P. S. It is very strange--some one sang under our windows last night, "Wilt thou love me then as now?" I wonder if it was _him_? P. S. I have had this more than three weeks in my pocket, waiting for an opportunity to post it. [Illustration] A SONG. BY CHARLES STEWART. As fancy breathes her gentlest gale O'er memory's shallop, bright with flowers, And up the stream of Time you sail To visit childhood's fairy bowers-- As early scenes bring to your mind The day gone by of youthful greeting-- The joys and pleasures left behind, As bright, as transient, and as fleeting As sunshine on a summer's day-- One moment bright, but ere the hour Hath passed, the landscape wears a frown, And then 'tis darkened by a shower: Oh, cherish, as in other days, One passing thought, one precious tear, When o'er the past thy vision strays, For him who writes this tribute here! And may thy dreams, so glad in youth, As Time with tireless pinions fly, Unfold in happiness and truth, And sit amid a cloudless sky! GODEY'S COURSE OF LESSONS IN DRAWING. LESSON VI. FIGURE AND OBJECT DRAWING. [Illustration: Fig. 1.] [Illustration: Fig. 2.] [Illustration: Fig. 3.] [Illustration: Fig. 4.] [Illustration: Fig. 5.] IN executing the copies here given, and, indeed, in all other drawings which are to be shaded, the outlines must first be put in before any attempt to shade is made. The pupil should endeavor to produce the proper degree of shade at one operation, without having occasion to go over or darken it afterwards. This retouching spoils the effect of clearness and spirit which shading at one operation is calculated to give, and which all drawings should have. The drawings in Figs. 1 and 2 will be very easily put in. The outline of Fig. 3 should be drawn in the manner heretofore explained, the shading put in by bold strokes from top to bottom, because if done at two operations a shadow would result, by which the effect would be spoiled; a few cross-strokes may be next put in, which will give a little roundness to the sketch. In Fig. 4, the nearest part of the oval is to be drawn considerably stronger, so as to bring it forward. Figs. 5 and 6 are examples in which the ellipse is distinguishable. In copying Fig. 7, a nice broken outline should first be obtained; the shading being simple needs no explanation. The outline of Fig. 8 is to be drawn as formerly; the indented parts of the leaf to be put in slightly, and afterwards the stronger shadow, which throws forward the curled edge of the leaf. In copying the annexed sketch of a grindstone, to get the outline correctly the framework should be drawn first, carefully observing the relative proportions of the parts, in order to give an idea of perspective.[4] Having done this, an ellipse may be drawn to represent the stone, part of this to be rubbed out afterwards;