LESSONS IN GEOGRAPHY. the axis xx' should be called south. Moreover, it might be agreed upon that every distance measured upwards from the axis xx'should be called north latitude, and every distance measured downwards from the axis x x' should be called south latitude; and in like manner, that every distance measured from the point A, to the right or eastward, should be called east longitude, and every distance measured from the point to the left or westward, should be called west longitude. Now this supposi tion is that which has actually been agreed upon; so that in a map of the world upon Mercator's projection, as it is called, the straight line YY' would represent the first meridian or that of Greenwich; and the straight line x x' would represent the equator; also, the point a would represent the point of intersection of this meridian with the equator, which are in fact the two rectangular axes to which all points on the earth's surface are referred, in order that their true positions (geographical positions) may be determined. Accordingly, the point P, fig. 7, would be described as the position of a place in north latitude and east longitude; the point P', that of a place in north latitude and west longitude; the point P", that of a place in south latitude and west longitude; and the point p", that of a place in south latitude and east longitude. If the straight lines x x', and Y Y', which we have supposed to represent the first meridian and the equator, were to become circumferences of circles of the same size, they would then more truly represent the actual rectangular axes which are employed on the surface of the globe. The aspect they would then assume will be understood by reference to fig. 3, in our last Lesson, p. 90, No. 33, here repeated, where the circle PME TPNQS may Fig. 3 repeated. axes. E M R P P 0 S N All points on of the points in question and the two poles p p. In the map referred to, these degrees are marked only at the distance of every 20 degrees, on account of its smallness; in larger maps they are marked at the distance of every 10 degrees; and in larger still, at less distances; the best being those where they are marked at the distance of every single degree; but these, of course, must be of enormous size. The first meridian, that of Greenwich, is known by its being marked with 0 on the map or the equator. On looking at the eastern represent the first meridian, and the circle EOQR the equator, hemisphere, you will see this & marked on the equator, in the their point of intersection E being their origin as rectangular Gulf of Guinea, south of the coast of Guinea in Africa; this is We still call these rectangular axes, because the planes the origin of the rectangular co-ordinates, the first meridian, and On running up the meridian, of the circles cut each other at right angles, and the spherical the equator, and it is to this point that all measurements of angles P EO, PE R on each side of the meridian are right angles, longitude are to be referred. whether taken from the upper or north pole P, or from the passing through this zero point, towards the north pole, you will lower or south pole P; so that we still have four right angles find that it passes through London in the British Isles; this, round the origin E; but these are now spherical right angles, you know, is not strictly the case, the meridian of St. Paul's that is, angles formed by the quadrants or fourth parts of the Church, London, being about 6' or geographical miles west of circumferences of these great circles of the sphere. In order the meridian of Greenwich; but this is so small in ordinary to have a proper view of the rectangular axes on the sphere, we maps, that it is scarcely perceptible, and certainly not markable; should require to be looking at the edge or circumference of the whence the meridians of London and Greenwich are, for circle PEP Q, and not at its plane or surface as in the figure; common purposes, considered the same. then we should see the edge or circumference of the circle Greenwich has been chosen as the first meridian, in preference REO Q cutting the former at right angles, and both exhibiting at to that of London, because Greenwich is the site of the Royal a distance the same appearance as the lines x x' and Y Y' in fig. 7. Observatory. Accordingly, all meridians which cross the equaIn this view, the point & being the origin of the axes, all points tor to the right of that of Greenwich, are said to be meridians of on the surface of the sphere included between the semicircle places in east longitude; and all meridians which cross the EMP8Q and the semicircle E o Q, are said to be in north latitude equator to the left of that of Greenwich, are said to be meriand east longitude; the longitude being measured from E along dians of places in west longitude. For example: if you look the eastern half of the equator EO Q, and the latitude from the at Pekin, in China, on this map, you will find that it lies to the same part of the equator on a meridian passing through any right of the first meridian in the northern half of the eastern hemiAll points on sphere between two meridians which cross the equator, the one of the points in question and the two poles P P. the surface of the sphere included between the semicircle being that which is, or should be, marked at the point of interEMP SQ and the semicircle E R Q, are said to be in north lati ude section 110°; and the other that which is, or should be, marked and west longitude; the longitude being measured from along at the point of intersection 120°; this enables you to guess, by the the western half of the equator E R Q, and the latitude from the vicinity of Pekin to the latter meridian, that its longitude is about same part of the equator on a meridian passing through any|116° east ; now the actual longitude is 116° 26′E. Again, if you The meridian of look at Buenos Ayres, in South America, on the same map, you will find that it lies to the left of the first meridian in the southern half of the western hemisphere, between two meridians which cross the equator, the one being that which is, or should oe, marked at the point of intersection 50°, and the other that which is, or should be, marked at the point of intersection 60°; this enables you to guess, by the vicinity of Buenos Ayres to the latter meridian, that its longitude is about 58° west; now the actual longitude is 58° 25′ W. We further request that the students of Cassell's Euclid, who are really and truly desirous of making progress in Geometry under our tuition, will send their solutions of the exercises in said edition, addressed to Professor Wallace, to the above address as soon as possible, in order that they may receive the approbation due to them, by their names being honourably men tioned, when the solutions are given in the Lectures on Euclid, according as the propositions to which they belong successively appear in the POPULAR EDUCATOR. Those who desire the answers to the questions in Cassell's drithmetic, will expedite their publication by sending the solutions to such as they have already calculated as soon as possible. Their names will also be honourably mentioned in the POPULAR EDUCATOR. from the L. U. Calendar, whether he can go up to the University of London A. H. E. will be able to judge for himself, by the extracts we have made for Matriculation. Thanks for his suggestions.-X. Y. Z. (Dudley) will find an answer to his inquiry in the same extracts.-NEWCASTLE: Cassell's History of England, price 3s. 6d.-E. D. (Pontypool): The rule for the gow): We would hardly advise any addition to, or cessation from, his octagon is not correct, on the supposition that it is regular.-J. V. C. (Glasstudies. The dictionary he mentions (Young's) may do for a little. The maps should be pasted in their proper places according to directions to be given to the binder, when the volume is completed.-JAMES TATLOY Aberuthven): Mr. Lover, Glasgow, and Mr. Menzies of Edinburgh, will gladly furnish you with any work issued from our office. MUSIC.-WILLIAM HAMILTON (Glasgow): We are obliged by his polite and a list of his publications. It is a noble collection of cheap music for the people.-S. A. R. (Ravenfield): Every member of your class can obtain a modulator for a penny by purchasing the number of the EDUCATOR in which it is printed. A large one for class purposes is published by Ward and Co., answer the following questions for our correspondents? Will there be any for one shilling and fourpence.-STOURBRIDGE and WHITLEY: Can any one difference in the sound of a pianoforte (flat, table-shaped) if the top has been split, but well fastened together again with iron bands, and glued! Give a rule to get the length of organ pipes having certain different diame valve? The relative length of pipes between the octaves would be in the ters, but sounding the same note! A description of Barker's pneumatic same proportion as the string of the monochord.-T. S. C. (Chudleigh): When pianofortes and organs are tuned, in every key, perfectly, according to the proper divisions of the monochord, then there will be nothing of what tuners call" wolf." Such instruments would, at present, be very expensive because of the number of pipes or strings required. But might not some of the money now lavished on ornament be better spent in obtaining correct tune?-T. BAINES (Bury): We do intend to introduce all the clefs, as he expects-JOHN STOCKING: What is the best deal for the belly of a violin! Does it make any difference whether the back is in one or two pieces? Can any friend answer him ?-A PERSEVERING SINGER: Be content to listen while your voice is breaking.-A MUSICAL REFORMER: We shall be happy to see, and will promise to re-examine, the last edition of the " Sequential System."-T. HART should not ask us questions which he can answer i himself by careful perusal of our Lessons, neither should he "suppose" with out a reason.-PETER SIMPLE'S questions we cannot answer. On the first meridian, the degrees of latitude are not marked; but they are marked, in the map of the world, on the circle which surrounds each hemisphere. On this circle, the points of its intersection with the equator are marked 0, to show that latitude begins to be reckoned from these points. Each of the four quadrants (or, fourth parts) of these circles is marked with degrees from 0 to 90° reckoned from the equator to the poles. In the map referred to, these degrees are marked only at the distance of every 10 degrees, on account of its smallness; in larger maps, they are marked at less distances; and the best are those in which they are marked at the distance of every single degree; but these, of course, must be of very great size. In the same map, circles are made to pass through the corre-ness in sending us a set of his new "Penny Series of Glees and Choruses," sponding points on the upper or northern quadrants of the outer or surrounding circle of each hemisphere, and of the upper or northern half of the middle straight line extending from pole to pole, at the distance of every 10 degrees; these upper quadrants, and this upper half, actually denoting the northern portions of meridians passing respectively through the points of the equator marked longitude 20° W., longitude 160° E., and longitude 70° E. These circles, which on the globe are parallel to the equator, are, from the nature of the projection employed in this map, not actually parallel to that line or to each other, being drawn from different centres; but they are still called parallels of latitude, and are used to enable us to determine the latitude of any place on the map. Similar parallels of latitude are drawn through the corresponding points on the lower or southern quadrants of the outer or surrounding circle of each hemisphere, in the same manner, and for the same purpose. For example: if you look at Pekin, in China, on this map, you will see that it lies between the equator and the north pole in the eastern hemisphere, and close to the parallel of latitude marked 40° at each side of the map; this enables you to guess that the latitude of Pekin is nearly 40° north; now the actual latitude is 39° 54' N. Again, if you look at Buenos Ayres, in South America, on the same map, you will find that it lies between the equator and the south pole in the western hemisphere, and nearly in the middle between the parallels of latitude marked 30o and 409 at each side of the map; this enables you to guess be published on the 1st of January, 1833, price Is. This work will conTHE ALTAR OF THE HOUSEHOLD; or, DOMESTIC WORSHIP. Part I. that the latitude of Buenos Ayres is nearly 35° south; now the tain a Series of Services for the Family, adapted for every morning and even actual latitude is 349 36 S. Having thus shown how to find ing throughout the year, viz., portions of Scripture, Prayers and Thanks. separately the latitude and longitude of any place on the sur-givings, suitably adapted to each other, to which will be added short prac face of the globe by means of the circles and lines drawn in the tical comments to explain the subjects read, or enforce the duties enjoined. This work will be edited by the Rev. Dr. Harris, Principal of New College, map of the world, it is easy for the student to combine these, assisted by a band of eminent divines in London and the country. and thus to determine the actual position of any place on the surface of the globe. Thus, we have found that the city of Pekin, in China, is situated in lat. 399 54 N., and long. 1160 26 E.; and that the city of Buenos Ayres is situated in lat. 34° 36° S., and long. 58° 25′ W. ANSWERS TO CORRESPONDENTS. We particularly request our correspondents to say all that they have to say le sheet of paper, and to give their real names (which will be If they desire it, and their aurumed names, as well as their places on the same sheet, in order to prevent numerous maskas, misunderstandings; if this be done, then the envipes may ide, and the single sheet will alone occupy our attention. Our we have said before, ister of the Popular Burator, arage-gard, Ludgate-ball, London," and we request this to be top of the same sheet of paper. ERRATUM. No. 31, p. 71, col. 1, last line, before four insert more than. LITERARY NOTICES. THE SELF AND CLASS EXAMINER IN EUCLID, containing the Enuncia tiens of all the Propositions and Corollaries in Cassell's Edition, for the use of Colleges, Schools, and Private Students, will be published in a few days, price 3d. CASSELL'S ELEMENTS OF ARITHMETIC, Is. paper cover; Is. 6d. neatly bound in cloth. THE ANSWERS TO ALL THE QUESTIONS IN CASSELL'S ARITHMETIC, for work in their classes, is preparing for publication. the use of Private Students, and of Teachers and Professors who use this Price 1s, beautifully printed, super-royal 8vo., THE UNCLE TOM'S CABIN ALMANACK; or, THE ABOLITIONIST that has hitherto been polished. Everybody who has read " Uncle Tom's MEMENTO FOR 1853-The most complete work on the question of slavery Cabin should possess themselves of a copy of this book, which more that veriges all the statements in Mrs. Stowe's thrilling narrative. This work is splendidly Illustrated by George Cruikshank, Esq.; J. Gilbert, Esq.; W Harvey, Esq.; H. K. Browne, Esq.("Phis"); and other eminent artists; and contains upwards of 70 pages super-royal-Svo, replete with the most stirring incodents-Lives of Escaped Negroes; the Workings of the Fugitive Slave Law: Anecdotes, Narratives, and Historical and Descriptive Accounts of American Slavery. The sale already is very large, nearly 20,000 copies having been disposed of in a fortnight ILLUSTRATED EXHIBITOR ALMANACK, Thirty splendid Engravings, 6d. POPULAR EDUCATOR ALMANACK, Notices and Essays on Education, 2d. TEMPERANCE ALMANACK, Tale by the Authoress of Uncle Tom, &c., d. PROTESTANT DISSENTERS' ALMANACK, With new Historical Notices, &c. 6d. Printed and Fublished by JOHN CASSELL, La Belle Sauvage Yard, LudgateMill, London-Desember 4, 1852. LESSONS IN DRAWING.- No. I. INTRODUCTORY CHAPTER. In order to assist our pupils in obtaining some elementary notions relating to form, to colour, and to light and shade, as well as to natural perspective in Drawing, we shall suppose, as a first lesson, that you take up some object, such as a closed book, and that you place it before you in various positions, in order to observe the effect which is produced upon the eye in each of these positions. Three things will particularly attract your attention, when you look at the book in any given position: first, its FORM; then, its COLOUR; and next, its CHIARO-SCURO, or LIGHT AND SHADE. When you have carefully considered and understood the appearance of the book in these particulars, you will be able to make a Drawing of it. If you have never been accustomed to use a pencil, or make a sketch of any object before, your first attempt may not please yourself, or, indeed, any one else; but a first attempt must be made; a second may be more successful; and a third, the most successful of all. It is frequently asserted that the art of Drawing, like that of writing poetry, is a natural gift; and that unless you possess this, you never can excel. It may be true that, to rise to the highest eminence in any science or art, requires a peculiar bent of the mind; but to acquire a useful practical knowledge of the art of Drawing, it is by no means necessary that every one should be a genius. With regard to the sister arts-poetry and painting-it may be truly said, in regard to their elements, at leas, that every man is endowed with some ability for their acquisition and their application. Every one, for instance, is poetical when he speaks on a subject with which he is well acquainted, or in which he is deeply interested; and, in like manner, every one is an artist, who is ready to make a sketch or a Drawing of any object, which he wishes to explain to another, when he finds that language fails to convey his ideas. The art of Drawing, therefore, may be attained to a sufficient extent for practical purposes by every one who exerts the necessary attention and assiduity. The artisan, the tradesman, or the connoisseur, may, by the use of a few well-directed strokes of the pencil, convey an idea of his plans, operations, and views in relation to artistic productions, of which the most laboured and elegant composition, consisting of many hundred words, would fail to convey the slightest impression to the mind of the hearer or the reader. But to return to our example already suggested. Let the pupil take up the book before mentioned, and hold it in a horizontal position on the palm of the right hand-that is, flat, as it would lie on a table; then raise it in this position to the height or level of the chin, with one end towards you, and at the distance of about twelve inches from the face; then, if the front or fore-edge of the book be turned to the right, it will present the appearance represented in fig. 1. Fig. 1. Fig. 2. of the book be turned to the left, it will appear as represented in fig. 2. And, if the hand be held in the same position, but the farther end of the book be turned to the right, it will exhibit the appearance represented in fig. 3. Fig. 3. In these different positions, you see how remarkably the appearance changes, and still it is the same book. One thing, however, cannot escape your observation, and it is this: that the two ends of the book, especially in the view represented in fig. 1, appear to be of different lengths, although they be in reality of the same length, that end which is farthest from you appearing to be the smaller. Now this is according to a law of nature, the law of perspective, by which all bodies at great distances appear less than the same bodies at small distances, and that in proportion to the greatness of the distance. Every one must have noticed the regular appearance and gradation of the effects of this law, when looking down an avenue, where the trees at the farther end appear almost to approach each other, although you know that they are exactly at the same distance as those at the near end, see fig. 4; or, when looking alongside of a wall of uniform height, and of a considerable length, the top and the bottom of the wall seem to approach each other in the distance. Fig. 4. There are positions in which you may look at the book and. not perceive any difference in the apparent lengths of the two ends, viz., when you look down at it from a point directly over the middle of the side, or when you look up at it from a point directly under the same; also, when you hold the side of the book facing you, and look at it from any convenient distance. Generally speaking, however, the appearance of the book, and of the dimensions of its different parts, will vary with its position; so that, as the position changes, the appearance changes. A complete knowledge of the laws which regulate these appearances, will enable you to give a true representation of them on paper or canvass; and these laws are known under the name of the principles of perspective. It is plain, from what we have said, that these principles are not arbitrary, and that they are not mere matters of choice or of human invention. They are discoverable in all the appearances of nature; and, indeed, until the principles of perspective were well understood, natural appearances were not well understood; and, consequently, the art of drawing was not well understood. It is true that there have been men who possessed great natural powers of observation,-men who could draw well before perspective If the hand be held in the same position, but the farther end was fully understood,-and among these there have been some of the greatest men, such as Leonardo da Vinci; but it is equally true that the principles of drawing were not sufficiently well understood to admit of a popular explanation to any man of ordinary comprehension. This has at length been accomplished; and men in general may now be taught the art of drawing as easily as the arts of reading and writing. In reference to FORM, then, the first of our three elements in Drawing, the appearances of objects are very variable; but we must endeavour to apprehend these appearances, and to represent them in every possible change of position. For example: suppose that you place any round or circular object before you say a dinner-plate; if you look directly at the face or back of the plate, it will appear in the form of a circle, as in the first diagram in fig. 5. If you look at the plate sideways, that is, Fig. 5. OL with it other straight lines or curve lines at pleasure, you the possess the power of drawing the outline of any object whatever; that is, you are then able to draw in outline. Perseverance will give this desirable power to any one; and the only sure method of attaining it is by careful and constant practice. Tracing outlines against a glass window, or employing any such idle schemes, are mere delusions; these must be never thought of if you wish to learn to draw. Sketching at random is equally useless, and must also be avoided, as it will give you bad habits of hand, difficult to overcome if once confirmed. As a first lesson, then, in outline, try your hand at drawing a straight horizontal line, as a b, in fig. 6. a Fig. 6. If you have had no previous exercise on this simplest of all simple figures, you will probably make a crooked line; perhaps you will make your line higher at one end than at the other, and not horizontal, or, perhaps, you may make a flat, irregular curve. Something will depend on the position of the right arm. In drawing a horizontal line keep your elbow rather close to your side at starting, and you will find it easier to do. In drawing a perpendicular line, you will find it better to give the elbow more play. When you look at a broken-down gate with the two posts only remaining, but both of the same height, a horizontal line is as clearly indicated by the tops of these posts as if a line were stretched across to show it, or a straight piece of timber laid from post to post. Make, then, Fig. 7. with the edge towards you, it will present the appearance shown in the second diagram, fig. 5, similar to that of a straight piece of wood partly cut away at the two ends. The third and fourth diagrams exhibit two other positions in which the same object may be viewed, but neither of which present the appearance of a circle, although the object be really of that form. The lessons on perspective will enable you to acquire a know two points on your paper, as if you were marking out the places of the tops of the posts, thus : Now join these by a straight line, proceeding steadily from left to right. If you do not find this easy at first, practice it Fig. 8. ledge of the laws which regulate the various appearances | until you do; and you will then be master of a movement exhibited by curvilinear forms. We now call your attention to the subject of outline. If you do not know what outline means, take the following as a definition: outline is a tracing which goes closely round any object or figure, touching it at all points of its course. You will obtain a clear idea of outline, by imagining a wire bent round the outside of any figure, so as to hit it close in every part, and to lie in a horizontal position when removed; that is, if you lay this bent wire upon a flat surface, you will have an outline of the figure in question. If you think for a moment, you will perceive that whatever may be the form of an object, its outline will be composed either of straight lines, or of curved lines, or of some combination of straight and curved lines. It is not possible to imagine a line which shall not belong to one of these three kinds. It follows, therefore, that if you can form a straight line of any length, and give it any direction you please, and if you can combine which lies at the foundation of drawing. It is held as a principle among geometers, that when two points are given, the straight line joining them is also given. Draw straight lines in every direction, first marking out their extreme points, and con tinue this exercise until you have fully mastered it (see fig. 7). Then try your hand at drawing three or more lines as in nig. 8, always beginning by marking the points; and learn to draw these lines in all directions. At first you will find it most easy to begin at the top, and draw towards the left hand; but you must practise this lesson until you can draw them in any direction, beginning either at the right or the left, at the top of at the bottom. Do not think this exercise too simple; you will find that in learning to draw lines in this way you will make greater advances towards command of hand than if you had spent thrice the time in copying lines or drawing them without system. Command of hand includes precision and accuracy, and excludes all looseness of habit in drawing. The size of the page precludes the insertion of examples on so large a scale as could be desired; but you may make these lines as long as you please, say from six inches to a foot in length. You may even proceed to the drawing of straight lines longer and longer, until you are able to join points a yard asunder; the points in all cases showing you where to begin, where you are going to, and where you are to stop. now to be lying on a table in a clear light, and that its colour is scarlet. Remove it to a dark part of the room; put a red-brown book on the table in the place whence you took the former; and you will then see that the scarlet book, in its dark place, approaches the appearance of the red-brown book in the light place. If it had been a blue book, it would have approached to a purple in colour or perhaps to a black or dark grey, according to the original shade of blue. If it had been of a yellow colour, it would then have looked in dark place as if grey had been mixed with it. From these considerations, then, we infer that cOLOUR is subject to modifications as well as FORM. Lastly, as to CHIARO-SCURO, or LIGHTAND-SHADE, attend to the following considerations. I need scarcely tell you that if you turn the back of the book away from the light, the lettering adgilding on the back, if there be any, will become obscure and illegible. The smaller quantity of light causes the different colours to appear more of one tone, that is, more alike in appearance. The obscurity has diminished the contrast which made them formerly so distinct. Next, open the book, and you will find that, according as you allow the light to fall upon it, either directly or from the left hand or the right, so you will have both pages of the book enlightened, or one light and the other dark. As appearances of this kind come under the observation of every one, it would seem too simple and obvious to require much discussion; but, from the consideration of a number of such simple examples, you may draw this general conclusion, that none of the true principles of art are arbitrary or conventional, Fig. 11. For these exercises it is not always necessary to use paper. A large slate will do equally well; or, what is better still, a black-board with a piece of chalk; you may even draw them against a smooth wall. If you use paper, almost any sort will do, as it would involve needless expense to use a high-priced article. The paper you employ for drawing should be fastened down upon a board-drawing pins are used for this purpose; these are generally made with flat brass heads about the size of a threepenny piece, and a short steel point for fixing in the wood; when these are not easily to be had, common tacks may be used; or, instead of either, each corner of the paper may be fastened to the board by a little sealing-wax. When you sit down to draw, place your feet right before you, and take care not to fall into any lounging, awkward, or cramped position. There are some excellent remarks on this head in the first Lesson in Penmanship, page 31, in this volume, which you will do well to read. Some of the antics there mentioned I will not suppose you to be guilty of, they are too silly; nevertheless, read the article. A desk is a very suitable apparatus for drawing on; but if you place your drawing board on a table, it is easy to give it a slope by putting something under it. If you use a black-lead pencil, do not cut it all on one side nor hack it as represented in fig. 9. but cut it with a sharp knife in Fig. 9. but are all capable of explanation by referring to natural appearances. To these they owe their origin, and the laws which regulate them are as constant as all the other laws of nature. The rules for practice in the art of drawing, as in any other art, are good only when they are founded on some natural facts, the cause of the natural phenomena. The rule, for instance, which recommends you to keep your elbow towards your side, in beginning to draw a horizontal line, arises from the construction of the bones of the arm at the elbow joint. Thus we see that art is not artificial in any disparaging sense of the word; an even and proper manner, as represented in fig. 10, taking care it has its root in nature, and its smallest twigs and branches, Fig. 10. not to cut away so much of the wood as to leave the black-lead without support, for then it is very liable to break. Use no Indian rubber in these early exercises, but let your bad lines remain; they will serve afterwards to shew you what improvement you have made. Hold your pencil generally as you hold a pen. The necessity of making your lines longer, and in greater variety than is usual in writing, will cause you to move your hand and arm more freely; but do not aim at mere quickness, this will be acquired in due time. When you can make good lines, you may make them as quickly as you please. If you have a ruler or a pair of compasses in your possession, do not use them at first; put them away till you have acquired hand-practice. Let us again return to the example of the book. Suppose it when carefully examined, show whence they derive their origin and vitality. We have now only entered upon our subject, we have just opened a door and glanced within. If our pupils will patiently follow us,-stopping when bid, and doing what they are told,they will ultimately be admitted into places in the temple of art, where they will receive both pleasure and profit. Let any ingenious artisan who reads this article, or any youth who is fond of chalking upon a wall, or of scrawling uncouth figures on his slate, only resolve to follow and carefully obey our instructions, and we shall soon have the gratification of knowing that his faculties are becoming enlarged, and, consequently, his enjoyments increased. The refined and cultivated classes have for a long time possessed an apparent monopoly of these enjoy. ments; but this arises from their being refined and cultivated by these means. The gate of knowledge is now thrown open; let us then urge all the students of the POPULAR EDUCATOR to enter by degrees, trusting that, before long, they will manifest such progress in all the arts and sciences, as will enable us to add their names to the daily increasing number of those who are qualified to receive that exalted pleasure which a refined |