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90. Nothing Venture, Nothing | 113. An Argument Against the Have. Use of Profane Language.

91. One Good Turn Deserves An- 114. The Duty of Confessing One's

other.

92. Silence Gives Consent.

93. It Never Rains but it Pours.

Faults.

115. Importance of Governing One's Temper.

94. Penny Wise and Pound Fool-116. The Injurious Influence of

ish.

95. Look Before You Leap.

96. Out of Debt, Out of Danger.

97. Short Settlements Make Long Friends.

Indulging in Slang.

117. The Motives which Lead to Flattery.

118. Rural Happiness. 119. Moonlight at Sea.

98. The Burnt Child Dreads the 120. Curiosity.

Fire. 99. A Bird in the Hand is Worth 122. Distribution of Time.

121. The Learned Professions.

123. Want and Plenty.

Two in the Bush. 100. The Sweetest Wine makes 124. Intellectual Discipline. the Sourest Vinegar.

125. Bad Effects of Ridicule.

101. Where there's a Will there's 126. Duties of Hospitality.

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Cheerful.

135. The Rainbow.

109. Be Sure your Sin will Find 136. Evils of Public Life. you Out.

137. Modesty a Sign of Merit.

110. Avarice; or, the More we 138. Art of Pleasing.

Have, the More we Want.

111. The Folly of Contending

about Trifles. 112. Busy-bodies.

139. Order and Confusion.

140. Moral Effects of Painting

and Sculpture.

141. Luxury.

142. The Study of Natural His- | 167. Epitaphs.

tory. 143.

The Butterfly and its

Changes.

144. Local Associations.

145. Parsimony and Prodigality. 146. The Seasons.

147. Harmony of Nature. 148. An Evening Walk.

149. A Strong Will and a Strong Won't.

150. A Description of an Evening Sunset.

168. How Far is it Right for One Nation to Interfere in the Affairs of Another?

169. A Ride Across the Atlantic on a Cloud.

170. Should Horse-Racing be Allowed at Agricultural Fairs? 171. What I Saw in a Balloon. Ride.

172. Characteristics of the Common House-Fly.

173. The Good Old Times.

151. The Bulls and Bears of Wall 174. Methods of Improving the Street.

Memory.

152. The Effect of the Purchase 175. Topics for Conversation at a

of Alaska.

153. Railroad Corporations.

154. The Uses of Ice.

155. Excess in Novel-Reading. 156. Fiction as a Means of Incul

cating Religious Truth.

157. A Visit to the Cave of Æolus. 158. Advantages of Linguistic Studies.

Morning Call.

176. Attention to Dress.

177. The Personal and Domestic Character of Washington Irving.

178. Negro Minstrelsy as a Popular Amusement.

179. Wedding Presents. 180. John Chinaman.

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190. International Art Exhibi- | 213. Nursing Sorrow. tions.

214. The Dress is not the Man.

191. Old Coins - What they Tell 215. Silent Influence. Us.

216. The History of a Pin.

192. Different Kinds of Car- 217. A Voyage to the Mediterra

pets.

193. Learning to Spell.

194. Spinning Street-Yarn.

195. Every American Boy Ex

pects to be President.

nean.

218. Visit to a Lunatic Asylum.

219. Firmness and Obstinacy.

220. The Honey-Bee.

221. Love of Ease.

196. Are Men or Women Most 222. Moral Courage.

Given to Gossiping? 197. Girls' Amusements

and

Boys' Amusements Contrasted. 198. My Mother's Apron-String. 199. Agreeing to Differ.

200. Public and Private Schools

Advantages and Disadvan

tages of each.

223. The Man of Talent and the

Man of Genius.

224. A Good Listener.
225. A Good Talker.
226. The Grace of Giving.
227. The Grace of Receiving.
228. Sketch of Aaron Burr.
229. The Market.

201. Our Father Who art in 230. Love of Shopping.

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204. People who are Always Un- 233. Influence of Steam.

fortunate.

234. The Bullet and the Ballot.

205. The Difference Between 235. The Effect on the Household

Pride and Vanity.

206. Gossiping.

207. A Ride on an Iceberg.

208. Theory and Practice.

209. An Encounter with a Burglar.

210. My Flower-Garden.

211. Letter-Writing.

212. Restless People.

of having Pictures and Works of Art in the House.

236. Description of a Country Church.

237. Does Poverty or Riches De

velop the Character best? 238. Do not Visit your Neighbor so often that he shall say, "It is Enough."

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THE labor of criticising and correcting Compositions, particularly in large schools, is very great; yet without such criticism and correction much of the value of the exercise is lost. The author, in his own experience in this matter, has found his labors materially lessened by the use of certain abbreviations and arbitrary symbols. General criticisms, when necessary, are written out in full at the bottom of the Composition. But criticisms of particular words or sentences are made on the margin. The abbreviations for marking these mistakes are the following:

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For expressing general estimates of the character of the piece, the following symbols are sometimes placed at the end:

+ improvement on previous Composition.

- a falling off.

X general excellence.

general carelessness.

V originality and research.

Occasionally a passage contains something, meritorious or otherwise, which can best be explained orally. In such cases, write on the margin

cl. Call for explanation.

The Compositions should be written legibly, in ink, with a margin for criticisms, and should not be folded; and the name of the writer should be placed at the top of the first page.

In marking a Composition, an estimate should first be made of its general merits in reference to subject-matter, style, and method of treatment. From the mark thus given, a deduction should be made for each mistake noted on the margin.

The abbreviation on the margin should be made directly opposite the place where each mistake occurs, but there should be no mark on the word itself that is wrong. It should be left to the ingenuity of the scholar to find out where the mistake lies, and to make the correction himself. For each correction thus made, a suitable allowance should be made in the final adjustment of the mark for the Composition. This stimulates inquiry, and makes the criticisms doubly valuable.

AN EXAMPLE OF A PROOF-SHEET

SHOWING THE MANNER IN WHICH ERRORS OF THE PRESS ARE MARKED FOR COR

1

RECTION.

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Caps

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THOUGH Severel differing opinions exist as to the individual by whom the art of printing was first discovered; yet all authorities concur in admitting Peter Schoeffer to be the person 3 who invented cast metal types, having learned the art of of cutting the letters from the Gut/ tenbergs/ he is also supposed to have been the first whoengraved on copper plates. The7/-/ following testimony is preseved in the family, 8 by Jo. Fred. Faustus, of Aschaffenburg: 10>'Peter Schoeffer, of Gernsheim, perceiving 11 his master Fausts design, and being himself ". (desirous ardently to improve the art, found out (by the good providence of God) the method of cutting (incidendi) the characterstet. in a matrix, that the letters might easily be singly cast instead of bieng cut. He pri- cil 14vately cut matrices for the whole alphabet: 15

12

19

Faust was so pleased with the contrivance,

S. Caps

13

12

17

that he promised Peter to give him his only "wf. 16/daughter Christina in marriage

which he soon after performed.

Λ

promise 3 Ital.

18

3

no T

as/ (But there were many difficulties at first with these letters, as there had been before Rom. with wooden ones, the metal being too soft Ital. to support the force of the impression: but 9

20 + +

this defect was soon remedied, by mixing

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a substance with the metal which sufficiently.
hardened it

(and when he showed his master the

letters cast from these matrices,

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