mind; indeed, the mind cannot be pronounced sound without them; and there is no rank nor situation in which their influence is not beneficial.

The power of imagining, inventing and combining, also becomes a great stimulant to renewed observation and correct appreciation of nature. It induces us to examine her in many new ways, and prevents that dull uniformity which a one-sided view engenders; it creates a relish for her, and enables us to extract pleasure from a large range of new objects. A judicious culture of the inventive faculties also promotes our understanding and delight in objects of art. It puts us on the look-out for agreeable impressions, and habituates us to regard the beautiful sides of objects.

It is of course only a mere beginning of this striking and hitherto ill-cultivated faculty that can be made with little children by the aid of drawing: yet drawing may, as it is well or ill taught, facilitate or retard the exercise of the inventive powers to a considerable degree. The first exercises must of course be of the simplest description, and should be introduced very gradually.

Drawing, though carried to no great extent, is found greatly to increase the delight received from scenery, and from the union of common objects in an orderly and tasteful manner. He who has learnt the art of observing will extract pleasure

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from ordinary objects in a thousand ways. Many who dwell amongst the most beautiful objects see nothing of their beauty, and take no interest in them, because they have not cultivated their taste through its sole medium, the observation. Good taste, however, is a high faculty, long of coming to maturity. It is not merely seeing objects or scenes, but the perception of a thousand delicate shades, circumstances, and combinations, and having a number of ideas and emotions called up by these, that constitute the accomplished observer. And drawing, we repeat, may become one of the means, and a very powerful one, of bringing about this desirable result.

ry

Great care should be taken not to hur

the pupil. His progress, if real, and improving to the mind, must be slow, producing for years nothing that is very striking. The object is to teach him to think and act for himself, not to teach him to imitate another.

It will be obvious that most of the illustrations are done in a rough, hard manner, merely to suit the purpose of the work, without any pretension to taste or effect. There are, however, a few sketches, especially among the later ones, which are by a superior hand. The drawings have been engraved on wood, and of a smaller size than might be desired, to admit of the work being published at a very moderate price.

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*29 A pickaxe, to be looked at and drawn from memory, as No. 22, the copy being afterwards compared with the original, and corrected where wrong, or entirely redrawn.

These dots, &c. should be made at equal distances in lines as straight as possible.

41 A skewer or bodkin, to be drawn from the object.

35 A bit of stick or twig, without leaves, to be drawn from nature. 36 A pencil, to be drawn from memory. 37 A pen, to be drawn from memory. *38 A penknife. Before the pupil commences the drawing he should examine the copy well, and estimate how much longer the handle is than the blade, and the relative width of each. *39 A thimble, shaded. Before the pupil attempts to copy this, he should be shown a thimble or small circular object in a strong light, so that the light and shade may be marked distinctly, and be asked which part is light, or in the light, and which part is in the shade, or is the darkest; also which side the light comes from. Great care should be taken that the shading lines are drawn straight and parallel. *40 The pupil should try to find out various ornaments or borders that may be made with dots and small circles; he may or may not draw those in the copy, according to his proficiency.

After having drawn

this from the copy, the pupil should draw it from memory, and compare his two drawings. Before the drawing is commenced, dots should be made to mark the position of the principal points.

43 The pupil should try to invent small ornaments or borders, like those in the latter part of No. 40. *44 A snail. *45 Leaves.

46 The bill-hook No. 9, to be drawn from memory. If the pupil has forgotten it, he should be allowed a glance at No. 9

47 The plum, No. 11, may be drawn in

the same way from memory. 48 A table-knife, to be drawn from the object, the relative length and breadth of the parts being first estimated. *49 A moth. The relative length and breadth of the body and wings should be estimated, and dots made for the extremities before the drawing is commenced. After the pupil's drawing is completed he may measure it against the original in a rough way, to find out his errors.

*50 A cottage. The pupil should ex

amine this well before he copies it, and should make dots on his paper for the extremities of his lines. The lines

should not be drawn until he is satisfied that the dots are in their right place. 51 The three copies, Nos. 12, 14, 15, should be drawn over again that the pupil may discover how much better he can do them than on the first occasion.

52 The above three copies (Nos. 12, 14, and 15) should be drawn from memory. 53 A leaf, to be drawn from nature.

can,

*56 A dog's head,}

A dot should be

placed as the centre of the picture, and dots for the extremities of the main parts of the drawing. It will assist the pupil if a perpendicular line be drawn through the centre of his slate or paper, before he begins to copy the can.

56 A slate, from nature, as it would appear if viewed directly from above. 57 The fish and hatchet, Nos. 18 and 19, to be drawn from memory, and afterwards corrected by the originals. *58 A cottage. Dots should be made at the positions of the different angles, before the pupil's sketch is commenced. *59 A turnip.

*64 A barn.

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*65 A flower-pot, with a little shading. The pupil should be previously asked what the dark part or shading means? and from which side the light comes? where would the shaded part be if the light shone on the right-hand side of the pot? If possible, a flower-pot should be shown, with the light shining on it in this manner. Care should be taken that the shading lines are drawn parallel, and at equal distances. *66 A saucepan with a little shading. 67 The pump and face, Nos. 23 and 24, to be drawn from memory. *68 A spade.

69 The spade to be drawn from memory. 70 Several borders or ornaments may be invented like those in lower parts of No. 40.

71 An extinguisher or thimble, to be drawn in outline from the object. 72 A fork, to be drawn from the object. 73 The pen and stile, Nos. 25 and 27 from memory.

74 Several kinds of leaves from memory.

*75 A whipping-top shaded.

See re