7. 415739 farthings to pounds, and to yards. shillings, etc.

8. 67256 farthings toguineas, etc. 9. £36 4s. to sixpences and to groats.

10. £75 12s. 6d. to threepences. 11. 29 lbs. 7 oz. 3 dwts. to grains. 12. 37 lbs. 6 oz. to pennyweights. 13. 175 lbs. 4 oz. 5 dwts. 7 grs. to grains.

14. 12256 grs. to pennyweights, ounces, etc.

15. 42672 dwts. to ounces and pounds.

16. 15 cwt. 3 qrs. 21 lbs.to pounds. 17. 17 tons 12 cwt. 2 qrs, to ounces.

18. 52 tons 3 cwt, 1 qr. 25 lbs. to pounds.

19. 140 tons 17 cwt. 3 qrs. 27 lbs.

to drams.

55, 5623480 seconds to days, etc. 56. A solar year to seconds. 57. 30 Julian years to seconds. 58. The time from 9 o'clock a.m. Jan. 2, to 11 p.m. March 1, 1868, to seconds.

59. 110 days 20 minutes to seconds.

60. 27 degrees to seconds. 61. 7654314 seconds to degrees, etc.

62. 1,000,000,000 minutes to right angles, degrees, etc.

63. 1728 sq. rods 23 sq. yds. 5 sq. ft. to square feet.

64. 100 acres 37 sq. rods to square feet and to square inches.

65. 832590 sq. rods to square inches.

66. 25363896 sq. feet to acres, etc.

67. 150 cubic feet to cubic inches. 68. 97 cubic yards 15 cubic feet to cubic inches.

69. 49 cubic yds. 23 cubic ft. to cubic inches.

83. How many acres in a field 50 rods long by 45 wide?

84. How many sq. yds. in a ceil ing 35 feet long by 28 wide?

85. How many acres in a field 420 rods long and 170 wide? 86. Find the area of a field 80 rods square.

87. How many yards of carpet. ing, yard wide, will cover a room 18 feet square?

88. How many yards of painting will cover the four walls of a room 18 feet long, 15 feet wide, and 9 feet high?

89. Find the area of a pitched roof whose rafters are 20 feet and ridge-pole 25 feet long.

90. How many cubic feet in a box 5 feet long, 4 wide, and 3 deep?

91. How many cubic inches in a block 65 inches long, 42 wide, and 36 thick ?

92. In 10752 cubic feet how many imperial bushels ?

93. In 1155 cubic feet 33 inches

70. 84673 cubic inches to cubic how many imperial gallons? feet.

71. 39216 cubic feet to cubic yards.

72. 65 Loads of rough timber to cubic inches.

94. How many bushels in a bin 5 feet long, 5 wide, and 4 deep?

95. How many cubic feet in a 100 bushel bin ?

73. 4532100 cubic inches to tons ing of hewn timber.

74. 700 lbs. of silver to pounds,

etc., avoirdupois.

96. How many yards of carpetyard wide will cover a room

25 feet long and 18 feet wide?

97. How many cubic inches in a mass of earth 40 yards long, 5

75. 840 lbs. 6 oz. 10 dwts. to yards wide, and 3 yards deep? pounds, etc., avoirdupois.

etc., avoirdupois.
76. 1000 lbs. Troy to pounds,

77. 1500 lbs. Troy to pounds, etc., avoirdupois.

78. 48 lbs. avoirdupois to pounds, etc., Troy.

79. 100 lbs. 10 oz. avoirdupois to pounds, etc., Troy.

80. 5656 carats to pounds, etc., avoirdupois.

81. How many sq. yds. in a room 4 yards long and 3 wide?

82. How many sq. ft. in a floor

to inches.

40. 12256 pints to barrels of 30 gallons.

41. 475262 quarterns to gallons. 42. 50 tuns of 250 gallons each to pints.

43. 45 pipes of 120 gallons each to pints.

44. 25264 pints to barrels of 30

20. 16256 oz. to hundredweights, gallons each. etc.

45. 136256 quarts to hogsheads

21. 267235 lbs. to stones, quarters, hundredweights, etc. 22. 563728 drams to tons, pints, pounds, etc.

23. 95 lbs. (apothecaries' weight) to drams.

24. 130 lbs. 7 oz. to scruples and to grains.

25. 6237 drams (apothecaries' weight) to pounds, etc.

26. 25463 scruples to ounces, pounds, etc.

27. 27 miles to yards, to feet, and to inches,

of 63 gallons each. 46. 45 hogsheads 10 gallons to 47. 15 bushels 1 peck to quarts. 48. 763 bushels 3 pecks to quarts. 49. 56 quarters 5 bushels to pints. 50. 45672 quarts to bushels, etc. 51. 260200 pints to quarts, pecks, etc.

52. 25 days 6 hours to minutes, and also to seconds. 53, 365 days 6 hours to seconds. 54. 847125 minutes to weeks, etc., and to days, etc.

98. Reduce 93756 cubic yards to inches.

99. How many pieces of paper 12 yards long, and 2 feet 3 inches wide, will it take to cover a room 20 feet long, 16 feet wide, and 13 feet high, allowing for 3 doorways, each measuring 8 feet by 3 feet 9 inches?

100. The moon is about 245,000 miles from the earth: if it were possible to go there in a balloon, how many days would it take to accomplish the journey, moving at the rate of 12 miles per hour?

LESSONS IN DRAWING.-XIV. WINTER, as we have said before, is the best time for studying the ramifications of trees; close observation at that period of the year is very necessary, and much profitable information may be gained. A country walk, if only to the extent of a mile, will afford abundant material for observation; the mind may then be exercised in comparing one tree with another, for by comparison only will their characteristic differences be made apparent, and facts will be revealed which the mind can store up for future use. To employ the pencil only in noting down the forms and growth of trees would be of little service, unless the mind is doing more than the pencil can perform. There are innumerable peculiarities and points of difference which distinguish trees, and enable us to recognise them independently of their foliage, and close observation will make that easy which at first sight might seem to be difficult; for although we advise the pupil to make good use of his pencil whenever he is engaged in studying trees divested of their leaves, yet we must at the same time remind him that it will be more to his advantage to reflect without drawing than to draw without reflecting.

From the observations we have made, it will be understood that we fully intend the pupil should take Nature for his guide, yet we can assist him in this part of his study by introducing some examples, which he must copy as well as compare. Copying will not only be a practical benefit, but also a means for establishing in his own mind the facts and principles we have endeavoured to make clear to him. Let him compare the outline of the oak (Fig. 98) in the last lesson with the lime (Fig. 100). His attention must also be given to the bark, which in some trees

the oak and willow, for example-is hard and rough, while in the beech and birch it is smooth. The straight parts of the branches of some trees are short, from their slow growth, while others that increase more rapidly shoot forth their stems in one direction to a greater extent. The smaller twigs and shoots of some, like the birch, are very slender, numerous, and drooping; the horsechestnut has fewer shoots, but they are thicker, and grow upwards. Much more might be added to our consideration of this important subject, but we think enough has been said to point out the way, trusting our pupils will perfectly comprehend our intention by these remarks, and be prepared to accompany us in the consideration of foliage.

In our last lesson we mentioned that, in drawing foliage, the mode of treatment must in a very great measure be influenced by the light and shade. We propose now to proceed with this interesting part

of our subject, and show what is meant by the term "massing in the foliage." There are some who think that it is necessary to have for each kind of treesome distinct and especial touch, classifying them as "the oak touch,' "the elm touch," "the beech touch," and numerous others, regardless of the fact that as the sun casts its light upon a tree it brings out the shape and individual character of its branches so definitely that even at a considerable distance, when it would be impossible to recognise the leaves, we can pronounce the tree to be an oak, or elm, or whatever else it may be, simply from the manner in which, as an artist would say, "the sun lights it up." The most important consideration in drawing a tree is

to devote much attention to the light, and the parts that are made out in light. There are two reasons why the lights are considered to have such special importance (this principle belongs not to trees only, but to every other object that claims the attention of the painter): the first is, because the details are more recognisable in the light than in the shade, and require particular care to represent them faithfully, for without the details in light there would be very little to show for our pains, as the shadows to a 1 great extent absorb or obscure not only the colour but also the form; the other reason is, that the eye naturally rests upon the lights and all the brighter parts first-afterwards, when we make a further and closer examination, we see the parts in shadow. Nor must we enter into laborious and painful detail, as in the practice of mere leaf-painting. As we have said before, we do not look at leaves singly, but at foliage collectively; therefore those branches of a tree, let its kind be what it may, which are!

V

in the light, will have their own especial forms in mass to characterise them, and it is those forms in masses which we must copy. But lest our pupil should suppose from these remarks upon generalising foliage that we intend him to stop here, and to represent nothing more than the breadth of light and shade, we must remind him of what has been said above respecting the details in light; we must remember also that, however broadly and definitely the light may fall upon a tree, since it is not a flat surface like a wall, there will be hundreds of minor shadows and semi-tones scattered all over the extent of light, and there is as much individuality amongst these as in the whole mass, and their characteristics in detail are not less striking and significant because they are small: in short, they are reduced repetitions of the general masses of light, and must be treated with the same feeling if we wish to make a faithful represen

tation. Here again is the point of difference between a first-rate and an inferior artist, mentioned in a former lesson- namely, the ability he possesses to represent the minor shades and semi-tones, both in regard to their number and expression, and his capability doing this will determine

for

his

rank as an artist. Sir Joshua Reynolds mentions

a landscape painter who was remarkable for his patience in what he considered "high finish," and thought that the greatest excellence to be attained consisted in the represen tation of every leaf on a tree. "This picture," says Sir Joshus, "I never 83W; but I am very sure that an artist who regards only the general character of the species, the order of the branches,

and the masses of the foliage, will in a few minutes produce a more true resemblance of trees than this painter in as many months." We must dwell for a few moments upon the principles here inculcated, and explain by what means a painter obtains the enviable power of making a faithful resemblance with comparatively slight labour: it is because he adopts the excellent practice of making separate studies of details, such as branches, trunks, stems, weeds, and foregrounds-in short, everything that may be deemed worthy of note. It is this method of copying parts of objects with close accuracy that gives him the power of representing them generally and yet faithfully, with the natural effect which they bear to one another as a whole. An eminent English landscape painter, whose manner was as remarkable for its freedom of execution as it was for the truthfulness of its results, once remarked to us:"The secret of my success is in having bestowed much time

upon the close examination of the anatomy of trees; how their branches spring from the trunks; the forms of their leaves, and the manner in which they grow or cluster in masses from the stems." When such labour and painstaking as this is the rule, we need not wonder at a successful result.

Having said thus much upon the theoretical part of our subject, we will now turn to the practical. We advise our pupils to make a drawing of Fig. 101, leaves of the lime tree, with an H B pencil. He must first make the arrangement of the whole of the stems, and then proceed with the leaves, beginning where the two stems join, arranging every leaf in succession, without passing over any, to the end, then faint the arrangement, and draw carefully every particular: it will be much better at first to make an enlarged drawing, say double the size; do the same also with Fig. 102. Fig. 103, the cluster of leaves, will require more time and attention, which must be especially bestowed on the lights and shadows. The pupil will observe five or six leaves upon the dark mass in the centre of the branch; and here we will particu larly advise him not to begin the shading until the outline is completed, adding, that this should

be a rule under all circumstances; therefore after the outline has been carefully made, he must tone down, that is, draw even and close lines over the part in shade up to the outline of the leaves, and further, to make the tint even, he may cross the lines with others similar to the flat tint (Fig. 82, Lesson XII.). He must be careful to go nearly up to the edges of the leaves, as they will come out very forcibly against the dark ground; an H B pencil will make this tint sufficiently dark, as all blackness must be

avoided. Here again we must introduce another caution respect ing the treatment of shadows amongst foliage-namely, never make the interior shadows too dark; a moderate, clear, and yet decisive tone will be enough, because there must be in all cases, but especially with regard to trees, sufficient opportunities left for marking in more forcibly any form which may be remarked in the shadows, observing that the making out details in shadows cannot be carried to the extent of making out details in the lights. Trees, as we have previously said, are not flat like walls, but their branches and leaves project and recede indefinitely, and consequently those leaves which come out nearer to the light will require a different tone to those which are in shadow; the pupil's own observation must be his guide in this matter as to which leaves must receive the minor tones and the depth of tint to be laid upon them. In Fig. 103 the light falls upon the right side, where less shading is required, but the whole of the leaves to the left, away from the light, must be toned down, though not to the extent of the deep shadow in the middle and interior of the branch. Fig. 100 we recommend should be copied double the size, and according to our old principle of

marking in. We were once asked by a pupil, "When shall I leave off marking in ?" We replied, never; it is not desirable that you should ever leave off the practice, because all who do mark in find that they make progress in drawing, and that it saves time, and produces a more satisfactory result. A young mechanic whom we know, who had very much improved his power of drawing from attending a night class at a Mechanics' Institute, offered himself as a candidate for a situation as draughtsman at a manufactory where drawing was essential. Having obtained it, one of his employers, after a few days, when he had become familiar with his work, brought him three or four subjects to draw for working purposes, telling him at the same time that they would, no doubt, occupy him four days at least: at the same hour on the following day he returned the whole finished. His master was agreeably surprised, and also much pleased with the excellence of the work, and asked him

how he had done it so well and so quickly. He replied:-"I

am very particular in arranging my drawing first, and always make marks to in dicate the course of the outline; the consequence is I have very little rubbing out and alteration, and that

has enabled me to finish the drawing so quickly." Therefore, in copying Fig. 100, note every angle, and the distances between each angle, and do the same respecting the positions of the branches as they grow from the trunk, the direction and inclination of the branches, and their extent, and you cannot fail to make a satisfactory drawing.

The illustrations that accompany the present lesson are representations of the stem, branches, blossom, and leaves of the Tilia Europea,

the European or common lime tree, which is the most valuable of the different varieties of this useful tree. It grows most extensively in the middle and northern parts of Europe, and is very common in England. Its large size, handsome appearance, and profusion of sweet flowers, make it a very general favourite throughout this country and most parts of the Continent, where it is extensively planted in parks and other places of public recreation. Its wood is well adapted for carving, being white, close-grained, and smooth. The carvings at Windsor Castle, those of Trinity College, Cambridge, and those at Chatsworth, are of limewood, as, indeed, are most of the other fine specimens of this branch of art in England. The fibres of the bark, which is tough, form the material of an extensive manufacture of cordage and matting in Russia and Sweden. Many specimens of this tree exist which are remarkable for their great age and size. At Neustadt, in Würtemberg, there is a prodigious lime tree, which adds its name to that of the town, this being called Neustadt an der Linden (Neustadt at the lime tree). The age of this enormous tree is said, probably with some exaggeration, to be one thousand years.

3. The irregular verb valoir [see table, § 62] corresponds in signification to the English expression to be worth.

Cette maison vaut cinq mille That house is worth five thousand francs, francs.

4. Ne rien valoir means to be good for nothing; ne pas valoir grand'chose, to be worth little, not to be good for much.

Ce drap ne vaut rien,
That cloth is good for nothing.
Notre maison ne vaut pas grand'- Our house is not good for much.
chose,

5. Être riche de .. means to be worth, to possess; when a person is the nominative of the verb, valoir is never used in this sense.

Cette personne est riche de cinq That person is worth five thousand

mille piastres,

dollars.

thousand francs.

How much is your uncle worth?

EXERCISE 92.

1. How much is my house worth? 2. It is worth about twenty thousand francs. 3. Is that horse worth as much as this one? 4. This horse is worth two hundred dollars, and that one three hundred. 5. Is it worth the while to write to your brother? 6. It is not worth the while. 7. Is it worth the while to go out when one does not wish to walk? 8. It is not (n'en) worth the while. 9. Does it suit you to write to my brother to-morrow? 10. It does not suit me to write to him. 11. Does it become you to reproach me with my neglect? 12. It becomes me to blame you when you deserve it. 13. What is that man worth? 14. I cannot tell you exactly, about fifty thousand francs. 15. Is that cloth good? 16. No, Sir, it is good for nothing. 17. Is your gun worth as much as mine? 18. Yes, Sir, it is worth more. 19. Will you go to my father's? 20. No, Sir, I have something else to do. 21. Is it better to go to market early than late? 22. It is better to go early. 23. How much may your horse be worth? 24. It is not worth much, it is very old. 25. Is your watch better than mine? 26. It is not worth much, it does not go. 27. Is that book worth two francs? 28. It is worth one, at most. 29. Have you asked sister your what that book is worth? 30. I have not. [Sect. XXIV. 1,2; XLV. 4.] 31. What must I do? 32. You must speak to your father. 33. Must he have money? 34. He must have some. 35. Has he not sold his horse ? 36. He has sold it, but it was not worth much.

SECTION XLIX.-REGIMEN RELATING TO SOME VERBS. 1. When the verbs prendre [4, ir., see § 62], to take; voler, to rob, to steal; acheter, to buy; demander, to ask for; payer. to pay, are followed by one regimen only, or by several regimens in the same relation, these regimens, if nouns, must not be separated from the verb by a preposition; if pronouns, they take the form of the direct regimen, le, la, les.

2. When the verbs above mentioned are accompanied by several regimens holding different relations, the regimen representing the thing or object will be direct, and come under the above rule, and that representing the person will, if a noun, be preceded by the preposition d, and, if a pronoun, assume the form of the indirect regimen-lui, to him, to her; leur, to them. J'ai pris le livre à mon frère, I have taken the book from my brother.

2.

1. Vous sied-il de nous reprocher notre négligence? me sied de vous faire des reproches quand vous le méritez. 3. Vous convient-il d'aller trouver mon frère ? 4. Il ne me convient pas d'aller le trouver, j'ai autre chose à faire. 5. Combien ce champ peut-il valoir? 6. Il peut valoir une vingtaine [§ 27 (2)] de mille francs. 7. Valez-vous mieux que votre frère ? 8. Mon frère vaut beaucoup mieux que moi. 9. Ce couteau ne vaut-il pas plus que le vôtre ? 10. Le mien est meilleur, il vaut davantage. 11. Combien votre montre vaut elle ? 12. Elle ne vaut pas grand chose, elle ne va pas bien. 13. De combien le négociant est-il riche? 14. Je ne puis vous le dire au juste, il est riche d'une centaine de mille francs. 15. Ne vaut-il pas mieux rester ici que d'aller au marché? -16. Il vaut mieux aller au marché. 17. Votre chaîne d'or vautelle plus que la mienne? 18. Elle vaut tout autant. 19. Elle ne vaut pas grand'chose, elle est cassée. 20. Cela vaut-il cinquante francs? 21. Cela vaut tout au plus deux francs. 22. Avez-vous demandé au marchand ce que cela vaut? 23. Je ne le lui pas demandé. 24. Il m'assure que cela vaut une centaine de francs.

Je le lui ai payé, etc.,

I have paid the bookseller for the book.

I have paid him for it.

3. Demander is used also in the sense of to inquire for, to

Has any one stolen your books from you?

They have been stolen from me. Has the shoemaker been paid for the shoes?

On ne les lui a pas encore payés. He has not been paid for them.
Qu'a-t-on pris à votre père ? What has been taken from your father!
On lui a pris son argent.
His money has been taken from ms.
Ne vous a-t-on rien payé ?
Has nothing been paid you?
On m'a payé presque tout.
I have been paid almost all.
J'ai acheté des livres nu libraire. I bought books from the bookseller.
Qui avez-vous demandé ?
Whom have you asked for?
J'ai demandé mon frère aîné. I inquired for my eldest brother.
Avez-vous demandé de l'argent à Have you asked your friend for
votre ami?
money?

Je ne connais pas celui qui me les a pris, mais je sais qu'il demeure ici. 5. Avez-vous demandé vos livres? 6. Je les ai demandés à mon cousin. 7. Vous les a-t-il rendus? 8. Il me les a payés. 9. Vous a-t-on volé beaucoup de fruit cette année? 10. On m'a volé des légumes, mais on ne m'a point volé de fruit. 11. Avez-vous payé votre chapeau au paysan? 12. Je ne le lui ai pas payé, je l'ai payé au chapelier. 13. À qui avez-vous demandé des renseignements? 14. J'en ai demandé au voyageur. 15. Savez-vous qui vient de frapper à la porte? 16. C'est M. L., qui vous demande. 17. Qui avez-vous demandé? 19. Votre frère a-t-il payé toutes ses dettes ? 20. Il ne les a pas encore payées, parce qu'il n'a pas reçu ses revenus. 21. Lui avez-vous payé ce que vous lui avez acheté? 22. Je le lui ai payé. 23. Ne leur avez-vous pas payé votre loyer? 24. Je le leur ai payé. 25. Ils nous ont payé notre maison.

18. J'ai demandé votre frère.

EXERCISE 94.

1. Have you paid your landlord? 2. I have paid him my rent. 3. Have you paid him for the windows which you have broken ? 4. I have paid him for them. 5. Has the hatter paid for all his hats? 6. He has not paid for them, he has bought them on credit (à crédit). 7. Do you pay what you owe every day? 8. I pay my butcher every week. 9. Have you paid him for his meat? 10. I have paid him for it. 11. For whom did you inquire this morning? 12. I inquired for your brother. 13. Why did you not inquire for my father? 14. I know that your father is in England. 15. Has the hatter been paid for his hats? 16. He has been paid for them. 17. Has your money been taken from you? 18. My hat has been stolen from me. 19. Have you asked your brother for your money? 20. I have asked him for it, but he cannot return it to me. 21. Has he no money ? 22. He has just paid all his debts, and he has no money left (de reste). 23. Have you asked your father for money? 24. I have not asked him for any, I know that he has none. 25. From what bookseller have you bought your books? 26. I bought them from your bookseller. 27. Are you wrong to pay your debts? 28. I am right to pay them. 29. Who is inquiring for me? 30. The physician is inquiring for you. 31. Who knocks? 32. Your shoemaker

knocks.

KEY TO EXERCISES IN LESSONS IN FRENCH.

For the use of those who are studying our Lessons in French, we now give the first portion of a Key to the exercises contained in those lessons. We have deferred its commencement until the present time designedly, that we might not subject our readers to the temptation of consulting the Key until after they had written the Exercises to which it relates, and made such progress as will enable them to detect and amend any errors they may have made when beginning our course of lessons. The only way to acquire a thorough knowledge of a living language is to practise one's self in the use of it; and the best exercises will be of no service unless they are written without any other assistance than is supplied by general grammatical information. When, however, the selfteacher has thoroughly studied both lessons and exercises, it is useful for him to be able to turn to a key, such as we are now going to give him, for the purpose of comparison and the final correction of any mistakes he may not be able to perceive

himself.

It may be objected that we have given a Key to the exercises in each Lesson in Latin in the lesson that immediately follows it. It must, however, be remembered that Latin is a highly inflected language, and one which the learner will never attempt to speak; while the grammatical construction of the French language is less complicated; and that it should be the chief object of the learner to speak French; and, for this purpose, to drill himself thoroughly in the rules of which each lesson is composed. To induce him to rely as much as possible on his own resources, we have, therefore, deferred commencing a Key to the Exercises in Lessons in French until the present

time.

11. The butcher has the meat. 12. The miller has the meat, and I have the coffee. 13. Have you the water and the salt? 14. Yes, Sir; we have the water, the salt, and the oats. 15. Have we the tea ? 16. No, Sir; the girl has the tea, the vinegar, and the salt. 17. Have I the wine? 18. No, Madam, you have only the vinegar and the meat. 19. Have you the table? 20. Yes, Madam, I have the table. EXERCISE 2 (Vol. I., page 3).

1. Avez-vous le blé ? 2. Oui, Monsieur, j'ai le blé. 3. Qui a la viande ? 4. Le boucher a la viande et le sel. 5. A-t-il l'avoine ? 6. Non, Madame, le cheval a l'avoine. 7. Avons-nous le blé? 8. Vous avez le blé et la farine. 9. Qui a le sel ? 10. J'ai le sel et la viande. 11. Avons-nous le vinaigre, le thé, et le café? 12. Non, Monsieur, le frère a le vinaigre. 13. Qui a le cheval ? 14. Le boulanger a le cheval. 15. Avons-nous le livre et la plume? 16. Non, Made17. Avez-vous la moiselle, la fille a la plume, et le meunier a le livre. table, Monsieur ? 18. Non, Monsieur, j'ai seulement le livre. 19. Qui a la table? 20. Nous avons la table, la plume, et le livre. EXERCISE 3 (Vol. I., page 3).

1. Have you the gold watch? 2. Yes, Madam, I have the gold watch and the silk hat. 3. Sir, have you the tailor's book ? 4. No, Sir, I have the physician's book. 5. Have they the baker's bread ? 6. They have the baker's bread and the miller's flour. 7. Have you the silver pencil-case? 8. Yes, Sir, we have the silver pencil-case. 9. 10. You have the horse's oats and hay.

Have we the horse's oats?

tailor's silk hat, 13. The tailor has the shoemaker's leather shoe. 14.

19.

11. Who has the carpenter's cloth coat? 12. The shoemaker has the Have you the wooden table? 15. Yes, Sir, I have the carpenter's wooden table. 16. Have they the silver knife? 17. They have the silver knife. 18. The physician's brother has the silver watch. The shoemaker's sister has the silk dress. 20. Has she the leather shoe? 21. No, Madam, she has the satin shoe. 22. Have we the woollen stocking? 23. No, Sir, you have the tailor's silk stocking. 24. Who has the cotton stocking? 25. The physician has the cotton stocking, 26. The lady has the satin shoe of the baker's sister.

ESSAYS ON LIFE AND DUTY.—V.
CHARITY.

CHARACTER can never be said to be complete without the presence of the element of charity. So many false ideas, however, are current concerning the nature of charity, that it may be well to preface this article by reminding the reader that charity is not the synonym for a mere mawkish sentimentality. To be charitable, according to some theorists, is to be indifferent to the distinction between honour and dishonour, good and evil, and to treat even the most flagrant faults with palliative excuse and toleration. Charity, like each of the virtues, must exist in harmony with others, or it loses its claim to be considered a

virtue.

A charity which could exist apart from truth, righteousness, and justice, would only serve to put a premium upon vice and crime. What then, it may be asked at the outset, is charity? It is the wise exercise of the affectionate side of our nature; it is the letting love operate as a motive power in all our varied relationships, as citizens and members of a commonwealth in which each ought to consider the best interests of the other. This can never be done by mere expediency, nor from a sense of utilitarian morality; it must be the result of innate beneficence or kindness. Charity refers to our estimates, as well as our actions; it considers the weakness incidental to its own nature, and is therefore lenient in its judg., ment about others, not as blind to their faults, but as looking to the frailties of our common humanity, and finding in the errors of others counterparts of the shortcomings which exist in ourselves. Charity considers that there is a common weal, as well as a private weal, and feels the claim of the outside world upon its powers of help and sympathy: thus realising that with all the distinctions which are evidently inherent in the system of things, such as rich and poor, high and low, there is yet a brotherhood of humanity, in which the stronger are expected to help the weaker. Charity considers the terrible exigencies of life into which many are born, and in looking at the lamentable phases of character continually brought to light, it is ever on the alert to educate the masses and to ameliorate the condition of their dwellings. Charity, moreover, is no spasmodic exercise of generosity, no sudden surprise of human nature into an act of startling goodness, but it is the spirit of the life, that which underlies all our judgments of and our actions towards others. Charity, thus interpreted, is the co-existence and exercise of