394 



THE POPULAR EDUCATOR. 



properly represent them according to the circumstances under 

 which they are placed, may certainly claim the title of a 

 draughtsman in its fullest meaning. 



In arranging the positions of the head and features, we must 

 bear in mind that the general form of the head is oval. This 

 figure may be applied with great advantage in two ways, both 

 of which we will consider. As the oval which represents the 

 form of the head is a solid, and the several lines which we are 

 about to draw, to determine the proportions and positions of 

 the features, are supposed to be drawn on the surface, there- 

 fore the perpendicular line drawn throughout the length in 

 Pig. 129, Lesson XXI., will decide the position of the face to 

 be parallel, that is, a full face. In a retiring view this same 

 line will be a curve, as A B in Fig. 136, upon which the features 

 must be arranged as in Fig. 137. When the head is looking 

 up or down, then all the lines which are straight in Fig. 129 

 become curved in proportion to the extent of the inclination 

 of the head. Figs. 138, 139 will illustrate these positions, and 

 show that the use made of the curved lines is the same as that 

 employed in the full face. Eegarding the treatment of the 

 details, more especially the peculiarities belonging to each 

 feature, the pupil must be left in a great measure to his own 

 observation and practice from nature and from casts. In the 

 details no two faces are alike; consequently, there can be no 

 special rules in reference to them. We must treat the subject 

 . as a whole, and use those rules only which are applicable to 

 all, with regard to proportion and position. We may say, for 

 instanc*, that the length of the mouth is equal to the width 

 between the eyes ; that the centre of the mouth is one-third 



The general character of suspense and expectancy belongs 

 both to FAH and LAH, but more strongly to the former. When 

 FAH is held at any length the mind is conscious of. an urgent 

 and increasing desire for its solution in ME. But to LAH is 

 allowed a greater independence, and it does not so soon demand 

 its rest in son. Dr. Bryce compares ME and son to objects 

 lying at rest on the ground, while LAH is " thrown loose and 

 detached, with little indication of return," and FAH is " in the 

 act of alighting." We have often likened LAH to the " sky- 

 rocket" which mounts with an upward aim, but having reached 

 its height shines beautifully for a moment, and then softly and 

 elegantly descends. Such comparisons must, of necessity, be 

 "far-fetched." But you cannot form a comparison, or judge 

 of one, without minutely observing the things compared. If, 

 by our far-fetched comparisons we secure your doing this, we 

 are quite satisfied. Let the pupil observe for himself, and he 

 will presently form a more perfect mental conception of the 

 thing itself than any description or any language can convey. 



If the mental impressions produced by FAH and LA.H be 

 further sought, it will soon be noticed that they have an effect, 

 when sung slowly, which would lead us to denominate 



FAH as the desolate or awe-inspiring NOTE ; 

 LAH as the weeping or sorroivful NOTE. 



The names thus given help greatly to fix the attention, and 

 many adults as well as children have been very thankful for 

 the aid they give to the mind's command over the voice. We 

 have seen many a class who could not at first strike LAH cor- 

 rectly, but were unable to mistake when told that they must 



from the bottom of the nose to the lower part of the chin, make it a " weeping note." But it should be borne in mind 

 These and other regulations may be useful where a classical ' that neither these nor any other single or ordinary terms of 

 head only is attempted, and it is right to know them ; but j language can fittingly describe the mental effect which shall 

 Nature does not always carry out these exact dimensions, other- belong to a certain note of the scale under all its modifications 



of pitch, force, length, etc. We can only describe it proxi- 

 mately. But the effort to do so, or only to perceive the proxi- 



wise we should lose that individual character so admirable, 

 and in most cases indispensable to real beauty. The know- 

 ledge of these proportions will help us to avoid extreme de- 

 formity, and many absurdities ; it will likewise quicken our per- 

 ception when studying the characteristic differences existing 

 amongst heads ; consequently, this knowledge, coupled with 

 close observation regarding the angles of the face, and of the 

 features one with another, and more minutely those angles 

 which constitute the form of each feature singly, will together 

 enable the pupil very quickly to acquire a power of giving cha- 

 racter and individuality to his subject, either in portraiture 

 or when engaged on an ideal head representing some passion 

 or emotion of the mind. What rule could be furnished for 

 drawing a Roman or a snub nose, beyond that of marking 

 the angle which gives character to the shape of the nose ? 

 Nothing would prevent originality of drawing and a true feel- 

 ing for Nature more effectually, than confining the practice in 

 all cases to set rules for details. Because Nature is varied in 

 her details, therefore it is in generalities only that rules are 

 useful, and where it would be unwise to reject them. 



LESSONS IX MUSIC. XIII. 



ILLUSTRATIONS OF MENTAL EFFECT OF FAH AND, LAB. 



tx pursuance of our design to illustrate the proper mental 

 effect of each note of the scale, we intend in this lesson to 

 illustrate the fourth and the sixth FAH and LAH. But let us 

 afresh guard our pupils against misunderstanding. The mental 

 effects of which we speak do not reside in the musical sound 

 itself, but in the association with which the mind invests each 

 note as it rises, clothing and colouring it with the relationship 

 it holds to other sounds just heard, and which still linger on 

 the ear. In other words, the key must be "established" by 

 singing its common chord, or, yet more clearly, by adding also 

 its TE and FAH, before the distinctive character and mental 

 effect of any particular note is felt. The more completely "the 

 ear is filled " with the other notes of the key, especially with 

 those of opposite effect, the more clearly will the note to be 

 illustrated be " brought out." Let the pupils also remember 

 that these mental effects are modified in a marked manner by 

 rate of movement, as well as by the accompanying harmony 

 and other circumstances. We shall first give the result of our 

 own observations, and then follow them by illustrations which 

 mil enable the pupil to test the truth of our assertions. 



mate truth of the description, kindles thought and feeling. If 

 you were teaching others to understand these points, your best 

 plan would be first to produce the effect, and then to get your 

 pupils to describe your own impressions of it, with as much 

 variety of language as possible. For instance, you might sing 

 a short phrase to words or figures, and ask your pupils to 

 describe the effect of the note which fell to such a word or 

 figure. Another good exercise would be for you, after the 

 mental effect of a note has been described or perceived, to sing 

 a short phrase or tune to figures, and to ask your pupils which 

 figure such a note was sung to. Thus the true conception and 

 recognition of the mental effect of the notes will be reached. 

 The mind is quicker than our words, and will form the idea, long 

 before we can express it. Thus it often is with some word 

 in a new language which has no perfect synonym in our own : 

 much study of dictionary, context, and concordance, with many 

 endeavours to express it, at last bring us to the thought, and we 

 enter on the luxury of mental translation, which is pleasanter to 

 us than the verbal, but could not have been reached without its 

 aid. Thus may our pupils be able to study and mentally enjoy 

 the beautiful tunes we lay before them. 



Mendelssohn, when he wished to express the tender parental 

 care of God, the " overshadowing of his wings," the " yearn- 

 ing " of his love, to the words, " The Lord is mindful of his 

 own " travels into a new key on purpose to obtain the effect 

 of FAH. Our pupils, who may be puzzled by the " transition" 

 into a new key, must have patience with us. At the proper 

 place we shall be pleased to explain to them this exceedingly 

 interesting subject at length. It is enough at present for them 

 to understand that in the first instance below, the note son is 

 treated, by ear and voice, as though it had suddenly become 

 DOH, and the best way of pronouncing it is by throwing the 

 two syllables together thus, S'DOH ; and that in the next in- 

 stance below, the new DOH becomes son again, as it was before 

 and it is to be pronounced, in sol-faing, D'SOH. Notwith- 

 tanding this little difficulty, we could not exclude you from so 



beautiful an example of the mental effect of FAH. 



the 



