explanation of a process in practical geometry. A repetition of the geometrical course requiring greater reliance on the eye than at first, may generally be found profitable, chiefly for confirming the knowledge already acquired, but in part also for the purpose of varying and multiplying the exercises, at the discretion of the teacher. Having thus laid the foundation of his skill, the pupil proceeds to linear drawing, in the peculiar acceptation of the term, and executes his figures chiefly by the eye, with the aid of mechanical means for correction. In this stage of his progress, the slate and pencil continue to be used, but the patterns for imitation are taken from simple and familiar objects, actually drawn by the hand of a master on large paper, and mounted on binders' boards, as nearly as possible of the natural size, and with such distinctness as to be visible to the whole class. A proper classification of these models, enables the teacher to adapt the lesson to the attainments of his pupils. Instead of a pattern executed in the manner just described, the master sometimes draws the models in the presence of his class, on a black-board or colored wall, explaining the work, and pointing out the advantage of the particular succession of steps which he has adopted, and testing the accuracy of his work by large instruments when necessary. When the model, whether on paper or black-board, has thus been presented and explained to the class, each individual, being furnished with slate and pencil, proceeds to draw the same object of such a size as his slate will admit. The simplicity of the figures, will, in the first instance, be such, as to enable him to preserve the proportions. No measurements can now be made, since the figures are reduced in size; but the rule and compasses may be occasionally resorted to, for the purpose of deciding whether any particular part of the copy corresponds to the obvious requisitions of the pattern. When a graduated series of thirty or forty patterns has thus been executed, at as many successive lessons, and the teach has at each exercise examined, criticised, and recorded the merit of each scholar's performance, the whole may be repeat ent. ed. But as some individuals will have made greater proficiency than others, a division of the class may now be expediWhile those who have made the greatest proficiency are allowed to draw the figures in a suitable drawing-book, in lead-pencil or crayon, with a view to permanent preservation, the second division repeat them in chalk on the black-board, on an enlarged scale; and the third and last class, having made the least advancement, are required to go over the whole series a second time with the slate and pencil. The simple rules of perspective are now to be explained as they severally occur. The next stage of the progress consists in drawing from separate patterns such figures as involve an acquaintance with perspective; as outlines of houses, landscapes, simple machines, and other inanimate objects. The drawing of maps and charts may now be commenced. The delineation of parts of animated objects, such as the different human features and limbs, with the heads or whole forms of animals, may come in as the fourth series of exercises. The pleasure, which the pupil takes in this branch, will be found to rise with the increasing interest of the subjects embraced in his lessons. And if the collection of patterns be sufficiently extensive, some latitude may be allowed to his own taste, in regard to the nature of the subjects, and the order in which they shall be executed. But the judicious teacher will always exercise his own discretion, as to the limits within which the choice shall be confined. The next step brings the pupil to draw directly from nature; that is, to make his copy immediately from a view of the object which it is to represent. The object itself may be either natural or artificial; the latter is however preferred for the first lessons in this series, for reasons similar to those which determined the selection of geometrical lines, as the first lessons on the slate. A few simple solids, not more than seven in number, are sufficient to afford examples of all the elementary forms of contour and shade; and by varying the number and relative positions of the different figures, an endless va riety of groups may be produced, to exercise the skill and taste of the learner. When the teacher has formed a group with which he is particularly pleased, he may sometimes take a sketch to be preserved for future use, from which he can at once arrange the pieces in the order desired. The modelsare made perfectly white, in order to give full effect to the peculiar light in which they may be placed, and that no false positions may be imagined from the apparent situation of accidental lights and shades, and to avoid distracting the attention with too many things at the same time. The multitude of different pictures, produced by varying the arrangement of these few geometrical solids, depends, in great measure, upon the relative positions, the distribution and contrast of light and shade, as well as upon the arrangement of the outlines. The scholar is now prepared to combine sketches and shades, and may consequently employ himself upon any subject where only a moderate variety of figure is to be presented. Machines, apparatus, and furniture, may be the subjects of his early essays;-landscapes, into which animated figures are introduced, may follow ;-heads in crayon, or full-length figures of convenient size, may succeed to these, and henceforward the exercises may take such a direction as the interests of the school, the convenience of the teacher, or the future pursuits of the individual scholar, may render expedient. The interests of the school may sometimes demand, that a number of large drawings should be made from plates, which, on account of their expensiveness, cannot be in the hands of every member, but from which the teacher may desire to give his illustrations. Should instruction in agriculture be among the objects of the institution, the teacher in that department would find innumerable applications in representing implements of husbandry, the form and position of the necessary buildings, the relative situation of gardens, meadows, fields and woodlands, with the modes of hedging or fencing in model farms; the appearance and botanical characters of the vegetable kingdom; and the figures and peculiar points of domestic animals. Should instruction in natural history be attended to, in addition to the more obvious applications, we may observe, that the minute parts of creation may be drawn, of gigantic size, from an engraved plate, or from the screen of a solar microscope; if from the former, the scholar will not fail to avail himself of the aid of proportional compasess, to obtain a correct general outline. I need hardly advert to the uses which may be made of this art by the professor in chemistry, natural philosophy and practical mechanics. However extensive may be their cabinets of apparatus, or their collections of working models, a vast proportion of what they would desire to explain, must, if they confine themselves to these alone, be left unexplained. Teachers in these departments, sometimes employ the black-board only; but the labors of a few scholars well instructed in drawing, may soon give permanency to those figures, which must otherwise be erased and afterwards repeated at every repetition of the course. In some cases, a very moderate share of improvement will enable the scholar, in pursuing this method, to render important services to his teacher. Even in the classical departments of education, how much more clearness of conception, and how much higher satisfaction, would be derived, from illustrations of antiquity, made by the hand of a pupil and explained by the living voice of his teacher, to a class or a whole school, than are obtained from the solitary investigation of the student, which, on account of the forbidding aspect of the notes and dissertations contained in his text-books, often amounts to no investigation whatever. The number of text-books used in a classical school is generally very limited; so that it would commonly be no difficult matter to obtain a complete series of illustrations of the Greek and Latin courses. Of these the teacher might avail himself, presenting one or more at every lesson, and either giving the necessary explanations, or requiring them from the class. The latter method would stimulate to greater industry in studying the notes as well as the text of their class-books. An extensive practice in this department, employing large engravings and lithographic prints, has convinced me, that classical study may be rendered nearly as attractive by this species of demonstration, as any branch of physical science; especially, if the means of demonstration emanate from the skill and diligence of the pupils. A succession of classes might thus leave behind them permanent, visible, useful memorials of their diligence and assiduity in cultivating a taste for ancient learning, while they improved their skill in a most useful art. A large port-folio of drawings, adapted to each class book, bearing the proper references, and inscribed with the names of the respective students by whom they were produced, would, I apprehend, be a powerful auxiliary to the classical teacher, whatever might be his own learning or abilities. But if neither the interests of the school, nor the convenience of the teacher, demands the exercise of the scholar's talents in drawing, it can seldom happen that his intended profession will be wholly unconnected with the applications of design; and therefore he can never feel at a loss for subjects tending to improve his skill, and to enlarge, or more deeply to impress, his knowledge of subjects in which he is individually concerned. I have already referred to the connexion between drawing and penmanship, and will only mention in this place, that the plan which has been suggested by a writer on the subject, of performing both on the same or on opposite pages of the same book, may probably be found useful in exhibiting, at a view, the concurrent improvements in the two branches, and even when the drawing cannot, from its size, be admitted into the copy-book, it may not be amiss to cause the scholar to place a specimen of his writing on some part of the sheet. A degree of care will thus be induced, not always attainable in his ordinary writing lessons, and some improvement will not fail to be the result. The first lessons, consisting of small geometrical figures, may certainly be drawn in this manner, and the exer |