1. Ανηρ, ανδρος, a man; γαλα, γαλακτος, milk; γονυ, γόνατος, 3 knee; δορυ, δόρατος, a spear; ους, ωτος, an ear; χειρ, χειρος, a hand. The peculiar forms of these have been already set forth.

2. Γυνή, ή, a married woman, a wife; gen. γυναικ-os, dat. γυναικι, acc. γυναικ-α, voc. γυναι; pl. γυναίκες, γυναικών, γυναιξί, γυναικας.

3. Ζευς, Zeus (Jupiter), gen. Διος, dat. Διῖ, acc. Δια, νου.

Ζευ.

4. Θριξ, ή, hair, gen. τριχος, dat. τριχι, etc. ; dat. pl. θριξι. 5. Κλεις, ή, a key, gen. κλειδος, dat. κλειδι, acc. κλειν; pl. nom. and acc. κλεῖς, also κλείδες, κλείδας.

6. Κυων, δ, ή, a dog, gen. κup-os, dat. κυν-ι, acc. κυν-α, voc. κυον; pl. κύνες, κυνων, κυσι, κύνας.

7. Μαρτυς, δ, a witness (our martyr), gen. μαρτυρος, dat. μαρτυρι, acc. μαρτυρα, νος, μαρτυς; dat. pl. μαρτύσι.

8. Ναῦς (Latin, navis), ή, a ship, gen. νεως, dat. νηϊ, acc. ναῦν; dual gen. and dat. νeoιν (the nom. and acc. do not occur) ; pl. νῆες, νέων, ναυσι, ναῦς ; compare γραus and βασιλευς. 9. Ύδωρ, το, water, gen. ύδατος, dat. ύδατι, etc.

EXERCISE 47.-GREEK-ENGLISH.

1. Αἱ γυναίκες τῷ κόσμῳ χαιρουσιν. 2. Οι Έλληνες σέβονται Δια και Ποσειδων και Απολλω και αλλους θεούς. 3. Ταις γυναιξιν ή αιδως πρεπει. 4. Οι κύνες τον οικον φυλάττουσιν. 5. 'O κυβερνήτης την ναυν ιθύνει. 6. Αἱ σταγόνες του ύδατος πέτραν κοιλαινουσιν. 7. Της γυναικός εστι τον οικον φυλάττειν. 8. Γυναικος εσθλης εστι σωζειν οικίαν. 9. Αει εν πίπτουσι Διος κύβοι. 10. Οἱ κύνες τοις ανθρώποις ωφέλειαν και ήδονην παρεχουσιν. 11. Αἱ των μαρτυρων μαρτυρίαι πολλάκις απιστοι εισιν. 12. Κομιζε, ω παι, την της κιστης κλεῖν. 13. Ω Ζευ, δέχου την του ατυχούς δέησιν. 14. Καστωρ και Πολυδευκης των νέων σωτηρες ησαν. 15. Γυναικι πασῃ κόσμον ἡ σιγη φερει. 16. Οι Αιθίοπες την τρίχα μελαιναν εχουσιν. 17. Ω γυναι, σωζε την οικίαν. 18. Τῳ κτενι τας τρίχας κτενιζομεν. 19. Αιακος τας Αίδου κλεῖς φυλάττει.

EXERCISE 48.-ENGLISH-GREEK.

1. Ornament becomes a woman. 2. It is the business of women to guard the house. 3. They bring the keys of the house. 4. The keys of the house are brought to the mother. 5. The Athenians had (to the Athenians were) many ships. 6. Jupiter had (to Jupiter were) many temples. 7. The fish emerge out of the water. 8. The steersman guides the ship. 9. The ship is guided by the steersman. 10. You worship Jupiter and Apollo.

IRREGULAR ADJECTIVES.

There also some irregular adjectives, the forms of which I must set before you-such as πραος, πραεία, πραν, soft; πολυς, πολλή, πολυ, much, pl. many; μέγας, μεγάλη, μέγα, great-as

follow:

Nom. πολυς, πολλή, πολυ. Gen. πολλου, πολλης, πολλου. Dat. πολλῳ, πολλῇ, πολλῳ. Acc. πολύν, πολλην, πολυ. Voc. πολυ, πολλή,

πολυ.

Plural.

μεγάλη, μεγα.

μεγάλου, μεγάλης, μεγάλου, μεγάλα, μεγάλη, μεγάλα, μέγαν, μεγα,

μεγάλην, μεγα

μεγάλη, μεγα

EXERCISE 49.-GREEK-ENGLISH.

1. Πολυν οινον πίνειν κακόν εστιν. 2. Οἱ βασιλεις μεγάλας προς σοδους εχουσιν. 3. Εν Αιγυπτῳ πολλή σιτου αφθονία. 4. Ἡ θαλαττα μεγαλη εστιν. 5. Κροίσῳ ην πολυς πλουτος. 6. Πολ λακις εξ ολιγης ηδονης μεγα γίγνεται αλγος. 7. Πραεσι λόγοις ήδέως εικομεν. 8. Τα μεγάλα δωρα της τυχης εχει φόβον. 9. Πολλών ανθρωπων εθη εστι πραξα. 10. Πονος αρετην μεγα οφελλει. 11. Οἱ παίδες τους πράους πατερας και τας πραείας μητέρας στερο γουσιν. 12. Ομιλιαν εχε τοις πράεσιν ανθρωποις. 13. Αἱ γυναικες πραείαι εισιν. 14. Αλεξανδρον, τον Μακεδόνων βασιλέα, μέγαν προσαγορευσι οἱ πολλοι,

EXERCISE 50.-ENGLISH-GREEK.

1. Abstain from much wine. 2. Bad men delight in much wine. 3. Much wine injures men. 4. Kings have great incomes. 5. The income of the kingdom is great. 6. Egypt has much corn. 7. Many have much wealth, but little understanding. 8. Strive after mild manners. 9. The manners of the women are mild. 10. (There) is beauty in (to) mild manners. Alexander, the king of the Macedonians, is often called the Great.

11.

THE SECOND DECLENSION CONTRACTED. A deviation from the usual form of the Second Declension may here claim the student's attention.

A few substantives in which an o or an e stands before the case-endings undergo contraction. By contraction is meant the blending of two vowels into a diphthong, or some other equiva lent. The student must learn both the uncontracted and the contracted forms, first horizontally, as πλους, πλοῦς; πλοου, πλού, etc.; and then perpendicularly, as πλοος, πλέον, πλου, ΠΟΟΣ tracted; and πλοῦς, πλοῦ, πλῷ, contracted. Thus are declined & πλοος, a sailing or voyage, ὁ περίπλους, a sailing round or circumnavigation; and το οστεον, & bone.

LESSONS IN DRAWING.-XXII.

THE HUMAN FIGURE (continued).

WE now propose to give our pupils some practical instruction in the method of drawing the figure, and hope that from the directions given in former lessons on this portion of our subject they will be prepared to accompany us with full confidence as we proceed. They will perceive that all we have said throughout this course respecting the treatment of curved lines, distances, and especially the angles formed by the meeting of lines, whether curved or straight, have a particular importance here. The rules of proportion, and the anatomical knowledge previously acquired, must now be called into service; and we trust that the principles we have given upon the theory of the figure will have been carefully studied, so that the confidence hoped for may be well supported by the knowledge obtained; afterwards we feel assured the road will be easy, and the practice pleasant. We have found from experience that the readiest way for beginners to understand quickly how the arrangement of curved lines in conjunction may be !

the forehead in the other, with reference to the angles formed by all these lines respectively. Although we are at present attempting only a profile, yet with some additional remarks (to be made presently), this method of commencing the outline may be applied to any other view of the face, full or three-quarters. We will, then, begin from a, and mark in the distance to b, observing the inclination; join these two points by a straight line; from 6 drop a perpendicular line to f, arrange the distance fe, and join be by a straight line; from a mark the distance and inclination a c. It will be noticed that the nose rises in the middle at d; observe the distance of d from b, and also from e, and how far it departs from the straight line be; join bd and de by other straight lines; treat the points g, h, and all other extremities of lines, in the same way. When the whole is satisfactorily arranged, faint it, and carefully, with the points and lines as guides, draw the contours of each curve through the points, as in Fig. 134. We recommend our pupils to copy this example three or four times, and then apply these principles of working to Fig. 135. It will be quite unnecessary to repeat the details of this pro

best effected, is to treat them, whilst arranging the drawing, first as straight lines, or as a succession of straight lines in the course of the curve, with reference to their lengths, and to the extent and flexure of the curve. Observe how the curved lines in Fig. 134 are first represented by straight lines in Fig. 133. Now, although the object of the pupil is to make a finished drawing as in Fig. 134, yet he must first put it together as shown in Fig. 133. By this method he will not only obtain a close resemblance to the general contour of the line, but also he will more clearly understand the character and intention of the curves in connection with each other, as well as their positions, letting alone the labour saved, and the facility it ensures. Here is the first, and probably the most important step in the executive part of the drawing, wherein most of the difficulties are found that so frequently discourage beginners, and cause them to break down at the outset. Now, to prevent the occurrence of anything so disheartening, let us dwell upon this for a few moments, and endeavour, with minute explanation on part, and the close attention of our pupils, to go through the construction of the subject (Fig. 133). It is advisable generally to commence from the bridge of the nose, for when the position of this part of the face is settled, we can then better determine the line of the nose in one direction, and

our

cess for each figure, as we trust there can be no difficulty if the pupil will be particular in placing a point to determine every angle as he proceeds—or, in another sense, whenever the outline alters its course and on no account attempt the drawing until this scaffolding of straight lines is completed. The advantage of this method of arranging the drawing will be evident after very little practice. In studying the contours of the curves, almost the same remarks we made upon a former occasion (Lesson XII.), respecting the management of halftints, and the amount of ability and observation necessary in order to do them justice, are applicable here. Our present subject relates to form, the lesson we refer to relates to colour, and light, and shade; yet the same degree of perception and due appreciation of the delicacy of tone and tint is required with respect to the delicacy of form. The slightest movement of a muscle changes the outline, and although it may be even so trivial that the uneducated eye may not perceive it, yet it is the aim and desire of the true artist to mark the fact, and introduce those changes in the outline which are known to be subject to laws depending upon the movements of the body, and the disposition and manner in which the muscles approach or overlap each other. He who can realise the changes in the contour of the body and its parts, and