faces and attitudes. He distinguishes perfectly between the Portland and Warwick Vases, so that I believe if he were shown either of these vases he would immediately name it. The other day he met with a tea-urn for the first time, and immediately named it from having seen a picture of one in a child's book. I think his knowledge of the plants, statues, and portraits, the most remarkable; of the two latter subjects I suppose there must be nearly forty, and as the style of their execution and their size are so nearly the same, he could have nothing to guide him but his knowledge of their faces. In one case, where the shadow was badly placed, he remarked that he had a dirty face.' No pains have been taken to teach him this. All the information which he has received has been in answer to his eager questions; and it may be said, that he has in fact already made some progress in the knowledge of zoology, natural and sacred history, biography, and botany, entirely from the use of pictures."

If we consider how largely pictures contribute at the present day to give impressions to children, and to communicate either knowledge or error, but more frequently the latter, we shall think the subject worth a little consideration.

Next to the impressions produced by real objects, pictures are in early life the fruitful sources of ideas. A child reads a picture long before it reads a book. The mode in which a child gradually acquires the true interpretation of the objects presented to its eyes is not very easy to trace, because the acquisition of this practical. knowledge begins with the child's existence. We see, however, that a child, as soon as it has the use of its arms, calls in the aid of another sense to help its im

pressions of visible objects: every thing that a child sees it wishes to handle; and any object that it can handle is carried to the mouth, where it undergoes a new kind of examination.

The meaning of a picture, even a mere outline, is soon understood by a child when the reality, or something belonging to the same general class as the reality, has been seen: if neither the reality nor anything belonging to the same class has been seen, a picture conveys no meaning to a child, nor indeed to a man. A picture of a thing which is altogether new and unknown, and the thing itself, are at first sight equally unintelligible.

How does a child know that a few lines scratched on a piece of paper are intended to represent some particular object, or some object belonging to a class? We can only answer this by considering what that is by which we know that a picture is a representation of some definite thing, or some thing belonging to a definite class of things. Colour in the first place is not necessary: a man's profile or the figure of an animal may be cut out either in black paper or white paper, and in either case the object may be immediately recognised. Much less is it requisite that every part in the object should have something corresponding to it in the representation. A few strokes arranged in a certain way convey the idea of a man, a bird, or of any class of objects with which we are familiar: a few strokes are sufficient to point out even individuals of a class, if the person who is to judge of the picture is well acquainted with the individual object represented. We often know a person by seeing only a part of him; a glance at part of his face, or a view of his back, is often enough. It is then the form of a thing which

enables us to recognise an object, or its representation; but what is the form, and how much is it? It is not the form of each part, though each part, when accurately represented, tends to confirm our recognition of a thing in which each part is already known to us. This is the way that a naturalist looks at a drawing of any object, or an antiquary at a coin or gem: he tests and examines his first and general impression by a careful inspection of the minuter parts of the object. A single glance enables us to know many representations of objects, whether they be intended to represent any one of a class or some particular one of a class. It is clear, therefore, that the notion of a resemblance is very rapidly produced. The general form of a real object, as presented to the eye, consists in the boundary lines of this object for instance, the forms of large buildings. are often projected on the sky, and at certain times in the twenty-four hours and in certain states of the atmosphere, they show themselves in a surprising angular and distinct form. There is no real difference (as to conveying the general impression) between the boundary lines of objects thus presented to the eye, and other lines drawn in proper positions and proportions on any plane, such as a flat piece of paper. These lines, when drawn in their true positions and proportions, on any plane surface, are as complete a reality as the object itself, and convey as exact an impression as the general impression of the real object: it is true, that if we begin to look to minute details, the appearance of a real object and the outline of a picture are not the same thing; but we are speaking of an outline picture, which does no more than present the general character and the most marked or distinctive particular characters

of objects; and for this purpose an outline is all that is wanted. We make these remarks, because we have heard it said that children do not understand outline representations. There may be some children who do not, because there are some unfortunate children who hardly understand anything: but, as a general rule, children do understand outlines, even their own clumsy imitations of men or quadrupeds, which they make to amuse one another with frequently long before they have learned to read and write.

The low rate at which tolerably good copies of most objects can now be procured, owing to improvements in wood-cutting and in the whole machinery connected with printing, renders it an object of great importance to consider how far these improved arts can be made useful in education. Every body will readily admit that accurate representations of many objects are essential to the right understanding of what we read: they are as necessary accompaniments to treatises on many branches of science or art, as maps are when we study geography or history. To children they are a neverfailing source of pleasure, and they may be made powerful instruments for the communication of useful knowledge. We will mention a few classes of objects which may be usefully represented in children's books; they are classes about the propriety of which there can be no dispute, provided the representations are correct.

Objects of zoology-such as quadrupeds, birds, fishes, &c.

Objects useful in the mechanical arts, or objects the products of the mechanical arts-such as various kinds of instruments and implements, machines, &c.

Objects historical-such as views of edifices known in

history, views of places associated with historical events, likenesses of distinguished persons; representations of the different forms of the same things at different epochs, such as costume, ships, military weapons, &c.

Other classes of objects may be mentioned, of which representations will be useful and pleasing, such as views of striking scenery in all parts of the world, especially when such localities are connected with historical

events.

We may here mention a recent publication of this class, which in its scope and design is calculated to give both pleasure and instruction. The Landscape Illustrations of the Bible* contain views of the most remarkable localities in Palestine, accompanied with a short letter-press description and a reference to authorities. As specimens of engraving, the views are more highly finished than would be necessary in any similar work designed to be extensively distribu'ed; though these engravings cannot by any means be called dear. Of the value of such illustrations applied to those countries which have been the scene of many remarkable events, there can hardly be a difference of opinion; and this value is increased when these views are characterized by such striking natural features as those of the mountain-regions of Syria. The value, however, of such illustrations depends altogether on their accuracy; if they do not possess this essential quality, we would rather be without them. In the work just alluded to, the names of the draughtsmen are given, which is as much as we can reasonably expect. There is, however, some suspicion, perhaps often groundless, that the rough sketches of travellers are frequently embellished before they are presented to the public. The reading com

* Publishing by Mr. Murray, Albemarle Street.