served. Artists usually begin the drawing of a face at the nose, that being the centre, and then proceed with the other features, taking care that the top of the ear should be on a line with the eyebrow, and that the eyes should be placed so as to leave the distance of one eye between them.

When the learner has acquired the requisite skill and precision in drawing an outline, shading may be commenced; in this great care should be taken that the lines do not cross each other at right angles, which would cause a disagreeable net-like appearance; neither should they be too oblique, as then they would become confused. A finished outline, when well done, has great effect, but it requires an intimate knowledge of light and shade, to enable the artist to strengthen the lines in the proper places; it is a general rule that where the light falls the lines are faint.

Plaster casts are the best models for the human face, as in drawing from them the eye easily discovers the general light and shade; the mass of light should be kept broad, and be well attended to before the smaller parts are considered.

Chalk is the best material for these drawings; the outline should be first slightly sketched with charcoal, which is prepared for the purpose; this, as well as the chalk, is used in a port-crayon. The common chalks are generally of three colours, black, red, and white. Stumps (which are pieces of soft leather or paper, rolled up quite tight, and cut to a point), are used for rubbing down the shadows; this method is very expeditious, and produces a good effect. Middle tint paper, of a brownish or gray colour, is much used to draw upon with chalks.

It requires some little practice to enable the learner to cut the chalk pencils properly. They should be cut exactly in a contrary direction to that used for lead pencils; by this I mean you must begin at the end of the chalk and cut upwards, towards the port-crayon, or it will all crumble to pieces, and the chalk point will not be fine and sharp; they constantly break, therefore frequently require pointing.

Indian rubber is of no use in effacing chalk

drawings; therefore, take a small piece of soft white bread, not too fresh, roll it in your fingers till it becomes small and pointed, and use it to efface any slight mistake, or to soften down the shadows.

My young friends must not be discouraged if they do not perfectly succeed in their first attempts in drawing. There is no talent, that, by attention and practice, improves more rapidly; and if they could but trace a foretaste of the pleasure derived in after life, from looking over sketches taken in a distant land, of objects perhaps now no more, I am convinced their energy would be redoubled, and they would speedily overcome the tediousness possibly attendant upon the first rudiments of drawing. The pleasure likewise of sending a remembrance traced by their own pencil, to an absent friend: the power of retaining permanently to the eye scenes where they may have passed many a joyous hour, (for landscape drawing is only secondary to the human figure,) or the portrait of some favourite of their youth; either a reasoning being like themselves, or one of those dumb animals so frequently the companion of mankind, all of these combined, or even any one of these results, would amply repay the time and attention devoted to this study. Besides, drawing does not require the matureness

of age to ripen its perfection; we constantly see most youthful artists astonish by the excellency of their composition, execution, style, and colouring.

TO MAKE BREAD AND GUM SEALS.

FIRST take the impression of a seal in sealingwax; this is to serve for your mould: oil it slightly with a fine brush, dipped in olive oil. Take some crumb of new bread, knead it with your fingers till it becomes a perfectly smooth soft paste; colour it with water-colour paint, gamboge for yellow, carmine for pink, and Antwerp blue for blue; then press the bread well into the mould, shape the top into a handle, and let it dry slowly.

Gum seals are made by pouring gum water into the same oiled mould, adding more as it gradually dries; before it becomes quite hard, separate the seal from the mould with a penknife, and form a handle in the same manner as for bread seals.

MORE GRAVE THAN GAY.

"The good advice of all the world is like wind in a cage, or water in a sieve, when bestowed on the headstrong.”

WE quote the foregoing truism from the Persian, not with the idea of its proving applicable to any of our young readers, but from the chance that amongst their companions or acquaintances, they may know one, upon whose memory the good counsel of their friends dwells briefly as the wind or water of that Oriental proverb; and as Lord Bacon tells us "Knowledge is power," we hope that now they have obtained the knowledge of their fault, they will not want the inclination to correct it.

Plato observes, "The minds of children are like bottles with very narrow mouths:—if you attempt to fill them too rapidly, much water will be wasted, whereas with a small stream they are easily filled: and those who would make young children prodigies, act as wisely as if endeavouring to pour a pail-full of water into a pint measure."