Duco, ducere, duxi, ductum 3, I lead; pingo, pingere, pinxi, pinctum 3, I paint (E.R. picture); instruo, instruere, instruxi instructum 3, I draw up, form (E.R. instruct); acies, ei, f. a line of battle; vivo, vivere, vixi, victum 3, I live; quoad, as long as; gero, gerere, gessi, gestum 3, I carry on; simulatque, as soon as; excolo, excolere, excolui, excultum 3, I cultivate; corrigo, corrigere, correxi, correctum 3, I correct; comburo, comburere, combussi, combustum 3, I burn; disco, discere, didici, I learn; libenter, willingly; defendo, Aefendere, defendi, defensum 3, I defend; coerceo, coercere, coercui, Coercitum 2, I restrain, dico, dicere, dixi, dictum 3, I say. EXERCISES.-LATIN-ENGLISH. Duximus; duxisti; ducis; ducebam; ducet; ducat; dum ego pingebam, tu scribebas, et frater legebat; hostes aciem instruebant; quoad vives bene vives; si virtutem coletis, boni te diligent hostes aciem instruxerunt; hostes aciem instruent; multas literas hodie scripsimus; bellum atrocissimum gesserunt hostes; Caesar aciem instruxerat; simulatque literas scripserimus ambulabimus; curo ut puerorum animos excolam; curabam ut filii mei preceptor animum excoleret; nemo dubitat quin ego puerum semper diligenter correxerim; metuimus ne hostes urbem combusserint; nemo dubitat quin hostes urbem obsidione cincturi sint; narrate nobis quid parentes scripseriut; scribito; disce, puer; boni pueri libenter discunt; miles se fortiter contra hostes defendens, laudatur; cupiditates coercere debemus. ENGLISH-LATIN. I defended the city; the soldiers defended the city; they will defend the city; they have defended the city; they were writing; he has written a letter; no one doubts that you will write a good letter; take care to write a letter; the teacher takes care that his scholars write good letters; I have written a letter to-day; the enemies will draw up (their) line of battle; the soldiers have burnt the city, I have read the letter which thou wrotest; I fear that the enemies will blockade the city; correct that boy; the master will take care to correct his scholars; tell (narro) me what thou saidst to thy father; restrain thy desires; we ought to restrain our desires; a boy (by) restraining his destres is loved; strenuously cultivate thy mind, my son! LESSONS IN MUSIC.-No. IX. WHILE Our pupils are advancing in their own practical study 2. “What I want," says one of our correspondents, "is to be able to measure to the eye the exact interval the voice is taking." It is just for this purpose that the modulator is provided. The ordinary staff of five lines and four spaces does not measure to the eye the exact interval the voice is taking, because it fails to show pictorially the places of the "semitones" (tonules) of the scale, and, indeed, makes, pictorially, no difference between tone and "semitone." This is, however, a point of vital importance to the learner, and one which should be kept constantly before his eyes. Hence the necessity of some such scale as the modulator offers. The modulator also possesses the advantage of showing not only lines or marks for the notes, but the names middle column at present. In order thus to measure to the of the notes themselves. Our pupils have to use only the eye the interval the voice is taking, our pupil must not be constantly looking from the book to the modulator and from the modulator to the book. He must first learn a few notes of his tune "by heart" and then sing them from the modulator alone, and so on till he can point the whole tune from memory, and without the book. Thus, if he i learning exercise five, let him just read and repeat to himself "DOH, SOH, ME, DOH" several times over. Then let him, laying aside his book, turn to the modulator and sing those notes while he points to them. Next let him learn to "point and sing," without book, the phrase "ME, ME, DOH" in the same manner, and after that the whole exercise. Very extensive experience in teaching has made us feel increasingly the importance of requiring the pupils thus to "see," and themselves point out, the intervals they sing on a perfect scale like the modulator. It is only by the pupil will begin at the beginning and faithfully pursue this this painstaking that a real knowledge of interval is gained. If plan, we can promise him that long before he has reached this ninth lesson he will have attained such a facility in "pointing from memory on the modulator" as will make the exercise quite a delightful one to him. "Oh," said a little girl to her mamma, as they were travelling in a railway-train, and a stranger opened a number of the POPULAR EDUCATOR, "Oh, mamma, there's a modulator!" "What do you know of the modulator" said the stranger. "Oh! I know something," was the answer, and the happy child soon convinced the stranger that she knew something" by singing and "pointing" as she sang several of the tunes she had learnt at school. Upwards of a hundred and fifty adult pupils from various classes in London last season took certificates of proficiency," implying the ability to sing plain music at first sight, and every one of them was required to bring proofs to the examiners of his ability to sing and point on this scale from memory a large number of behind the others in this vital exercise of self-discipline. Let not our pupils of the POPULAR EDUCATOR be 3. Many of our correspondents want to know "whether they can learn the Music Lessons without the aid of a friend to set the pattern." A large number of our pupils are, no doubt, like one of them who says, "I have naturally a good ear for music, and am able to sing almost any song after hearing it two or three times." To such persons, very little patterning tanes. will be needed. Let them only learn, from a friend, how to | This we mention for the sake of any artisans who may wish to strike the chord (DOH, ME, SOH) to any sound that may be make one. The cheapest of these instruments-which may be given, and the rest will easily follow. We ourselves were bought for nine pence or a shilling-contains eight glasses, exactly in their position, and did thus "make out" tunes, and which are tuned to the single octave in the key of c. These teach ourselves to sing plain tunes at sight,-constantly using glasses are marked CDEFGABC'. Our pupils should past the modulator, and pointing as we sang, and often having to run little letters on them with the initials of the solfa syllables, DOH, up or down from one note to another in order to know how to RAY, ME, FAH, SOH, LAH, TE, DOH'. Then, he will only have to strike an interval. We had nothing but a c' tuning-fork, by strike with his hammer the glasses that are marked with the means of which we found out the key-note. Everything de- syllables named in his exercise, and he would hear his wishedpends on the faithfulness with which you master the exercises for "pattern." With this instrument, he can play all the exerof the first three lessons. But to many persons, doubtless, cises which do not run beyond the range of a single octave. Of who have no friend to set the pattern, some simple instrument course he can only play them in the key of c, however prewill be necessary. If you are already acquainted with an in-ferable some other key-note may be. But this is not of se strument, whatever it is, use that. Only let us warn you not great consequence as he may suppose, for when once the ear to sing with your instrument, that is, to use it as a "pattern," "and voice are tuned to a single key, the other keys (which are not as a "leader,"-to make yourself independent of the pat-all of the same structure, only higher or lower in pitch) are tern as soon as possible, often endeavouring to do without it, easily mastered. Let the pupil who has learned to sing the and to trust more and more to your own perception of the chord DоH, ME, SOн, by such an instrument, and can sing it mental effect of notes, as developed in our lessons; for in-perfectly without the instrument, exercise himself in striking struments may be out of tune, and some of them-the piano the sound &, and raising a chord (DOH, ME, SOн) upon that, and organ for instance-are systematically (to however small without a pattern. Next, let him raise a chord on the sound an extent) imperfect in tune. The flatness of the fifths on the D, next on the sound A, next on E, and next on B, in the same piano, for instance, are very obvious. The fifth note of the manner as before. After this let him try to sing, not only the scale (SOH) should be brilliant and trumpet-like in its effect. chord, but the whole scales of G, D, A, and E. Many will be The pupil's knowledge may thus correct the slight inaccuracies able to do this; and they, when they have learnt their tune by of his instrument. We have been at some pains to make in-pattern in the key of c, will easily manage to pitch the proper quiries with a view of recommending some cheap instrument key-note, raise the chord upon it, and afterwards sing the tune to our pupils with which they may set the pattern. We shall, itself in the key for which it was written. We should, howin this article, describe two of the most accessible," the ever recommend our pupils to purchase the glass-harmonicon Glass-harmonicon," and "the German concertina." with two octaves (fifteen notes), which they can get for one shilling and ninepence. Let them mark it with the syllables, and use it in the same way as that with one octave. For a slight additional expense, any maker of these instruments would construct one for you tuned in the key of a, or in any other key you may desire. In that case, you must paste your DOH upon the glass marked G, RAY upon that marked A, and so on. With these two instruments you would be able to play most of the tunes very fairly. You would still lack the socalled "accidentals," not yet explained in our lessons. If these are added to your two octaves of glasses, the instrument I would cost you from five to seven shillings. The prices we have named are those of Mr. T. Bull, 34, Windmill-street, Finsbury-square, who sells these instruments more cheaply than any one we have yet discovered, Mr. Hack, of Fleetstreet, makes very good ones of plate glass, but, of course, at much higher prices. affected by its breadth. The plates of glass should be fastened to the tape by strong cement (bored and tied would be better), at the distance of one quarter of their length from each end. 5. The German concertina consists of two hand-boards with bellows between. The metallic tongues by which the sound is produced and the machinery by which the little pegs, when 374 THE POPULAR EDUCATOR. pressed by the hand, direct the current of air upon them are will give him ME and FAR. In the same manner the fifth peg will give him sоH and LAH. But now, in order to continue ascending the scale on the right-hand board, he must no longer press and draw, but draw and press. A similar alteration in the recurrence of the pressing and drawing occurs in the higher part of the right-hand board, where the two draw-notes, LAH and TE, are required to follow each other. Our diagram will explain this. The first and second pegs of the left-hand board give notes which are very useful as accompanying harmony, but of harmony we must not begin to speak at present. With this instrument our pupils can play most of our exercises. They can play them in two parts if they please. Two of the "accidentals," those most frequently occurring, can be obtained on the instruments with two rows of pegs. Thus, if you are playing in the key of c, that is, on the higher row of pegs, you can get the "accidental," which we call Tu (commonly called the sharp fourth, but really the seventh of a new key, of which we shall have more to say in future lessons), by drawing, on the first peg of the lower row on the right-hand board; or on the second peg of the left-hand board. Tu is, in fact, Again, if you are playing in the key the TE of another key. of a, that is, on the lower row of pegs, you can get the "accidental" FI (commonly called the flat seventh, but really the fourth of a new key), by drawing, on either the fourth peg of the left-hand board or the third peg of the right-hand board. Fi is, in fact, the FAH of another key. These instruments are now commonly sold, if with one row of pegs on each board if with two rows of pegs (playing in the keys of c and o), for (playing only in the key of c), for about eight or ten shillings; were at the musical-instrument makers above named. More exThe learner will notice that all the press-notes are those of the about fifteen or eighteen shillings. The cheapest we have seen So that if you were to hold down tonic chord DOH, ME, SOH. all the pegs at once, and press the bellows, you would produce pensive instruments are made with three rows of pegs, and Of the other difficulty of our correspondents, the "moveable good harmony. This is a great help to the memory. Let the with two additional pegs. They need not be here described. pupil who possesses such an instrument begin by holding down the middle peg of the left-hand board, and pressing the bellows. DOH, or key-note," we must speak in the next lesson. MeanThis will give him DOH. Next let him draw the bellows, hold-time let our pupils practise carefully the following exercise. ing down the same peg. This will give him RAY. Next, It is intended to exhibit the contrasted effects of ME and sox (the holding down the fourth peg, let him press and draw. This third and fifth of the scale) in a somewhat quick movement. EXERCISE 19. I LOVE TO LINGER. (Words from MARTIN TUPPER, Esq. Tune, Old English.) KEY A. M. 160. My foot falls lightly on the sward Its unforgotten print. Old places have a charm for me LESSONS IN FRENCH.-No. XXIII. 1. THE verb seoir [3 ir. Sect. 46, R. 3], is also used unipersonally: :-* Il ne vous sied pas de parler ainsi. It does not become you to speak thus. 2. The verb convenir [2 ir. see § 62], to suit, is at times used unipersonally. It then signifies to be suitable, advisable, &c. :Il convient de lui écrire. It is advisable to write to him. 3. The irregular verb valoir [see table, § 62] corresponds in signification to the English expression, to be worth :Cette maison vaut cinq mille francs. That house is worth five thousand francs. 6. Valoir mieux, conjugated unipersonally, means to be better; valoir la peine, to be worth the while : Il vaut mieux travailler que d'être It is better to labour than to be idle. oisif. 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 vaut Selle plus que la mienne? 18. Elle vaut tout autant. 19. Elle ne yaut 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 ai pas demandé. 24. Il m'assure que cela vaut une centaine de francs. EXERCISE 96. 1. How much is my house worth? 2. It is worth about twenty thousand francs. 8. 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 (blâmer) you when you deserve it. 13. What is that man worth? 14. I cannot tell 15. Is that cloth you exactly, about fifty thousand francs. 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. 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 your sister what that, book is worth? 30. I have not, [Sect. 24, R. 12. Sect. 46, R. 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. 19. 1. When the verbs prendre [4 ir. see § 62], to take; voler, to Il ne vaut pas la peine de parler It is not worth the while to speak when rob, to steal; acheter, to buy; demander, to ask for; payer, to one has nothing to say. quand on n a rien à dire. RESUME OF EXAMPLES. It does not become you to reproach us. It is not suitable for you to speak so. It does not suit us to go there. 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 :— Avez vous pris le livre ? Have you taken the book? Avez vous demandé votre argent? L'avez vous demandé? 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 à, and, if a pronoun, assume the That villa may be worth one hundred form of the indirect regimen: lui, to him, to her; leur, to them : Ne vaut il pas mieux lire que jouer? | Is it not better to read than to play? | ask for : Assur-er, 1. to assure; else; EXERCISE 95. Montre, f. watch; Pouvoir, 3 ir. to be able; 1. Vous sied-il de nous reprocher notre négligence? 2. Il me sied de vous faire des reproches quand vous le méritez. 3. Vous convient il d'aller trouver mon frère? 4. Il ne me con vient pas d'aller le trouver, j'ai autre chose à faire. 5. Com-On m'a payé presque tout. votre ami ? Je ne lui en ai pas demandé, money? I have not asked him for any. 1. Que vous a-t-on pris? 2. On m'a pris mes livres, mes crayons et mon canif. 3. Savez vous qui vous les a pris? 4. 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. A 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? 18. J'ai demandé votre frère. 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. rent. EXERCISE 98. 1. Have you paid your landlord? 2. I have paid him my 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. LESSONS IN GEOLOGY.-No. XII. By THOMAS W. JENKYN, D.D., F.G.S., &c. CHAPTER I. that is called by geologists the elevation and subsidence of the land. Instances of these processes are found abundantly in England, especially in Sussex, Hampshire, and the Isle of Wight. These elevations and subsidences are the results, in some instances, of the vertical action of earthquakes; and in others, they are the consequences of the intense heating and of the subsequent cooling of rocks deeply seated in the interior of the earth. §i. Elevation and subsidence by earthquakes. It is well known that during the paroxysms of earthquakes some districts of the land are elevated above their former level, while other districts are depressed and sink below it. The instances in which towns, cities, and regions on the coast, have been either completely or partially submerged under the sea, are almost innumerable. I will mention a few of the most remarkable. JAMAICA was agitated by a violent earthquake in 1692. At Port Royal, then the capital of the island, several large storehouses in the harbour subsided, some 24 feet, some 36, and some 48 feet, under water. The buildings remained whole and standing, and the tops of their chimneys were seen erect above the waves. A large tract of land around the town, about 1,000 acres in extent, sank down in less than a minute, and became the bottom of the sea. In the harbour, was the Swan frigate repairing near the wharf. This ship was raised, and driven over the tops of many buildings, and was, at last, thrown upon one of the roofs, which it crushed. On this In PERU, in 1746, a tremendous earthquake destroyed Lima, and the whole coast near Callao was converted into a bay of the sea. The main-land near Lima shows that it had been subject to such changes before, even within the human epoch. At a place inland, a rock is found 80 feet above the sea. elevation there is a stratum full of sea-weeds and shells. What proves that this bed was the bottom of the sea since man was created, is that the stratum contains cotton-thread and plaited rushes, which must have been of human manufacturing. Just before the earthquake of LISBON, in 1755, a new quay had been built in the harbour, consisting of massive and solid marble. To escape the dangers from tottering houses during the convulsions, a vast concourse of people collected for safety on this large quay. Suddenly the whole quay sank down with all the people on it, and not one of the bodies ever floated to the surface again. At a little distance off the quay, boats and vessels lay at anchor, and full of people. Suddenly the body of water beneath them sank, the boats and ships went down as into a whirlpool, and not a single fragment of the wrecks ever came to the surface. When, a short time afterwards, the spot occupied by these boats was sounded, it was found unfathomable, and subsequently it was ascertained to be two hundred yards deep. During the earthquake at MESSINA, in 1783, of which you have had an illustration in fig. 24 of Lesson X., similar phenomena were observed. The ground along the port of Messina was perfectly level before the earthquake, but afterwards it sloped much towards the sea, and the sea itself became deeper ON THE ACTION OF VOLCANOES ON THE EARTH'S CRUST and deeper according to its distance from the shore. This SECTION VIII. ON THE ELEVATION AND SUBSIDENCE OF LAND. IN reading geological works you find that geologists describe certain strata, which rest upon one another, as being some marine beds, and others fresh-water beds. They are called so, because in the marine beds they find the shells and other remains of fish, which only live in the salt water of the ocean; and in the fresh-water beds they find fossils of aniinals which live in rivers, lakes, estuaries, and marshes. Try your own reason upon these strata. At the bottom there is a stratum full of marine shells. A few feet higher up is a stratum full of fresh-water remains. Some feet yet higher, another marine bed, and higher still, another fresh-water stratum. How can you account for this? At one time the lower marine bed must have been the bottom of the sea. It then rose a little beyond the reach of the sea, and became perhaps a marsh, perhaps the estuary of a river. Both beds sank again and became the bottom of the sea. In the course of ages the three beds now rose, and the surface became again the bottom of an estuary, or perhaps a lake. It is this rising and sinking of the surface shows that the sloping of the coast continued far under the sea, and that, consequently, the bottom of the sea, as well as the shore, had sunk. Even the quay itself had sunk about fourteen inches. If the shore sank seaward it is natural to infer that the coast had also sloped inland. This inference was established by facts. In the interior of the island, Sicily, it was found that several new ravines had been formed by the fissures of the earthquake. The fresh faces of the rocks on each side of these ravines proved that there had been considerable shiftings of the strata that were continuous before they were fissured. Some of them had risen, and others had sunk, six or ten feet above or below each other respectively. This elevation and subsidence, or the shifting of strata, is well explained by a disturbance of regular masonry in the walls of the Round Tower at TERRA NOVA, in Calabria. In many streets of the town, some houses had been raised above their usual level, and others had sunk down in the ground. Adjoining the town was a massive circular tower of solid masonry. One part of this tower remained undestroyed by the earthquake, but it was divided by a vertical rent. One side of it was raised much above the other, and the foundation |