They should talk little, think much, and receive instruction with docility, and a disposition to put it into execution.

They should not be mere eye servants, who appear active and careful only in the presence of their masters: but they should serve their masters for justice and conscience sake; and be as honest in their absence as in their presence.

They should not enter play-houses, ale-houses, taverns, gambling-houses, or any other place, where strict truth, good manners, or sound morality is not observed.

They should be most regular in their time of rising and going to bed, in returning from meals, and in `attending to business.

Whilst they are not to aspire too high, as pride always gets a fall, they should economise their means, and save something from their earnings, in due time; they should be cautious in setting up business, and never do so without the advice of their parents and friends.

If apprentices, before they go to business, have not received a due education, they should as far as their master allows, employ their leisure hours, particularly on Sundays, in improving their mind and manners.

N. B.-It is needless to say, that no boy will be really a good apprentice, who does not serve God, and keep his commandments faithfully and piously.

ARCHITECTURE.

THE art of building has, from the earliest periods of society, been cultivated by mankind; and the origin of all buildings may be deduced from the construction of the meanest huts. These were, at first, made in a conical form, which is the simplest in structure; but being inconvenient, on account of its inclined sides, both the form and construction of the huts were changed, by giving them the shape of a cube. Mankind at length improved in the art of building, and invented methods of rendering their habitations durable and convenient. The trunks of trees, deprived of their bark and other inequalities of surface, were raised above the humid soil, by means of stones, and covered each with a flat stone or slate, to exclude the

rain; and the interstices between the ends of the joists were closed with wax or clay. The roof was altered, and elevated in the centre by rafters, to support the materials of the covering, and to carry off the water. When the rude builder erected more stately edifices, he imitated those parts which, from necessity, had composed the primitive huts. The upright trees, with stones at each end, became the origin of columns, bases and capitals; and the beams, joists, and rafters, which formed the covering, gave rise to architraves, friezes, and cornices.

The Greeks, whose genius prompted them to combine elegance and convenience, derived their ideas of building from the Egyptians. But the mind of man is influenced by the government under which he lives; the Greeks lost, with their independence, the ascendancy in works of genius, and from that period the Romans encouraged this noble art. Vitruvius, the learned Roman architect, had Julius Cæsar and Augustus for his patrons, and though employed in few works of magnificence, his rules for architecture were highly esteemed by the ancients, and are still a standard among the moderns. The Romans carried to the highest perfection the five orders of architecture: the Tuscan, the Doric, the Ionic, the Corinthian, and the Composite; and though the moderns have materially improved the general structure of the buildings, nothing has been added to the beauty and symmetry of these columns. To give an idea of the orders, it must be observed, that the whole of each is divided into two parts at least, the column and entablature: and of four parts at most, when there is a pedestal under the column, and an acroterat, or little pedestal, surrounded by the entablature: that the column has three parts, the base, the shaft, and the capital; the entablature has three likewise, the architraves, the frieze, and the cornice.

The Tuscan order has its name and origin in Tuscany, first inhabited by a colony from Lydia; whence it is likely the order is but the simplified Doric. On account of its strong and massive proportions, it is called the Rustic order, and is chiefly used in edifices of that character, composed of a few parts, devoid of ornament, and capable of supporting the heaviest weights. The Tuscan order will always live where strength and solidity are required. The Trajan column at Rome, of this order, is less re

markable for the beauty of its proportions, than the admirable pillar with which it is decorated. Its column is seven diameters high; and its capital, base, and entablature, have but few mouldings or ornaments.

The Doric order, so called from Dorus, who built a magnificent temple in the city of Argos, and dedicated it to Juno, is grave, robust, and of masculine appearance, whence it is figuratively termed the Herculean order.

The Doric order possesses nearly the same character for strength as the Tuscan, but it is enlivened with ornaments in the frieze and capital. In various ancient remains of this order, the proportions of the columns are different. Ion, who built a temple to Apollo in Asia, taking his idea from the structure of man, gave six times the diameter of the base for the height of the column. This order has no ornament on its base, or on its capital: its height is eight diameters; its frieze is divided into triglyphs and metopes, where all the parts of the order are accurately defined; which gives it complete.

The Ionic order derived its origin from the people of Ionia. The column is more slender than the Doric, but not so graceful. Its ornaments are elegant, and in a style between the richness of the Corinthian, and the plainness of the Tuscan; simple, graceful, and majestic. When Hermogenes built the temple of Bacchus, at Teos, he rejected the Doric after the marbles had been prepared, and in its stead adopted the Ionic.

The temples of Diana at Ephesus, of Apollo at Miletus, and of the Delphic oracle, were of this order. Michael Angelo, contrary to all other authors, gives the Ionic a single row of leaves at the bottom of the capital.

The Corinthian, the finest of all the orders, and as first used at Corinth, is expressive of delicacy, tenderness, and beauty. The capital, so rich and graceful, was suggested to Callimachus by an acanthus entwining its leaves around a votive basket, that adorned the grave of an illustrious young lady. The column is ten diameters high.

The Composite order, invented, it is said, by the Romans, partakes of the Ionic and Corinthian orders; but principally of the latter. Its column is ten diameters high, and its cornice has denticles, or simple modillions.

Gothic architecture has numerous and prominent buttresses, lofty spires and pinnacles, large and ramified

windows, ornamental niches and canopies, with sculptured saints and angels, delicate lace-work, fretted roofs, and an indiscriminate profusion of ornaments. But its most distinguishing characters are small clustered pillars and pointed arches, formed by the segments of two intersecting circles. This style is supposed by some to be of Arabian origin, introduced into Europe by the Crusaders, or those who made pilgrimages to the Holy Land; while others think we are indebted for it to the Anglo-Normans and the English.

EMINENT SHOEMAKERS.

LINNEUS, the founder of the science of botany, was apprenticed to a shoemaker in Sweden, but afterwards taken notice of in consequence of his ability and sent to college.

The elder David Pareus, who was afterwards the celebrated professor of theology at Heidleburg, Germany, was at one time apprenticed to a shoemaker.

Joseph Pendrall, who died some time since at London, and who was a profound and scientific scholar, leaving an excellent library, was bred, and pursued through life, the trade of a shoemaker.

Hans Sarchs, one of the most famous of the early German poets, was the son of a tailor, served an apprenticeship to a shoemaker, and afterwards became a weaver.

Benedict Baudouin, one of the most learned men of the 16th century, was a shoemaker, as likewise was his father. This man wrote a treatise on the shoemaking of the Ancients, which he traced up to the time of Adam himself. According to his views, Adam was a shoemaker, and Eve a tailoress.

To these may be added those ornaments of literature, Holcraft, the author of Critic, and other works; Glifford, the founder and for many years the editor of the London Quarterly Review, one of the most profound scholars and elegant writers of the age; and Bloomfield, the author of The Farmer's Boy," and other works, all of whom were shoemakers, and the pride and admiration of the literary world.

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Anthony Purver, who was a teacher of the languages,

at Andover, England, and who received one thousand pounds for his translation of the Scriptures, served his time as a shoemaker.

Our own Roger Sherman, too, was early apprenticed to a shoemaker, and he followed the business many years. This was the man who, as Mr. Jefferson once observed, "never said a foolish thing in his life."

PRINTING AND STEREOTYPING.

THE art of printing is one of the most extraordinary results of human ingenuity, and is certainly the very noblest of all the known handicrafts. Yet, important as it is acknowledged to be, three centuries elapsed from the date of the invention, before it was perfected in many of its most necessary details. At first, the art was entirely in the hands of learned men, the greatest scholars often glorying in affixing their names to the works as correctors of the press, and giving names to the various parts of the mechanism of the printing office, as is testified by the classical technicalities, still in use among the workmen. It was formerly mentioned that Guttemberg the inventor, did not go to the length of casting types from moulds; that great improvement is said to have been effected by Peter Schoeffer, the companion of Faust; and that from that event till the invention of italic letters by Aldus Manutius, to whom learning is much indebted, no other improvement took place. It does not appear that mechanical ingenuity was at any time directed to the improvement of the presses, or any other parts of the machinery used in printing, and the consequence was that till far on in the eighteenth century, the clumsy instruments of Guttemberg, Faust, and Caxton, continued in universal use. The presses were composed of wood and iron, and were slow and heavy in working, while the ink continued to be applied by two stuffed balls or cushions, at a great expense

of time and trouble.

At length, an almost entire revolution was effected in the printing office, both in the appearance of the typography, and the working of the presses. About the same period, the art of stereotyping was discovered, and devel