GEOMETRICAL PEBSPECTIVE. 



87 



Etui n 



Fabl,, 



tin 



Mb 



face 



atauuum. 

 fabula. 





Krmt 



GUI 



Ueai 



Gingetubre 



Qolfe 



GoCit 



f.inlc.m 



Dm 



fl* 



flute 

 faith 



front 

 fruit 

 Kay 

 jay 



phorto* (Greek), 

 flbra. 



SOUS. 



fide*, 

 frons. 

 fructus. 

 gaudium. 





zinziber. 



gulf kolpoa (Greek). 



gout gustu*. 



Many French terms are employed in English either in their 

 native form or slightly altered, and of these some even in 

 Franco are of modern origin. Wo have dragoon from the name 



the soldiers with whom Louis XIV. carried on the war, which 

 . the name of his dratjonades, against his French Protes- 

 tant subjects in order to compel them to become Catholics. 

 From the noun dragoon we have the verb to dragoon into. A 

 . slang language, a black-leg, is literally a wretch who 

 deserves to be broken on the wheel metaphorically one who has 

 the same manners as the courtiers of the profligate Duke of 

 Orleans, Itcgent of France, who is said to have given the name 

 to his abandoned associates. Guillotine, a term which we derive 

 from France, is the name of an instrument for decapitating 

 political offenders ; it received its name from the inventor, and 

 was first used amidst the early horrors of the first revolution in 

 that country. Translations from the French have led to the in- 

 coming amongst us of many French terms and phrases, greatly 

 to the corruption of our mother English. Formerly, transla- 

 tions were said to be " done into English." The phrase is not 

 inappropriate, for many translations from the French are miser- 

 ably done, a large portion of every page consisting of French 

 words and idioms in an English dress resembling a Frenchman 

 aiming to speak English by putting on an English costume. 

 Commonplace novels, too, have brought into vogue many Galli- 

 cisms. Most blameworthy is this defacement and corruption of 

 our language, when they are perpetrated by historians, of whom 

 better things might be expected. This practice has been well 

 taken off by the Spectator, in No. 185 of that work, which is 

 strongly recommended to the perusal of those who possess it or 

 can readily borrow it. 



Having read the remarks in the Spectator, and read also 

 what has been written in this lesson, let the student proceed to 

 write an essay on 



THE TRENCH ELEMENT IN THE ENGLISH LANGUAGE. 



Words with their proper Prepositions. 

 TFord*. P. B. 



Disqualify for, qualis, of what kind. 



Dissatisfied with, satis, enough. 



Dissent from, sentio, I feel. 



Distinct from, tinctus, dyed, coloured. 



Distinguish from, between, tinguo, I dy, colour. 



Distrustful of, trauen, to trust. 



Divested of, vestis, a garment. 



Divide between(two), among ) ,. . 



(many). } dmdo, I dvuufc. 



Dote on, 



Doubt of, dubito, I doubt. 



Dwell in, at, on, 



Eager in, begierig, desirous of. 



Embark in, on board of, for, embarquer, to go into a barque. 



Embellished with, bellus, beautiful. 



Emerge from, mergo, I dtp. 



Employ in, on, about, employer, to put to use. 



Emulous of, emulus, a rival. 



Enamoured of, amor, love. 



COMPOSITION. 

 Report the following extracts in the same manner aa before : 



ON THE CHOICE OF AUTHORS. 



If we are to read, it is a very important rule in the conduct of the 

 understanding, that we should accustom the mind to keep the best 

 company, by introducing it only to the best books. But there is a 

 aort of vanity some men. have, of talking of, and reading obscure, half- 

 forgotten authors, because it passes as a matter of course that he who 

 quotes authors which are so little read, must be completely and tho- 



roughly acquainted with thoae author* which an in eery 



For iiuUnoe, it i* very common to quote 8bak*pax ; but 

 it make* a sort of *tare to quote Maaainger. I bare very little credit 

 for being well acquainted with Virgil ; but if I quote Silioa lUlioaa, I 

 may stand tome chance of being reckoned a gnat acbolar. In abort, 

 whoever wihe to strike out of the great road, aod to make a abort 

 cut to fame, let him neglect Homer, and Virgil, and Horace, and 

 Ariosto, and Milton, and, inatead of these, read and talk of Fracaato- 

 rins, Sannazaritu, Loronzini, Factorial, and the thirty-atx primary 

 ounettoer* of Bettinelli ; let him neglect everything which the 

 auffrage of agea haa made venerable and grand, and dig oat of their 

 grave* a aet of decayed scribbler*, whom the silent verdict of the 

 public ha* fairly condemned to everlaating oblivion. If he complaina 

 of the injustice with which they have been treated, and call for a new 

 trial with loud and importunate clamour, though I am afraid be will 

 not make much progress in the estimation of men of aenae, be will be 

 sure to inako some noise in the crowd, and to be dubbed a man of very 

 curious and extraordinary erudition. Sydney Smith. 



THE BIBLE. 



The Bible is the only book which God ha* ever sent, the only one ha 

 will ever send, into this world. All other book* are frail and transient 

 as time, since they are only the register* of time ; but the Bible ia 

 durable as eternity, for its page* contain the record* of eternity. All 

 other books are weak and imperfect, like their author, man ; but the 

 Bible is a transcript of infinite power and perfection. Every other 

 volume is limited in its usefulness and influence, but the Bible came 

 forth conquering and to conquer, rejoicing a* a giant to run hi* 

 course, and like the sun, " there is nothing hid from the beat thereof." 

 The Bible only, of all the myriads of book* the world baa aeen, M 

 equally important and interesting to mankind. Its tiding*, whether 

 of peace or of war, are the same to the poor, the ignorant and the 

 weak, as to the rich, the wise, and the powerful. The Bible indeed ia 

 the only universal classic, the classic of all mankind, of every age and 

 country, of time and eternity. Grimki. 



GEOMETRICAL PERSPECTIVE. XIV. 

 IN Problem XXXIX., page 24, it was stated that the door at the 

 side was at an angle of 40 with the wall upon which it hung, 

 and that the wall was perpendicular with the PP. The rule for 

 finding the VP in this particular case was explained. We wish 

 now to say more upon this part of the subject. It very fre- 

 quently happens that the angle of the given line or object ia 

 stated as being at an angle with another plane, or with another 

 object either parallel or at a right angle with the PP. For 

 example, the wall of a building may retire at an angle of 30 

 with the PP, and some other projection may extend from it at 

 a given angle with this wall, which it can do either from a hori- 

 zontal or a perpendicular connection. We must then know how- 

 to determine its angle with the PP. It is true it is not always 

 necessary to know the angle of the PP for the sake of executing 

 the drawing, as the given angle can be in some cases con- 

 structed upon the vanishing line of the plane with which the 

 projection is connected instead of the PP ; but we cannot pass 

 over this way of stating the question, as many have imagined 

 a difficulty without any substantial reason for doing so. It may 

 be necessary to know the angle the projection makes with our 

 position for reasons altogether independent of the drawing ; it 

 may be to answer the inquiry of an employer ; or the draughts- 

 man, knowing how the parts of a building are placed with each 

 other, may wish to satisfy himself as to the appearance the whole 

 will have when viewed from some particular point. But what 

 is of more immediate importance to us now is, that it opens 

 out a new way to explain the difficulties that arise sometimes 

 from a confusion in the mind respecting the treatment of vanish- 

 ing lines, vanishing planes, and vanishing points, all these being 

 so closely combined in the principles and practice of construction. 

 Thnb, by considering them under every possible connection, we 

 become more familiar with them, and they are more readily 

 comprehended in their details, however numerous they may be, 

 and also when united together as a whole. 



1st. Suppose a retiring wall A forms an angle of 30 with the 

 PP, and there ia a projection from this wail at a right angle 

 with A, the projection will then be at an angle of 60 with the 

 PP, or with our position. 



2nd. Suppose a retiring wall at an angle of 30 forma an angle 

 of 120 with a projecting wall, the projecting wall will also be 

 at an angle of 30 with our position in the opposite direction. 



3rd. Suppose the retiring wall at an angle of 30 with the PP 

 forma an angle of 30 with the projecting wall, the latter will be 

 at an angle of 60"? with the PP (see Fig. 66). We do not saj 



