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parent paper, either white or black tiffany or lawn stained upon atranie, and used in the same manner as the paper, excepting that,•as the black-lead pencil is used to the paper, on the w hite titlanyand on the lawn you must use charcoal very soft and finelypowdered; but on the black titlany very tender white chalk is tobe used. A draught may be taken regularly, from a drawing, ontransparent paper, as follows: Take a piece of paper of the samesize with that of the draught; rub one side of it with some powderof black lead, till it be well and equally blacked, so that a lingertouching it, will hardly be. tinged with the blacking ; then takethe print, and laying the paper underneath it with the black sidedownwards, upon another place of white paper of the same size,pin the three together in two or three places: afterwards, take apin or needle, somew hat blunted at the point, and trace it over the' outlines of your picture, which, with a little pressing, will directthe black paper to impress the white, so as to receive every strokeyou draw: this done, you may carefully correct what errors yousee with your black-lead pencil, cleaning the new-made draughtslightly w ith the crumb of stale bread. As for the draughts takenon tiffany or lawn, they are only to be laid op paper; that is, suchas are) drawn with charcoal upon white, and those drawn with chalkupon black or blue paper; and then, giving each of them a knockor two with the hammer, the charcoal or the chalk will fall throughthem upon the papers directly in the lines they were drawn, andgive you the true representation of the object drawn from the life,in white lines upon the black paper, ami in black lines upon thewhite. Then strengthen these shadows of drawings with your !black lead pencil, chalk, or red oker, upon the pieces of paperwhere they made the marks; for otherwise the lines will easily be ,rubbed out. I5ut it must be observed, that this amendment is to !be made soon after the lines ; because those tender draughts will 1quickly vanish, if care be not taken to strengthen them immedi-ately. YouTire to begin this operation at the bottom of the draw-ing. There is another way which mav be more easv to the bandor arm of a person not accustomed to drawing upon a [xiper or lawnplaced upright, which is by the use of a camera obscura ; thoughto help the hand one may hold a baguette, or such a stick in theleft baud as the oil-painters use to rest the right hand upon; orhave some other rest made for the right hand, as may be easilvscrewed up and down at pleasure. 13ut there is this difference stillbetween drawing a piece of perspective, or view, on a transparent ;paper or lawn placed upright against any object, and drawing by !the camera obscura; that such a piece will take in more of theview or object, and from a greater distance, than the camera ob-scura will: however, (lie portable camera obscura will, at first, bevery easy to the arm of a beginner, by reason the objects appearon a horizontal plane, such as a table; and the hand, haviug aproper rest, will more easilv follow the line represented on theplane with great exactness. 1'lie camera obscura is a machine orapparatus wherein the images of external objects are representeddistinctly, and in their genuine colours, either in an inverted or erectsituation. This machine may be made as follows; Darken achamber, one of whose windows looks into a place set with a va-riety of objects, leaving only one little aperture open in the win-dow. In this aperture fit a lens, either a piano convex one, or oneconvex on both sides, so as to be the portion of a large sphere.At a due distance, to be determined by experience, spread apaper or while cloth on the wall, unless the wall itself be whitenedso as to serve the purpose; and ou this the images of the desiredobjects will be delineated invertedly, and hence may be copiedwith ease. It is to be observed, that if the aperture does not ex-ceed the bigness of a pea, the objects will he represented thereon,even though there be no lens at all. To render the images clear

and distinct, it is necessary that the objects be illuminated by thesun; and they will be slill brighter if the spectator first stay a quar-ter of an hour in the dark. Care must be likewise taken that nolight escape through any chinks, and that the wall be not too muchilluminated. Farther, the greater the distance between the"aper-ture and the wall, the larger and more distinct will the images be;but tin* rays becoming thus too much dilated, the brightness of theimage is weakened, tid at length it becomes insensible. But theportable camera obscura is more proper for beginners, as beingmore easy for their arm ; besides, the objects appearing on a hori-zontal plane, may, of course, be drawn with greater exactness.Two other methods, both easy and entertaining, for taking ofdraughts or drawing, are as follows: 1st. Frick with a pin the out-lines of the print or drawing you design to copy, and then laying thesame on a sheet of paper, take a powder-puli' or tuft of cotton, dip-ping it now and then in charcoal-dust, and beat it over the prickedlines through the picture, by which means you will have full di-rections marked ou your cloth or paper sufficient to finish a justdrawing. 2d. The other way is by making such an impressionfrom the print as shall give a just copy of it; and it is of great usewhen we want to, carry every stoke of the graver along with us;which method, if you are very careful, will indeed but very littlesully tins print. For this end, take some white or green soap,which mix with such a quantity of water as will bring it to the con-sistence of a jelly ; with this mixture rub the print, and with awet sponge gently wet the paper designed for receiving the im-pression ; then laving it on the print, cover all with two or threeother pieces of dry paper, and rub it very hard all over with anything that is smooth and polished ; and thus the wetted paper willhave upon it the reverse of the print you rubbed it upon, withevery distinct line in the original, if you have been careful to rubit equally.

To take the Natural Form of a Leaf. First take the leafyou would copy, and gently rub the veins on the back side of itwith a piece of ivory, or some such like matter, so as to bruise thema little ; afterwards wet the same side gently with linseed-oil, andthen press it hard upon a piece of white paper, and you shall havethe perfect figure of the leaf, with every vein in it justly expressed:this impression being afterwards coloured will seem truly natural,and may be useful to such as would remember plants. Anotherway of painting the leaves of plants, so that the impression shall ap-pear as black as if it had been done in a printing-press, is as follows:When the leaf is dry, take such a ball as the pressmen use forblacking the types, and rubbing it equally over with printer’s ink,strike it gently four or five times on the back of the leaf, till allthe veins are blacked with the ink: then laying the leaf on aflatboard or the like, with the back side upwards, clap a piece ofwhile paper well moistened on the leaf; and pressing it pretty hard,but not so as to bruise the fibres, you shall have a fine impression.But this may be done to still greater advantage by means of a pieceof wood in the form of a cylinder, about a foot long, and an inchand a half diameter, the middle part about six or eight incites long,being covered with a woollen cloth rolled three or four times roundit. With this cylinder roll the paper over the leaf four or fivetimes backwards and forwards, and you will have a curious im-pression. But where printer’s ink is not conveniently come at,the following method may be made use of: Rub the back of theleaf, as before directed, with burnt linseed-oil: then, strewing somepowder of black lead, or, for want of that, some charcoal or small-coal dust, or the powder of burnt cork, upon a smooth board, soas equally to cover it, stroke the powder gently over; and oilingthe back side of the leaf, clap it upon the board ; then laying thewhite paper upon the back of the leaf, press or roll it as before.

DRAYTON, a town in Shropshire , on the Torn, 17 miles N.E. of Shrewsbury.

DREAMS are all those thoughts which people feel passingthrough their minds, and those imaginary transactions in whichthey often fancy themselves engaged, when in the state of sleep.Scarce any part of nature is less open to our observation than thehuman mind in this state. The dreamer himself cannot well ob-serve the manner in which dreams arise or disappear to him.vol. ji.—no, 68.

When he awakes, lie cannot in general recollect the circum-stances of his dreams with sufficient accuracy. Were we to watchover him with the most vigilant attention, we could not perceivewhat emotions are excited in his mind, or what thoughts passthrough it, during his sleep. But though we could ascertain thesephenomena, many other difficulties would still remain. M hatparts of a human being are active, what dormant, when he dreapis?Why does he uot always dream while asleep? Or why dreams hed L> at