little more than fourteen months. Many rivers were discovered, of so barren and desolate a character as had been imagined from among which was the Mackenzie, on whose banks some good the discovery of the great central desert by Captain Sturt in coal-fields were found, and several tracts of country were 1844. crossed consisting of rich arable land, admirably adapted for agricultural purposes. His subsequent expeditions, however, were not attended with the same good fortune. In 1847 he set out on a journey across the Australian continent from Sydney to Swan River, which he was compelled to abandon by events over which he had no control, after reaching as far as the downs of the Upper Mackenzie and Peak River. Nothing daunted by the unsuccessful result of his attempt to traverse Australia, he started once more on his great undertaking about the beginning of 1848, from Moreton Bay, only to meet with fresh failure and death. From that time nothing has been heard either of the To Burke and his companions belong the honour of having been the first to make their way from south to north, across the trackless centre of the Australian continent; but three out of the four were doomed to purchase the distinction they had so gallantly won, at the cost of their lives. Having feasted their eyes with the sight of the blue waters of the Gulf of Carpentaria, the adventurers, worn and weakened by the privations they had endured, and the fatigues and hardships they had undergone in their journey northwards, turned to retrace their steps. Gray died soon after commencing the march homewards; but the three survivors struggled on till, in April, they COOPER'S CREEK, AUSTRALIA; THE SPOT WHERE BURKE AND WILLS DIED IN 1861. leader of the expedition or his companions, and although a few traces of their route after quitting the west bank of the Condamine River and Fitzroy Downs have been found, nothing definite respecting their fate and what led to the failure of the expedition has ever been discovered. The principal journeys of discovery in Australia since the disappearance of Dr. Leichardt have been the expeditions of Mr. Augustus C. Gregory, in West, North-West, and North Australia in 1856 and 1858, in which many important discoveries were effected, and the perilous march of Richard O'Hara Burke, and his companions Gray, King, and Wills, across the continent from Melbourne to the Gulf of Carpentaria in 1860-61. The exploring party started from Melbourne on August 10, 1860, and reached the Gulf of Carpentaria, near the embouchure of the Cloncurry River, on February 11, 1861, having passed for miles and miles through a fertile and well-watered country, thus proving that the whole of the interior, at all events, is not reached Cooper's Creek, a stream that crosses the boundary line between South Australia and New South Wales, towards its northern limit, where, the year before, Burke had left a few men in charge of a store of provisions. By some sad fatality, the man who had been placed at the head of the little party left to guard the depôt, weary of awaiting the return of the travellers, and thinking that they had all perished, had left the spot only a few hours before Burke and his companions reached it. Knowing that it would be utterly useless to try to overtake them, Burke and his friends directed their steps towards Mount Hopeless, a short range on the west side of Lake Blanch, where they found some settlers who had "squatted" in that locality in as wretched a condition as themselves, without clothes and without food, endeavouring to prolong existence by searching in the marshes and swamps for a plant called nardou, which they knew was frequently eaten by the natives when nothing better could be had. Again disappointed of procuring aid, and un able to advance any further, Burke and Wills soon died of exhaustion, and King himself was at the point of death, when he was discovered by a party of the natives, who treated him with the utmost kindness, and, when he was sufficiently recovered, brought him on his way towards Melbourne, which he reached in safety towards the close of the year, having met with an expedition which had been sent out to see if any traces could be discovered of the missing travellers. In other parts of Oceania, little of any importance besides surveys of the coast and different parts of the waters of the Pacific has been effected of late years, nor have any further discoveries been made with regard to the outlying lands of the Antarctic continent that is supposed to encircle the South Pole, girdled by volcanic ranges that seem to forbid all access to whatever may lie beyond, although it may be mentioned that a theory has been broached to the effect that within the belt of burning mountains that line its gloomy ice-bound shores, it is possible there may be a country in which human life may be sustained, and in which may be found productions suitable to its soil and clime, that are amply sufficient for man's require ments. LESSONS IN FRENCH.-XIX. SECTION XXX.-RELATIVE PRONOUNS [§ 38]. RÉSUMÉ OF EXAMPLES. Connaissez-vous le monsieur qui L'Espagnol dont la sœur est ici. Do you know the gentleman who speaks to our cousin? I know him who speaks to him. The Spaniard whose sister is here. Que faites-vous ce matin? 1. Qui connaissez-vous? 2. Nous connaissons les Hollandais dont vous nous parlez. 3. Quelles leçons apprenez-vous ? 4. 1. QUI, used as nominative, may relate to persons or to Nous apprenons les leçons que vous nous recommandez. Les fleurs qui sont dans votre The flowers which are in your 5. Ce 10. que je vous dis est-il vrai. 6. Ce que vous nous dites est vrai. 7. De qui nous parlez-vous? 8. Nous vous parlons des Écossais qui viennent d'arriver. 9. Savez-vous qui vient d'arriver? Je sais que le monsieur que votre frère connaît vient d'arriver. 11. Vos sœurs que font-elles? 12. Elles ne font presque rien, elles n'ont presque rien à faire. 13. Que mettez-vous dans votre coffre ? 14. Nous y mettons ce que nous avons, nos habillements et notre linge. 15. N'y mettez-vous pas vos souliers ? 16. Nous y mettons les souliers dont nous avons besoin. 17. De 18. Nous avons besoin de ce que nous quoi avez-vous besoin? fait et ce qu'il dit. 21. Ne voulez-vous pas le leur dire ? 22. avons. 19. Cet enfant sait-il ce qu'il fait ? 20. Il sait ce qu'il Avec beaucoup de plaisir. 23. Faites-vous ce que le marchand vous commande? 24. Nous faisons ce qu'il nous dit. 25. II parle de ce dont vous parlez. EXERCISE 56. 1. Have you what (ce dont) you want? 2. We have what we want. 3. Is the gentleman whom you know here? 4. The lady of whom you speak is here. 5. Is she just arrived? (Sect. XXV. 2)? 6. She is just arrived. 7. Do you know that gentleman ? 8. I know the gentleman who is speaking with your father. 9. Do you know his name? 10. I do not know his name, but I know where he lives (demeure). 11. What do 6. Quoi, when not used as an exclamation, is generally pre- you do every morning? 12. We do almost nothing; we have ceded by a preposition, and relates only to things. very little to do. 13. Does the tailor make your clothes? 14. He makes my clothes, my brother's, and my cousin's. 15. Do you know what you say? 16. I know what I say, and what I do. 17. Do you know the Scotchman of whom your brother speaks? 18. I know him well. 19. What does he put into his trunk ? 20. He puts his clothes. 21. Is that which you say true? 22. What I say is true. 23. Do you understand that which I say to you? 24. I understand all that you say. 25. Of whom does your brother speak? 26. He speaks of the gentleman whose sister is here. 27. Is your brother wrong to do what he does? 28. He cannot be wrong to do it. What are you doing? 30. I am doing that which you do. Where do you put my books? 32. Into (dans) your brother's trunk. 33. Is your brother here? 34. He is not here. 35 He is at my brother's, or at my father's. 29. 31. 3. The verb faire is used before another verb, in the sense of away the things every day. 11. Do you intend to have a coat to have, to cause. made? 12. I intend to have a coat made. 13. I am going to Votre frère fait-il bâtir une maison? Il en fait batir plus d'une, 4. It may be used in the same Je fais faire un habit de drap ? Vous faites faire des souliers de cuir, Does your brother have a house built? have a coat and a vest made. 14. Does your brother have his He has more than one built. sense before its own infinitive. I have a cloth coat made. 18. Is boots mended? 15. He has them mended. 16. What does 5. Vouloir [Sect. XXVII. 6] followed by dire is used in the sister taken my book from the table? sense of to mean, Que voulez-vous dire ? Votre sœur que veut-elle dire? What do you mean? I have my clothes mended. I have a pair of boots made. What does your brother mean? That means nothing. 25. She has not taken it away. 26. Why do you take off your shoes? 27. I take them off because they hurt me. 28. Do you intend to have a house built? 29. I intend to have one built. 30. Does the tailor spoil your coat? 31. He does not spoil it. 32. Who spoils your clothes? 33. No person spoils them. 34. What hat do your wear? 35. I wear a black hat. LESSONS IN DRAWING.-X. We must now direct the attention of the pupil to shading and foliage; but before commencing, let us earnestly advise him to go over the previous lessons again, so that he may be well prepared to follow us in a course of instruction that will require all the knowledge he can possibly obtain, and a considerable amount of practice in using the pencil, to give him power, confidence, and freedom of execution, combined with truth of representation. We have already warned him against sketching before he can draw well; the danger of falling into a slovenly manner is now before him. He must be careful and slow at first in that which he is about to undertake, for when shading and foliage are intro Ötez-vous vos souliers et vos bas? Do you take off your shoes and stock- duced, he must bear in mind that in proportion to the care, per Je n'ôte ni les uns ni les autres. Le diner est prêt; le domestique va mettre le couvert. Voulez-vous ôter le couvert ? Je vais mettre le couvert. Je vais éter le couvert. ings? I am going to lay the cloth. I am going to take away the things. VOCABULARY. Apothicaire, m., drug-| Gên-er, 1, to squeeze, | Prêt, -e, ready. gist. Après, after. Cave, f., cellar. Creus-er, 1, to dig. Dimanche, m., Sunday. Dîner, m., dinner. Fiché, -e, sorry, angry. Gát-er, 1, to spoil. cramp, hurt. Gilet, m., waistcoat. Grand, -e, large, very. Manteau, m., cloak. Midi, noon, midday. Noir, -e, black. Pantoufle, f., slipper. Pourquoi, why. EXERCISE 57. Raccommod-er, 1, to mend. Remett-re, 4, to replace, to put on again. Tout-à-l'heure, immediately. Uniforme, m., uniform. Velours, m., velvet. 1. Le Général N. met-il son uniforme? 2. Il ne le met point. 3. Pourquoi ne portez-vous point votre manteau noir ? 4. J'ai peur de le gâter. 5. Mettez-vous vos souliers de satin tous les matins? 6. Je ne les mets que les Dimanches. 7. Il est midi; le domestique met-il le couvert ? 8. Il ne le met pas encore; il va le mettre tout-à-l'heure. 9. Le diner n'est-il pas prêt? 10. Le domestique ôte-t-il le couvert ? 11. Il ne l'ôte pas encore, il n'a pas le temps de l'ôter. 12. Ôtez-vous votre habit quand vous avez chaud? 13. Je l'ôte quand j'ai trop chaud. 14. Faites-vous faire un habit de drap? 15. Je fais faire un habit de drap et un gilet de satin noir. 16. Ne faites-vous point raccommoder vos pantoufles de velours? 17. Ne faites-vous pas creuser une cave? 18. Je fais creuser une grande cave. 19. L'apothicaire que veut-il dire ? 20. Il veut dire qu'il a besoin d'argent. 21. Savez-vous ce que cela veut dire ? 22. Cela veut dire que votre frère est fâché contre vous. 23. Avez-vous envie de mettre votre manteau ? 24. J'ai l'intention de le mettre, car j'ai grand froid. 25. Je vais l'ôter, car j'ai chaud. EXERCISE 58. 1. Do you take off your coat? 2. I do not take off my coat, I put it on. 3. Do you take off your cloak when you are cold? 4. When I am cold, I put it on. 5. Does your little boy take off his shoes and stockings [§ 21. 4]? 6. He takes them off, but he is going to put them on again. 7. Does that little girl lay the cloth? 8. She lays the cloth every day at noon. 9. Does she take away the things after dinner? 10. She takes severance, and patience he bestows upon his work, will be the beauty and effectiveness of the result; while, on the other hand, carelessness of execution will degenerate into coarseness and scribble. He will, in the one case, prove himself to be a clever and satisfactory draughtsman, or, in the other, one totally incapable of producing anything worthy of admiration, or fit to be employed for any useful purpose. The following observations relating to shadows will be found important, as containing principles that influence their treatment under very common and frequent circumstances; they may be classed as positive or decided shadows, and half tints. Decided shadows may be divided into broad shadows and cast shadows. Broad shadows are the shadows upon the object. In Fig. 72, a is the broad shadow. Cast shadows are those which are caused by the object, and are thrown upon the ground, or upon some other object. In Fig. 72, b is the cast shadow. As a general rule, for their difference of tone or depth, the cast shadow is darker than the broad shadow, simply because the cast shadow being in most cases thrown upon a more extensive surface (the ground, for instance), there is then round about the cast shadow a surface receiving the rays of light which refracts them, or throws them back again, with less power upon the side of the object in broad shadow; this lowers its tone. When it occurs that no cause for refraction is present, then the broad and cast shadows are equal in tone. In Fig. 72 the rays of light coming from the direction of ƒ fall upon the ground at g 9 g, and are thrown back again with less power upon a, causing the broad shadow a to be lighter than the cast shadow b, which cannot receive the refracted rays from 9 g g, being the same surface or plane upon which the light falls. Again, the highest light and darkest shadow are generally together; this will be considered more fully in its place presently, when we take up the subject of half tint. The pupil's first essay will be a very simple way of making a flat tone, before he attempts crossing lines; this simple method he will soon understand, and afterwards find to be an easy introduction to the crossing or cross-hatching system. When the surface of the shadow is large, fill it up with close perpendicular lines of unequal lengths, not permitting the ends to lap over one another, or terminate on the same level; but if the surface is small, draw continuous lines to the full extent of the shadow, at the same time observing the tone must be regulated by the strength or pressure used in the execution. Draw the square, Fig. 71, in which is shown the method when a broad surface is to be covered by a flat tint of broken lines, as explained above. Fig. 72 is given to represent the continuous lines, commencing carefully and evenly from one side of the shadow, and terminating exactly at the other side; observe the tone, and consequently the our admiration is excited by the correctness and beauty of the amount of pressure required for the cast shadow. There is a very useful little instrument for shading, called a stump, it is made either of leather or paper, rolled up to about the length and thickness of the finger, and pointed at each end. When used, black chalk or lead is ground to a powder, the point of the stump is dipped into it, and then rubbed over the part to be shaded until an even tint is produced. We merely mention the stump here and explain its use, but at present we will put it aside, and keep to the line method until the pupil has thoroughly mastered it; afterwards we will draw his attention to the use of the stump, as capable of producing a ground for shadows to be lined over afterwards. The great art of shading a drawing well is to make use of the shadows, half tints, and form which the line alone determines: now this feeling must be carried on, when introducing the shadows and the infinite number of minor tones, by preserving all that the line intended to give, whilst our attention is engrossed upon the shadows. In Fig. 73 there are several points of importance which must not be passed over: the pupil will notice that the wall to the left has the upper edges of each stone left untouched, because these edges, as they "round off" to the horizontal surface, meeting the mortar, catch the light more forcibly than the faces of the stones which are in a perpendicular position. In old stone walls of ruins these effects are continually to be seen, and must not be disregarded. The depth or intensity of shadows may not only be increased or diminished according to the pressure of the pencil minor (or lighter) tones, as a means of distinguishing the form of the object, whether as to its general effect, or to the most minute and delicate details. We know that, in nature, objects are not represented to us by lines drawn about their edges; they are distinguishable from each other only by light and shade and colour: therefore, as it is necessary in the first instance to determine by an outline the boundary or form of the object, with all its various changes of surface, so we must as we proceed with the picture, by adding light, and shade, and colour, gradually lose the drawn line in the work, so as to avoid harshness, and that appearance which would strike us as if it had been cut out with a penknife. Of course we cannot altogether do without the line of the form, nor is it desirable that we should; and since our intention is to give as intelligible a representation of the object as we can, lines may be judiciously left without offending the eye by any unseemly harshness of expression. A line only determines the boundary of an object, that is, it gives the form; and in simple outline only, where no light and shade are added, employed, but also by the distance the lines are drawn apartcloser together when depth is required, and wider when the shadows are to be lighter. The lines which produce the cast shadow of the wall on the horizontal surface of the steps must be drawn towards the vanishing point of the steps, and the edge of the shadow is determined by the following rule:-Let A (Fig. 74) be the wall causing the shadow on the steps; let the dotted lines a b, c d, ef, etc., represent the inclination of the sun's rays (at an angle with the horizon, but parallel with the picture plane). As the end of the wall rises perpendicularly from the end of the step at k, therefore the shadow of the upper edge a will be at b, and the shadow of a c will be bg, directed towards the vanishing point of the wall; and because the sun's rays are parallel with the picture plane, and the wall at right angles with the picture plane, therefore its shadow will be the same, and consequently both the edge of the wall and its shadow have the same vanishing point, which in this case is the PS (point of sight). Thus it will be seen that the edge of the shadow on the front of the |