L84 



THE POPULAE EDUCATOK. 



5>et flnabe 6,at fein SSud; unb b a 8 The boy has his book and that 



feineS SSaterS. of his father. 



JDie tfnaben tyaben tyre 33dtle unb The boys have their balls and 



b i e ib. ret Sreunbe. those of their friends. 



EESUME OF EXAMPLES. 



$aben @te ben efang' ber 9lafy 



tigaH gefyort' ? 

 So, feljr eft, aber me ben ber Serene. 



<Da8 id;t ber unite ifl nufctid;. 



SBeffen 33uc&. if* btefe* ? 



fiBe(d;ein son 3f;nen gefyort' btefeS 



SBucb. ? 



SBetd;e8 33ud; mewen @te ? 

 3>aS neue, grope 33ud;. 

 2Deld;e tft benn ber recite Slame ? 



Have you ever heard the song 



of the nightingale ? 

 Yes, very often, but never that 



of the lark. 



The light of the sun is useful. 

 Whose book is this ? 

 To which of you does this book 



belong ? 



Which book do you mean ? 

 The new large book. 

 Which is then the right name ? 



EXERCISE 27. 



1. 2Getd;en Sifd; Ijaben @te ? 2. 3d; Ijabe ben mcineS ffreunbcS, be 

 ^Ttfd;ter8. 3. aBetd;e3 Rafter l;aben @te? 4. 3d; tyabe ba8 meineS 

 SreunbcS, beS eb,ret. 5. 2Betd;cr son btefen Jtnaben tyat ntwne btaue 

 Jltnte ? 6. Reiner son ifmen 6,at 3&.re inte, aber einer son btefen JJnaben 

 $at 3b.r fd;one3 rofenfatbeneS Spatter. 7. 2Beld;er son tb.nen b,at e ? 8. 

 *bll4 Ijat e, uni fceinrid;, 36,r ftciner SSetter, 6at 3b.ren tyotjernen 93tet- 

 ftift. 9. SBeldfje* twn meinen SBikbern tft in 3b,rcm 3immer? 10. 3t;re 

 ettert' Sabetn fini bort. 11. 2Betd;et son biefen jtoei fteinen Jtnaben tft 

 S$t Sfteffe ? 12. @te ftnb betbe meine SSettcrn. 13. @tnb fte SSruber ? 

 14. 3a, fie ftnb 3tiflinge. 15. 2BeId;e 3f)rer amertfanifd;en jreunbe ftnb 

 U bent 9lat^aufe ? 16. -err 6. unb -Sett 8. 17. SBeffen 23uci> ^a6cn 

 ie ? 18. 3cf) ^abe ba 3^re SSetterS. 19. 2Bann ^at -&err 3tmmer= 

 .mann meinen SSrief ge^abt ? 20. @r l^at t^n sorgefiern getyabt, unb fetn 

 Sreun*, ber SDMcr, ^at i^n gefiern ge^abt, unb id; ^abe i^n ^eute. 21. 

 Jat ber Setter ben @o^n be 28acfer8 ober >cn be8 djjneiber* gelobt? 22. 

 r Ijat vcber ben bc JBdcferS, nod; ben be @d;netber, fonbern ben beg 

 getobt. 23. aben @ie bie Sefcern bc JtaufmannS, cter bie be* 

 24. 3d; ^abe meber bie be8 JtaufmannJ, nod; bie be 33ud; 

 fatter*, fonbern id; tyabe bie be 3ofletnne^mer3. 25. 2Ber lobt ben atten 

 Sai)itdn ? 26. 3>er ^auptmann lobt i6,n. 27. r tobt ba ganje SSotf. 

 38. !Der 2Bagen be 8ranjofen i(i grop, unb ber beS GfngtdnberS fd;on. 



EXERCISE 28. 



1. Which umbrella [9tegenfd;trm] have you ? 2. I have that of 

 my brother, the sculptor. 3. When did you buy [fauften @ic] 

 this pink-coloured dress ? 4. I bought it yesterday from my 

 cousin, the draper [Sud^dnbler]. 5. Will [molten] you give this 

 book to this man or that ? 6. I will not giro it to either 

 [tfeinem]. 



LESSONS IN" DRAWING. YL 



BEFORE proceeding with the more practical part of our instruc- 

 tions upon drawing, we wish to offer a few words of advice 

 respecting the advantages of the errors the pupil may frequently 

 make, and to persuade him, that although errors must naturally 

 occur, there is no reason for discouragement, so long as he 

 understands them and can feel his way out of his difficulties in 

 correcting them. All beginners are liable to make many and 

 great mistakes ; but it is not their number that ought to dis- 

 courage ; it is the not seeing them, which in the first place 

 disheartens the master, and then when pointed out disheartens 

 the pupil, if he has not the courage and capability to correct 

 and avoid them for the future. In the practice of drawing, 

 errors, when seen and understood, are quite as valuable as those 

 portions of the drawing that are right ; we know then as well 

 what we ought not to do, as what we ought to do, and it is this 

 knowledge of right and wrong that keeps us in the true path. 



The first errors that a pupil will make will be in the arrange- 

 ment of his subject ; he will find them out the second time 

 he looks it over before he begins to draw it. We advise 

 him then only to " faint " them, not to obliterate them ; they 

 are useful by pointing out to him where he is not to draw his 

 line ; and they may be considered as beacons on a dangerous 

 coast, warning him of the perils ha is to avoid. Here is their 

 advantage ; when mistakes are totally effaced, it is as likely as 

 not that the same errors may be repeated, or, what is equally 

 bad, a fresh fault may be committed by drawing the line in an 

 opposite extreme. It is a common thing to hear those who are 

 struggling with their difficulties say, " It's all wrong, but where 

 I cannot tell." The work may be all wrong, it is true; but 

 that learners may be the better able to tell where the errors 

 are, and how to correct them, it is necessary that teachers 

 should take care to set up guide-posts in the shape of the 

 rules and principles of the art, so that the safest and most 

 direct path may be pointed out, and to put up warnings marked 

 " dangerous," by which the inexperienced may be cautioned 

 when they attempt to pursue wha\. may appear to be shorter 

 ways, but which lead only to discouragement and failure. We 

 have often heard pupils say, " I have tried to draw this so many 

 times, and I cannot do it." Of course not; leave off the 

 drawing, and try the arrangement first. After what has been 

 now said we resume our instructions with greater confidence, 

 feeling sure that our pupils, knowing where they are likely to 

 fall into error, will adhere closely to the course of procedure we 

 have marked out for them. 



We turn now to objects of a uniform character viz., bottles, 

 wine-glasses, vases, etc. We will first consider only their profile 

 form that is, the outward line when presented horizontally 

 before the eye ; afterwards we will exhibit them with their 

 retiring parts. Fig. 45 is a bottle. Draw a b, a perpendicular 

 line passing through the whole centre from the top to the 

 bottom. In drawing objects of this class we advise the pupil 

 always first to draw this perpendicular line, because from this 

 line each way he may mark in the distances of the several parts 

 as they approach or depart from it. The characteristic points 

 of the outline are c, d, e, f, g, h, marked on both sides of the 

 central straight line with a corresponding equidistance from it ; 

 therefore, if these points are carefully arranged with regard to 

 their distances from each other, and from the centre, there will 

 be very little difficulty in drawing through them the continued 

 outline which will represent the object. 



The wine-glass, Fig. 46, is another subject requiring the same 

 mode of treatment ; and the method we have given for drawing 

 the bottle will apply here also. 



The vase, Fig. 47, is another example ; the letters are not 

 repeated here, simply because we wish the pupil to apply the 

 above method of drawing it without our assistance ; he will 

 easily recognise the characteristic points and angles for himself. 

 We propose now to draw these objects with their retiring parts, 

 and, as they are for the most part circular at their extremities, 

 we must first explain the geometrical method of drawing a circle 

 in perspective. Many suppose that a circle in perspective is a 

 true ellipse; such is not the case. If the pupil will examine 

 Fig. 48, he will see that the portion above the central line ik 

 is much smaller than the portion below i k, owing, as we have 

 before stated, to the diminishing appearance of objects in per- 

 spective. 



To draw Fig. 48, he must make use of parallel rulers and 

 compasses. Begin, then, by ruling the plane of the picture, here 

 represented by a line, because, the plane or surface of the picture 

 being always considered in an upright position, the plan of that 

 plane or surface would be a line. This will be fully explained 

 when we enter into geometrical perspective. Draw the line of 

 sight, H L, anywhere above, and parallel to, the plane of the 

 picture ; place the point of sight, P s, and draw the line p s o 6 

 perpendicularly, or at right angles with the H L and picture 

 plane ; from o, as a centre, draw the semicircle afbfc; about 

 it describe the rectangle a d e c ; draw o d and o e ; and through, 

 the points where these last lines cut the semicircle draw h g amd 

 h g. From ah oh and c respectively, draw lines to the P S. 

 Place on each side of p s on the H L two points, DP! and D p 2. 

 These are called distance points, and represent the distance of 

 the eye from the picture plane in this case, also, from the 

 object, as the circle touches the picture plane. From c and a, 

 draw the diagonal lines a m and c I towards the distance 



