily and correctly arranged for the commencement of a drawing than those parts which are much above, or to the right or left of the eye. We have frequently seen beginners sit down to draw a house from a copy, and commence with the chimney, scratching away without having made any settlement as to the walls, doors, windows, etc., and when they get to the bottom find it altogether out of proportion. Who can expect anything but difficulty and failure, if he attempt to copy a drawing after this manner? No, we must copy from copies as we would copy from objects. When we are seated opposite the house of which we are about to make a drawing, it will naturally occur to the mind that the parts most in view, and best seen and understood, must be the first to be drawn, for from them the proportions of with the wall have the same vanishing point. A question may be asked with regard to the point of sight, as to whether the drawing, Fig. 33 (or any other where the point of sight is the principal vanishing point), could have been correctly made if the point of sight had been to the left of the door at g, instead of the right? Certainly it could. We have stated the point of sight determines the part of the building which is directly opposite us from the spot where we stand. This spot, remember, is called the "station point." If the point of sight had been to the left in this subject, we should not have seen such a broad extent of the retiring side of the projecting wall, ce; if it had been at h, we should not be able to see this retiring side at all, since we cannot see round a corner. Therefore all the rest of the subject are made and arranged. It very rarely occurs to any one, when drawing from the object, that to begin with the chimney is the right thing; then why should we do it when drawing from copies? When drawing a building, always commence with the parts opposite and on a level with the eye, and proceed to the foundation; then the superstructure may next be sketched, and the chimneys added last of all. Follow this practice in drawing from copies, and then you will not find any difficulty when you are drawing from objects. When the question, "Where are we to begin?" refers to ornament, or to an arrangement of objects which can be placed on a table, look well at the whole first; then examine it carefully to discover the principal lines and characteristic angles, and begin with those nearest to the centre, passing outwardly from all sides of the centre gradually, without allowing any line of importance to be unnoticed, that is, unmarked. In Fig. 32 the eye of the pupil will quickly recognise the lines which go to the point of sight, and he will observe that the retiring lines of the window thrown open at a right angle it will be evident that four or five persons might sit in a row, all draw the same object, and all produce correct drawings, though not all alike, arising from the difference of position, each having his own point of sight, and each drawing his retiring lines to that point. We said, when giving an explanation of the definitions or fixed principles relating to retiring lines and planes, that the last (Definition 11) should engage our attention at a future time; we will now endeavour to make it clear with the help of a drawing, after repeating the definition itself, which was as follows:-"All lines inclined with the horizon and with the picture plane, have their vanishing points above or below the line of sight, according to the angle they form with the horizon, their vanishing points being always on a line perpendicular to the vanishing point upon the line of sight, to which they would have retired had they been horizontal." In Fig. 33 the learner will perceive that the inclined retiring lines are the lines of the roof ab and cd. If the roof had been flat that is, horizontal-its line would have been ce, and would hereafter. He must, in copying this example, mark the distance from e to c in the usual manner, draw cd, and carry his pencil on to the perpendicular from P s; the vanishing poin. V P, will then be a guide for the remaining inclined lines. The eye in determining the positions and proportions of lines, is very deceptive; many have recourse to measuring, in order to ensure a correct outline. We beg the pupil not to measure; the understanding and the eye must be educated; and, as these 1 not disdain to use a help which is not only true in principle, but a ready and decisive way of setting at rest every doubt and uncertainty relating to the treatment of these lines, which without vanishing points would be very difficult to determine. In Fig. 34, the lid of the box to the right inclines downward-that is, the upper edge is nearest us-consequently, the VP of the lid is below the line of sight; the lid of the cellar retires upwards, having its v P above the line of sight. LESSONS IN FRENCH.-VII. SECTION 1.-FRENCH PRONUNCIATION (continued). III. NAME AND SOUND OF THE VOWELS. 43. O, o. The o has, in French, three different sounds: short, as in cob; broad and prolonged, as in cord; and full, as in coat. The The short sound, as in cob, is the most common one. o has a broad and prolonged sound, as in cord, when followed by an r, thus-castor, encore, etc. The full sound, as in coat, is always given to the o when it has a circumflex accent over it. It is also full when final, as in coco, loto, etc., and when followed by a mute consonant, as in mot, dos, etc. EXAMPLES OF THE SHORT SOUND. FRENCH. PRONUN. ENGLISH. FRENCH. PRONUN. Bloc Blok Block. Boot. Crosier. Gobelet Gob'-lay ENGLISH. Cup. SECTION XIV.-PLAN OF THE EXERCISES IN COMPOSING Hitherto the student has been occupied exclusively in acquiring facts, forms, and principles, and in translating, by the aid of these, French into English, and again, English into French. Following still the plan of the work, let him now undertake the higher business of endeavouring to compose in French. With this intent, let him take some of the words given for this purpose in the following lists, and seek to incorporate them in sentences entirely his own. The words taken from the lists are to be used merely as things suggestive of thought. The form which, in any given case, the sentence may assume, should be determined by the models found in the sections preceding; for every sentence which the pupil has once mastered in the regular course of the sections, is, or should be, to him, a model on which he may at pleasure build other constructions of his own. Indeed, this constructing sentences according to models that is, shaping one's thoughts according to the forms and idioms peculiar to a foreign tongue-is the true and only secret of speaking and writing that language well. The pupil, therefore, as he passes along in the ordinary course of the sections, should frequently be found applying his knowledge in the way of actually composing independent sentences; and thus he will soon acquire a facility and accuracy in the language, which is hardly otherwise attainable at all. LIST OF WORDS FOR EXERCISES IN COMPOSING. The words in the following lists are given as suggestive of thought. In conducting the exercise a particular word is selected, as relieur (bookbinder), and the student is required to compose a French sentence containing this term. He is duly notified that he is at liberty to take any thought suggested by the word, and to produce a sentence of any form found in any of the sections; regard being had all along to all the rules, notes, exceptions, etc., that may bear upon the case. Thus, adopting as a model the sentence, Votre marchand est bien obligeant (Sect. XVI., Résumé), or, Le Danois a-t-il quelques pommes? (Sect. XVII. 7), etc. etc., let him endeavour to produce others of the like kind. A little practice will render the exercise both easy and interesting. It will soon come to be easy to incorporate not only one, but two, three, or more of the words taken from the lists. 1. PROFESSIONS ET MÉTIERS.-PROFESSIONS AND TRADES. Acteur, m., actor. Apothicaire, m., apothecary. Artiste, m., artist. Aumonier, m., chaplain. Auteur, m., author. 45. U, û CIRCUMFLEX.—Name, U, u; sound, like the letter Bijoutier, m., jeweller. u in the English word brunette. It must be acknowledged, however, that the English letter u does not represent the correct sound of the French u, which is a combination of sounds not recognised in our language. Still, we must use it as the representative of the sound of the French u, for the want of a better one. The following rule has also been given, and found useful :The sound of the French u is based upon that of English e. Pronounce the English letter e as naturally as possible, observing at the same time the position of the internal organs of the mouth. Now keep these organs in the same position as nearly as possible, protrude the lips as if to whistle, drawing them nearly together at the same time, and then try to pronounce the English e again, which will give you the correct sound of the French u. Practise often aloud, according to the and success will crown your efforts. failed to impart the correct sound of manner, when seconded by the patient, mined efforts of the pupil. directions of this rule, The rule has never yet the French u in this persevering, and deter Blanchisseuse, f., washerwoman. Epicier, m., grocer. Fruitière, f., fruit-woman. Graveur, m., engraver. Horloger, m., clock and watchmaker. Instituteur, m., institutrice, f., schoolmaster, mistress. Imprimeur, m., printer. Joaillier, m., jeweller. Maçon, m., mason, bricklayer. Maréchal ferrant, m., farrier, Arrière-petit-fils, m., great-grandson. Grand-père, m., grandfather. Belle-fille, f., daughter-in-law, step- Grand'mère, f., grandmother. Belle-mère, f., mother-in-law, step- Mari, m., husband. mother. Belle-sœur, f., sister-in-law. Bisaieul, m., great-grandfather. Epoar, m., épouse, f., consort. Famille, 1., family. Femme, f., woman, wife. Fancé, m., fiancée, f., betrothed. Naissance, f., birth. Nourrice, f., nurse: Nouveau marié, bridegroom. Nouvelle, mariée, bride. 1. Êtes-vous aussi content que votre frère? 2. Je suis aussi content que votre frère. 3. Votre père a-t-il autant de courage que de modestie ? 4. Il a moins de modestie que de courage. 5. Le libraire a-t-il autant de manuscrits que d'estampes ? 6. Il a plus de celles-ci que de ceux-là. 7. A-t-il autant d'amis Orphelin, m., orpheline, f., orphan. que d'ennemis ? 8. Il a plus de ceux-ci que de ceux-là. 9. A-t-il 10. П a tout autant de celuiautant de pain que de fromage ? ci que de celui-là. 11. Le maréchal a-t-il plus de chevaux que votre frère? 12. Il en a plus que mon père et plus que mon frère. 13. N'avez-vous pas froid? 14. Non, Monsieur, je n'ai pas froid, j'ai très chaud. 15. Avez-vous deux manteaux de drap? 16. J'en ai un de drap et un de velours bleu. 17. N'ave vous pas plus de verres que d'assiettes ? 18. Nous en avons davantage.* 19. Le maréchal a-t-il plus de fer que d'acier ? Parrain, m, godfather. Petit-fils, grandson. Veuf, m., vidower. Petite-fille, granddaughter. Vieillesse, f., old age. Veuve, widow. SECTION XV.-COMPARISON OF ADJECTIVES, ETC. 1. Adjectives and adverbs are always compared in French, as 20. Il n'a pas autant de celui-ci que de celui-là. 21. Il a moins they often are in English, by means of adverbs. 2. The comparative of equality is expressed by aussi-que, as, or as much as, before an adjective, an adverb, or a pronoun. As much loved as his brother. Aussi aimé que son frère, de celui-ci que de celui-là. 22. Les Hollandais ont-ils de beaux jardins ? 23. Leurs jardins sont très beaux. 24. Les jardins des Italiens sont plus beaux que ceux des Espagnols. EXERCISE 26. 1. Are you more attentive than your sister? 2. I am not so attentive as your brother. 3. Have you more courage than my Autant de que de, as much, or as many-as, before a sub- brother? 4. I have quite as much. 5. Has the blacksmith as stantive. Autant de crayons que de plumes, As many pencils ás pens. 3. The comparative of superiority is expressed by plus-que, Plas de bonté que de jugement, More goodness than judgment. 4. The comparative of inferiority is expressed by pas si; pas sassi; moins que, not so; not so; less-than, before an adjective, an adverb, or a personal pronoun. Vous n'êtes pas si grand que votre You are not so tall as your sister. much money as iron ? 6. He has more of the latter than of the LESSONS IN ENGLISH.-IV. BY parsing is meant the telling of the parts (pars, Latin, a part) Davantage means more. It can never be placed before a noun. It may be used instead of plus at the end of a sentence. |