have, in the lapse of years, taught to use the instrument with skill. 15. It is so with all the crafts, and they are inseparably dependent on each other. The mason waits on the carpenter for his mallet; and the carpenter, on the smith for his saw; the smith, on the smelter for his iron; and the smelter, on the miner for his ore. Each, moreover, needs the help of all the others. This helplessness of the single craftsman is altogether peculiar to the human artist. The lower animals are all polyartists, and never heard of such a doctrine as that of the division of labor. 16. The same bee, for example, markets, and bakes beebread, and manufactures sugar, and makes wax, and builds store-houses, and plans apartments, and nurses the royal infants, and waits upon the queen, and apprehends thieves, and smites to the death the enemies of the Amazons. The nightingale, though he is a poet, builds and furnishes his nest without any help from the raven; and the lark does not excuse herself from her household duties because she is an excellent musician. 17. Nor are there degrees of skill among the animal artists. The beavers pay no consulting fees to eminent beaver-engineers experienced in hydraulics; the coral insects do not offer higher wages to skilled workmen at reefbuilding; every nautilus is an equally good sailor; and the wasps, engaged in "just and necessary wars,” offer no bounties to tempt veteran soldiers into their armies. The industrialness, then, of man is carried out in a way quite peculiar to himself, and singularly illustrative of his combined weakness and greatness. The most helpless, physically, of animals, and yet the one with the greatest number of pressing appetites and desires, he has no working instincts to secure the gratification of his most pressing wants, and no tools which such instincts can work with. 18. He is compelled, therefore, to fall back upon the powers of his reason and understanding, and make his intellect serve him instead of a crowd of instinctive impulses ; and his intellect-guided hand, instead of an apparatus of tools. Before that hand, armed with the tools which it has fashioned, and that intellect, which marks man as made in the image of God, the instincts and weapons of the entire animal creation are as nothing. He reigns, by right of conquest, as indisputably as by right of inheritance, the king of this world. 1. WA LESSON LXIII. THE BEAUTIFUL. E. H. BURRINGTON. WALK with the Beautiful, and with the Grand; Let nothing on the earth thy feet deter; Sorrow may lead thee weeping by the hand, But give not all thy bosom-thoughts to her: Walk with the Beautiful! 2. I hear thee say,-"The Beautiful! what is it?" 'Tis no long, weary road, its form to visit; 3. Ay, love it; 'tis a sister that will bless, And teach thee patience when thy heart is lonely: The angels love it; for they wear its dress; And thou art made a little lower only: Then love the Beautiful! 4. Some boast its presence in a Grecian face; Some, in a favorite warbler of the skies; But be not fooled! Whate'er thine eye may trace, Seeking the Beautiful, it will arise: Then seek it everywhere. 5. Thy bosom is its mint; the workmen are Thy Thoughts, and they must coin for thee. Believing Thou mak'st it so; and art thyself deceiving, 6. Dost thou see Beauty in the violet's cup? I'll teach thee miracles. Walk on this heath, 7. One thing I warn thee: bow no knee to gold; It turns the feelings prematurely old; And they who keep their best affections young, QUESTIONS. 1. What rule for spelling deceiving with ei, and believing with ie, 5th stanza? Answer: All words of this class, in which the diphthong is preceded by the letter c, are spelled with ei; if the diphthong is preceded by any other letter, they are spelled with ie. 2. What is the meaning of the suffix less in the word guileless, 7th stanza? See Sanders' Union Speller, page 143. *GRECIAN FACE. The ancient Grecians were distinguished for their symmetry and beauty, many proofs of which may be seen in those exquisite specimens of statuary which have been handed down to us as the beau-idéal of the Grecian form. 1. LESSON LXIV. THE BRIGHT FLOWERS. ANON. H! they look upward in every place Through this beautiful world of ours; Is the smile of the bright, bright flowers. But the children of showers and sunny beams (All the class) THE BRIGHT, BRIGHT FLOWERS! 2. They tell of a season when men were not, Wandered by wood and glade, And the Lord looked down from the highest heaven, And blessed what He had made, (All the class) THE BRIGHT, BRIGHT FLOWERS! 3. The blessing remaineth upon them still, The blessing of God in each tender leaf Preserved in their beauty then (All the class) THE BRIGHT, BRIGHT FLOWERS! 4. The lily is lovely as when it slept On the waters of Eden's lake; The woodbine breathes sweetly as when it crept They were left as a proof of the loveliness Of Adam and Eve's first home; They are here as a type of the joys that bless (All the class) THE BRIGHT, BRIGHT FLOWERS! LESSON LXV. THE SUMMER RAIN. HELEN MITCHELL. H the rain, the beautiful rain! 1. Ot 0 Cheerily, merrily falls, Beating its wings 'gainst the window-pane, Trickling down the walls,— Over the meadow with pattering feet, Kissing the clover-blossoms sweet, Singing the blue-bells fast asleep, Making the pendent willows weep, Over the hillside brown, Over the dusty town, Merrily, cheerily, cometh it down, 2. Oh the rain, the welcome rain! On tiny flower and thirsting plain, |