3 IN 1) RAWING. 



::<> verb fain if used before another verb, in the MUM of 







t ilUtirunomauon? Dot* your brother have a hotutluMr 

 II eu fait bitlr plua d'uiie, lit hat mart than on* built. 



may be used in the same MOM before its own infinitive. 



Jo fail faire un habit de dr.ij. ? 

 You* faitM faire des soulien de 



i-uir. 



-iil-.ir [Seot. XXVII. 6] followed by dire ia used in the 

 MUM of to mean. 



I have a cloth eoat made. 

 you have leather hOM made. 



Que vouloz-vous dire P 



Votre MBUr quo vuut-cllo dire? 



What do you man f 



What dots your titter mean f 



RESUME OF EXAMPLES. 



No mottoz-vouB pas TO* habits P 

 J'ai pear de lea gater. 



Ne portez-vous jamois rotre habit 



uoir? 



Je le uieta tout) les Samodis. 

 I'ouriiuoi n'otez-vous pus votre 



111:111 tcau P 

 J'ai trop froid, j'ai peur de 1'uter. 



Do you not put on your clotlut f 



I am njraid of spoiling them. 



Do you. never wear your Hack coat t 



I fill it ,,,i.every Saturday. 



Why do you not take off your cloak J 



Faites-vous ruccommoder vos sou- 

 liers P 



Je fais roccornmoder xnea habits. 

 Je fais faire uue paire de bottes. 

 Je fais creuser un puits. 

 Votr frere quo veut-il diro ? 

 Que veut dire cela ? 

 Cell ne vout rieu dire. 

 Otez-voiis vos souliers et vos bos ? 



Je n'ote iii les uns ni les autres. 

 Le diner eat pret ; le douiestique 



va inottro lo couvert. 

 Voulez-vous otor le couvert ? 



Jo vais mettro le couvert. 

 Je vais otor le couvert. 



J aw too cold, I am afraid to take it 



off. 

 Do you have your shoes mended t 



I have my clothes mended. 



I have a pair of boots made. 



I liave a well dug. 



What does your brother mean? 



What doet that mean f ' 



That means nothing. 



Do you take off your shoe* and stock- 



nt'jK / 



I take off neither these nor those. 

 Dinner is ready; the servant is going 



to lay the cloth. 

 Will you take away the things from 



the table 1 



I am going to Ian ""' cloth. 

 I am going to take au-aij the things. 



VOCABULARY. 



EXERCISE 57. 



1. Le General N. met-il son uniforme ? 2. H ne lo mot point. 



3. Pourqnoi no porfcez-vous point votre manteau noir ? 4. J'ai 

 peur de le gater. 5. Mettez-vous vos souliers de satin tous les 

 matins ? 6. Je ne les mets qne les Dimanches. 7. II est midi ; 

 le domestique met-il le couvert ? 8. II ne lo met pas encore ; il 

 va le mettre tout-a-1'heure. 9. Le diner n'est-il pas pret? 10. 

 Le domestique 6te-t-il le couvert ? ^ 11. II ne 1'dte pas encore, 

 il n'a pas le temps de I'&ter. 12. Otez-vous votre habit quand 

 votis avez chaud ? 13. Je l'6te quand j'ai trop chaud. 14. 

 Faitos-vous faire un habit de drap ? 15. Je fais faire un habit 

 de drap et un gilot do satin noir. 16. No faitee-vous point 

 raccommoder vos pantouflcs de velours ? 17. Ne faites-vous 

 pas creuser une care ? f8. Je fais cren^or nne grande cave. 

 19. L'apothicaire que veut-il dire? 20. II vent diro qn'il a 

 besoin d'argent. 21. Savez-vous ce qoe cela vcut dire ? 22. Cela 

 veut dire quo votro frere est f;iehe oontre vous. 23. Avez-vous 

 cnvie de mettro votro manteau ? 24. J'ai 1'intontion de le 

 mettre, car j'ai grand froid. 25. Je vaia l'6ter, car j'ai chaud. 



EXERCISE 58. 



1. T)o you take off yonr coat? 2. I do not iako off my coat, 

 I put it on. 3. Do you take off your cloak when you are cold ? 



4. When I am cold, I put it on. 5. Does your little boy take 

 off his shoes and stockings [ 21. 4]? 6. He takes them off, 

 but ho is going to put them on again. 7. Does that little girl 

 lay the cloth? 8. She lays the cloth every day at noon. 9. 

 Does e** take away the things after dinner ? 10. She takes 



away the thing* every day. 11. Do yon intend to have a eoat 

 madoP 12. I intend to have a coat ma-: un going to 



hare a coat and a ve*t nude. 14. Doe* yonr brother have hi* 

 boot* mended P 15. He hau them mended. 16. What do* 

 yonr ton mean? 17. I do not know what he mean*. 18. U 

 he angry with me or with my brother ? 19. lie w neither angry 

 with you nor with your brother. 20. ! he afraid to poil h 

 coat? 21. He u not afraid to spoil it. 22. Do< the druggut 

 want money? IM. H.t does not want money. 24. Ho* your 

 inter taken my book from the table P 25. She ha* not taken it 

 away. 26. Why do you take off yonr shoe* .ke 



off beoaoae they hurt me. 28. Do yon intend to have a 

 built? 29. I intend to hare one built. :{<). Does the tailor 

 spoil your coat? 31. He doet not np,il it. 32. Who 

 your clothe* ? 33. No person spoils them. . hat 



your wear ? 35. I wear a black hat. 



LESSONS IN DRAWING. X. 



WE must now direct the attention of the pupil to shading and 

 foliage ; but before commencing, let as earnestly ad vwo him to 

 go over the previous lessons again, so that he may be well pre- 

 pared to follow us in a course of instruction that will require all 

 the knowledge he can possibly obtain, and a> considerable amount 

 of practice in using the pencil, to give him power, confidence, 

 and freedom of execution, combined with truth of represent** 

 tion. Wo have already warned him against sketching before be can 

 draw well ; the danger of falling into a slovenly manner 

 before him. He must be careful and slow at first in that which 

 he is about to undertake, for when shading and foliage are intro- 

 duced, he must bear in mind that in proportion to the care, per- 

 severance, and patience ho bestows upon his work, will be tho 

 beauty and effectiveness of the result ; while, on the other hand, 

 carelessness of execution will degenerate into coarseness and 

 scribble. Ho will, in the one case, prove himself to be a clever 

 and satisfactory draughtsman, or, in the other, one totally in- 

 capable of producing anything worthy of admiration, or fit to bo- 

 employed for any useful purpose. 



The following observations relating to shadows will be found 

 important, as containing principles that influence their treatment 

 under very common and frequent circumstances ; they may be 

 classed as positive or decided shadows, and half tints. Decided 

 shadows may be divided into broad shadows and cast shadows. 

 Broad shadows are tho shadows upon the object. In Fig. . 

 the broad shadow. Cast shadows are those which are caused 

 by the object, and arc thrown upon the ground, or upon some 

 other object. In Fig. 72, b is the cast shadow. As a general rule, 

 for their diffarence of tone or depth, tho cast shadow is darker 

 than the broad shadow, simply because the cast shadow being in 

 most cases thrown upon a more extensive surface (the ground, 

 for instance), there is then round about the cast shadow a sur- 

 face receiving tho rays of light which refracts them, or throws 

 them back again, with less power upon the side of the object 

 in broad shadow ; this lowers its tone. When it occurs that no 

 cause for refraction is present, then the broad and cast shadows 

 are equal in tone. In Fig. 72 the rays of light coming from thu 

 direction of / fall upon tho ground at g g <j, and aro thrown back 

 again with less power upon a, causing tho broad shadow a to bo 

 lighter than the cast shadow b, which cannot receive ; 

 rays from g g g, being the same surface or plane upon which tho 

 light falls. Again, tho highest light and darkest shadow are 

 generally together; this will be considered more fully ia its 

 place presently, when we take up tho subject of half tint. 



The pupil' 8*first essay will be a very simple way of making a 

 flat tone, before he attempts crossing lines; this simple metktod he 

 will soon understand, and afterwards find to be an easy introduc- 

 tion to the crossing or cross-hatching system. When the rfaee 

 of bhe shadow is barge, fill it up with cloae perpendicular MM* of 

 unequal lengths, not permitting the ends to lap over one another, 

 or terminate on the same level ; but if tho surface ia small, draw 

 continuous lines to the full extent of the shadow, at the same 

 time observing tho tone must be regulated by the strength or 

 pressure used in the execution. Draw the square, Fig. 71. in 

 which is shown tho method when a broad surface is to be covered 

 by a flat tint of broken lines, as explained above. Fit 

 given to represent the continuous linos, commencing carefully 

 and evenly from one side of the shadow, and terminating exactly 



