his famous contemporary. Titian more especially devoted himself to portrait painting, and held the office of painter by appointment to the doges, or chief magistrates, of the Venetian republic. He was patronised by the great emperor Charles V., whose portrait he twice painted; and it is said that he accompanied the emperor to Spain for some years. But the greater part of his life was spent in Venice itself, where most of his finest pictures still remain. The great point of Titian's work is the exquisite beauty and purity of his colouring, for which he is generally considered to rank absolutely first. There is a grand stateliness and dignity about his portraits which are to be found in few others. He has rendered for us in undying colours the noble heads of the great Venetian statesmen-the proud and wealthy leaders of a great merchant oligarchy-whose haughty features and splendid mien exactly suited his grandiose and princely style. The austere faces, the broad and portly yet magnificent figures, the stately robes, the Italian profusion of velvet and silk, all seemed as though designed on purpose for his pencil. Titian's main importance in the general history of art, indeed, depends most especially on the fact that he is the earliest great painter whose claims rest chiefly upon his portraits, and not upon devotional works or idealised figure-pieces. He painted, however, many pictures in these other lines, among which the "Sleeping Venus," in the Dresden | Gallery (familiar in numerous engravings), is perhaps the best known to most English people. He took a great many aubjects also from classical literature, such as the "Bacchus and Ariadne," "Venus and Adonis," and "Rape of Ganymede," all in our own National Gallery. But he also chose others of Titian founded a large school of painters at Venice, most of whom were his own pupils; and the peculiar richness of colouring which they learned from their master was one of their distinguishing traits. Among them the most distinguished was perhaps the painter whom we know as Tintoretto, and who to some extent com. bined the Roman and Venetian manners, imitating Titian in colouring and Raffael and Michel Angelo in composition. He may thus be considered as one of the earliest eclectic painters, who form the next great school that we must briefly consider. With the general development of scionce, civilisation, and intercourse which took place during the sixteenth century, a change began to come over the spirit of the various small local schools. Painters no longer spent the greater part of their time in one city, but went about from town to town, studying the masterpieces of their various predecessors. In this way, what is known as the eclectic school took its rise; its great endeavour being to combine the diverse excellences of the acknowledged masters. A large number of separate circumstances conduced to the growth of the eclectic spirit. Towards the close of the sixteenth century, Italy and the world at large were fast being revolutionised. The medieval system was now thoroughly broken down, and the modern system was rapidly taking its place. Spain had already made her great conquests in the New World, and the minds of men were filled with visions of the El Dorado opening before them across the Atlantic. Portugal had discovered the route to India round the Cape of Good Hope, and was in the heyday of her colonial greatness. These new paths of commerce and adventure were opening out TITIAN. AURORA AND PHOEBUS, WITH THE HOURS. (By Guido Reni.) the mediaeval devotional sort, such as the "Martyrdom of St. Sebastian," the "Assumption of the Virgin," and the "Death of St. Peter Martyr." These are less happy, as a rule, than his magnificent representations of his own Venetian contemporaries. new ideas in turn. England was waking up to her Elizabethan revival, her poetic glories in Shakespeare and Spenser, and her naval adventures under Drake and Raleigh. Protestantism had spread over all Germany and the North, and was even then engaged in a life-and-death struggle with Catholicism in France. In the midst of all this great upheaval, this widening and broadening of human thought and interests, art alone could not remain stationary. It ceased to be local, and began to be cosmopolitan, as schools of painting sprang up in every part of Europe. It was no longer dependent upon the building of a particular cathedral or palace, upon the patronage of a particular pope or king: it had become a thing of general popular interest and concern. All over Europe the big mediaval castles, with their gloomy courts and bare halls, were giving place to the stately Italian style of mansions, with terraced gardens, noble porches, broad staircases, long airy galleries, and large windows admitting abundance of light and sunshine. Their walls were adorned with portraits of the noble families and their friends, while their ceilings were covered with frescoes of graceful and fanciful classical subjects. In such a world as this, art began to assume a more popular form; it gave up its severity and austerity. At the same time, it lost much of its primitive sincerity; it learned to appeal to more commonplace and perhaps even vulgar feelings. No longer addressing itself to the taste of a few educated and cultivated connoisseurs alone, it sought to catch the public eye by somewhat tricky sentiment and meretricious beauty. It was from such causes that the school of the eclectics took its rise. The most famous of the early eclectics were the family of Caracci at Bologna, of whom Ludovico Caracci (born 1555, died 1619) and his cousin Annibale (1560-1609) are the best known. Ludovico was a pupil of Tintoretto, and he followed his master in the attempt to combine the various good points of the preceding schools. Annibale studied under Ludovico, and was afterwards employed upon the Farnese Palace at Rome. Both painters had much beauty of technical workmanship, but their works are marked by a certain false sentiment and theatrical action which please inexperienced judges at first sight, but which a critical eye recognises as inferior in tone to the closer fidelity and simplicity of the early Renaissance artists. The classical spirit is very strong in their works, most of which are drawn from the old mythology. They are treated, however, in a rather meretricious manner, with much superficial grace, and a good deal of posing and posturing. During the eighteenth century, indeed, when artificiality was rather a recommendation than otherwise, it was the fashion to talk of the Caracci and the other eclectics as representing almost the highest development of modern painting. At the present day, on the other hand, when the prevalent taste runs rather in the direction of a revived medievalism-when the real beauties of the preRaffaelite painters are fully recognised, and when their obvious shortcomings are too readily overlooked or condoned-it has become the fashion to run down the eclectics to an unmerited extent, as being mere pretenders or false sentimentalists of a vulgar sort. It is probable that a just and true criticism would steer somewhere between these two extremes. It would admit that the Caracci and their school were wanting in the highest mental qualities of the true artist; that they sacrificed too much to theatrical effect, and lacked deep spiritual insight; but on the other hand it would frankly recognise the great merits of their work in its technical aspect, and the beauty and tenderness of many of their pictures. No one of the eclectics has suffered more in reputation from this marked revulsion of feeling in modern times than Guido Reni, undoubtedly the greatest and truest of the eclectic school. A century since, it was usual to speak of Guido as occupying the same rank as Raffael, Michel Angelo, Lionardo, and Titian; at the present day it is usual to speak of him with a mixture of contempt and dislike, which have in them something almost of personal bitterness. Yet Guido, with many faults of sentiment and taste, is certainly one of the painters whose works have most deeply touched the hearts of thousands upon thousands of men; and the exquisite tenderness and grace of some of his works ought easily to redeem the occasional trickiness and false romance of his less pleasing pieces. Guido was a native of the Bologna district, and a friend of the Caracci family. His style has an extraordinary softness and grace of its own, a delicacy of touch and melting tone of colouring which are to be found in no other painter. The faces of his women and children in particular are full of a child-like simplicity and beanty which are very touching He loved best to paint female faces, and those of the softest and most lovable kind. The Magdalen was his favourite subject, and perhaps the one in which he succeeded most fully. He also took many beautiful heads of women from his own Roman peasantry. In men's figures he chose rather such subjects as the dead Christ, or other touching themes on which he might display his peculiar tenderness; and it is this love for pathetic display which has raised against him the charge of sentimentality. His "Ecce Homo," in the Dresden Gallery, is familiar to every one in numerous engravings, while the exquisite female portrait which bears (erroneously) the common title of the "Beatrice Cenci" is almost equally well known. The English National Gallery contains a large number of his works. Our illustration represents his "Aurora and Phoebus, with the Hours," preserved in the Rospiglioli Palace, which is generally considered as his masterpiece, but which perhaps represents his peculiar characteristics far less strikingly than most of his other works. With the eclectic school the peculiar greatness of Italy in art began to decay. Painting and its sister arts now migrated westward, as did also trade, manufactures, science, and the political centre. The discovery of America and of the new route to India turned away the current of the world from Italy and the Mediterranean to England, France, Holland, and the Atlantic. The wealth which used to flow into Venice, Florence, Genoa, Rome, and the Tuscan cities began to flow into London, Paris, Antwerp, and Amsterdam. All that was living in politics, in philosophy, in literature, in thought, followed in the westward stream. The minds of men took a new direction. Spain was the first of the nations on the Atlantic sea-board to feel the change, and to blossom into a short-lived greatness; but the effects of the movement extended rapidly to France, England, and the Low Countries as well. Hence it is in these countries that we must henceforth look for the chief development of art. With the great age of Raffael and Michel Angelo, Italy had reached her culminating point; with the Caracci and Guido the decay had begun to set in; and from that time forward the artistic supremacy rapidly deserted Italian soil, and began to fix itself further to the west. It is always so in art. Artistic greatness can never live on without the other kinds of greatness upon which it bases itself. The painter, the sculptor, and the architect are all products of their age: they are acted upon by all its thought, all its science, all its industry, all its wealth. It would be absurd to expect great painters or great sculptors to arise in the Greece of the present day. There is none of the active environment by which such greatness is begotten. On the other hand, in the Greece of the age of Pericles, in the Italy of the age of Raffael, there were all the necessary elements in abundance. Minor arts were being carried on everywhere; churches or temples were being built; palaces were being decorated; wealth was being spent in encouraging hundreds of the smaller artistic handicrafts. By such pursuits, men were trained to the kind of occupations from which families of painters or sculptors arise. For all these tastes and talents are hereditary, the long result of many ages of previous culture. With the beginning of the seventeenth century the scene of civilisation had shifted, and Italy began to fall behind in the race. Since that time, she has been the great school for artists, because she still possesses all the greatest artistic achievements of her best age; but she has seldom or never herself again produced an artistic genius of the first order. LESSONS IN GREEK.-XIV. REVIEW OF THE THREE DECLENSIONS. WITH the nouns of the first and second declension, the student, if he has thoroughly mastered the foregoing lessons, will find no difficulty in any attempt he may make to construe classical Greek. It is somewhat different with nouns of the third declension, the discovery of the nominative of which is necessary in order to consult a Greek lexicon with ease and effect. I therefore subjoin the following, which will enable him from the genitive case to find the nominative; in which form substantives and adjectives appear in dictionaries. I give the genitive, because the genitive is, as it were, the key to the remaining oblique cases. Thus, if you meet with avopa, you know the genitive must have two of these letters, namely, dp; if you meet with xeuwves, you know the genitive will have the letters xeuwv; if you meet with μeλaves, you know the genitive will have the letters μeλav. Now, from the genitive you may get to the nominative, and you may do so by the aid of what has already been said. But for this you must bear in mind that the v in μελαν, though belonging to the stem, does not appear in the nominative. In the following table, however, you will find that a genitive having an v, as in -avos, comes from a noun in -ας ; μελας, therefore, is the word which you have to look for in the lexicon, and μελας you find to mean black. Thus, you sce, if the genitive be given, the word is easily ascertained :Nominative Ending. Genitivo Ending. I wish you, with the aid of this table, to review the ground over which we have gone. With it you should possess the utmost familiarity before you pass on to the next topic. In order to assist you, and at once to ground you in what you have learnt, and to enlarge your acquirements, I subjoin exercises bearing on the three declensions. These exercises are taken from the best Greek authors, and from the sacred Scriptures. When you have mastered them, you will feel that already you have made some progress. I promise a few syntactical remarks. In Greek, as in Latin, adjectives, adjective pronouns, and participles agree with their nouns in gender, number, and case. That is, if the noun be in the accusative singular, in the accusative singular must the adjective, etc., be. If the noun be in the genitive plural, the adjective must be in the genitive plural. If the noun be of the neuter gender, put the adjective in the neuter gender; and so in all other cases, the adjective, the adjective pronoun, and the participle, when they agree in sense, must agree also in form, and be in the same gender, number, and case. Thus we say αγαθος ανηρ, a good man; but if we use γυνη instead of ανηρ, we must change αγαθος into αγαθη. Also we write ανδρα αγαθον | θαυμάζω, I admire a good man, but γυναικα αγαθην θαυμαζω, Ι admire a good woman-where αγαθος becomes αγαθον to agree with ανδρα, and αγαθην to agree with γυναικα. Compare the declensions of adjectives and nouns combined in the fourth and sixth lessons. As a general rule, a transitive verb, or a verb which has an object after it, has that object in the accusative case, as in the sentence just given—ανδρα αγαθον θαυμαζω. Many verbs, how ever, put their objects in some other case; some require the genitive, and some the dative. Examples have already appeared. | When two nouns come together in a state of dependence, the dependent noun is put in the genitive case: for example, 'O Αλεξανδρος του Φιλίππου ην υἱος, Alexander was the son of Philip; where Φιλιππου is in the genitive case, because it is in sense dependent on vios. When two verbs come together in a state of dependence, the dependent verb is put in the infinitive mood: for example, βουλομαι ὕδωρ πίνειν, I wish to drink water; where πινειν is governed in the infnitive mood by βουλομαι, the former boing in sense dependent on the latter. RECAPITULATORY EXERCISES SELECTED FROM THE GREEK αγει. 8. 1. Μια χελιδων εαρ ου ποιει. 2. Παντα δ χρονος προς φως 3. Πελοπι νἱοι ησαν Ατρευς και Θυέστης. 4. Πολλα ανθρωποις παρ' ελπίδα γιγνεται. 5. Γυναιξί κοσμος ὁ τροπος (understand εστιν ου τα χρυσία. 6. Οἱ τεττιγες ευφωνοι λεγονται είναι. 7. Μυρμηκων και μελισσων βιος πολυπονος εστι. Γιγνώσκει φωρ τον φωρα και λυκος λυκον. 9. Ου κτησις αλλ ̓ ἡ 10. Η μεν χρησις των βιβλιων οργανον της παιδειας εστιν. φυσις ανευ μαθησεως τυφλον, ή δε μαθησις διχα φύσεως ελλιπες. 11. Ο χρόνος τῳ γηρᾳ προστίθει την επιστημην. 12. Πολλαι ησαν αἱ της βουκερω Ιοὺς πλαναι. 13. Ανηρ ανδρα και πολις πολιν σωζει. 14. Επαμινώνδας ως αληθώς εν ανδρασιν ανηρ ην. 15. Γερων γεροντι γλωσσαν ἡδιστην εχει, παις παιδι, και γυναικι προσφορον γυνη. 16. Παντες οι των αρίστων Περσών παιδες εν ταις βασιλεως θύραις παιδεύονται. 17. Ξίφος τιτρώσκει σωμα, τον δε νουν λογος. 18. Η φρόνησις μεγιστον εστιν αγαθον. 19. Πολεως ψυχη οἱ νομοι. 20. Ἡ τυραννις αδικιας μητηρ εστιν. 21. Ὁ δειλος της πατρίδος προδοτης εστιν. 22. Οι αγαθοι άνδρες θεων εικονες εισιν. 23. Οἱ Νομάδες των Λιβύων ου ταις ἡμέραις, αλλα ταις νυκτεσι αριθμοῦσιν. 24. Χαλεπον εστι λεγειν προς γαστέρα, ωτα ουκ εχουσαν. 25. Ήφαιστος τω ποδε χωλος ην. 26. Η Μήδεια γράφεται τω παιδε δεινον ὑποβλέπουσα. 27. Ήθους βασανος εστιν ανθρωποις χρονος. 28. Οι οφεις τον τον εν τοις οδουσιν εχουσιν. 29. Ο Παρνασσος μεγα και συσκιον όρος εστιν. 30. Εν Βοιωτια δυο εστιν επισημα όρη, το μεν Ελίκων καλούμενον, ετερον δε Κιθαιρών. 31. Ο Νειλος έχει παντοια γενη ιχθυών. 32. Τίμα τους γονεῖς. 33. Αναχαρσις την αμπελον είπε τρεις φερειν βοτρυς· τον πρώτον, ηδονης· τον δεύτερον, μέθης τον τρίτον, αηδίας. 34. Πονος ευκλειας πατηρ (understand εστιν). 35. Ωκεανου και Τηθύος παις ην Ίναχος. 36. Οἱ τεττιγες σιτούνται την δροσον. 37. Κλεανθης εφη τους απαιδευτους μονῃ τῇ μορφή των θηρίων διαφερειν. 38. Ανάχαρσις ονειδιζόμενος ότι Σκύθης ην, είπε, τῷ γένει αλλ' ου τῷ τρόπῳ. 39. Κολάζονται εν άδου παντες οἱ κακοι, βασιλεις, δουλοι, σατραπαι, πενητες, πλουσιοι, πτωχοι. 40. Αἱ Φορκου θυγατέρες γραια, ησαν εκ γενετής. 41. Ζηνων εφη, δειν τας πόλεις κοσμειν ουκ αναθημασιν, αλλα ταις των οικουντων αρεταις. shall take each sentence in the order in which it stands, because In giving the vocabulary of these recapitulatory exercises, I the learner will here need more aid than he has hitherto required or received. VOCABULARY TO THE EXERCISES FROM THE CLASSICS. 1. Μια, one, from the numeral adjective eiς, μια, έν, one, of the fem. gen. to agree with χελιδών, & noun, 3rd dec. nom. sing., fem.-χελίδων, χελιδόνος, a swallow. 2. This sentence contains nothing that the student ought not to know. I therefore leave him to the knowledge he has, or may have, already attained, and so in future shall I do without giving notice thereof. 3. Πελοπι, from Πελοψ, Πέλοπος, & proper name, governed in the dative case by ησαν; to Pelops there were, that is, Pelops had ; Ατρευς (gen. -εως), Atreus; Θυέστης (gen. -ου), Thyestes. Observe that the English y represents the Greek v. 4. Παρ' for παρα, against, παρ' ελπίδα, contrary to their expec tations ; ελπίδα, acc. sing., from ή ελπις (gen. ελπιδος), hope. Why has the plural adjective πολλα the verb in the singular ? 5. Τροπος, -ου, δ, a turn, disposition; χρυσία, neut. pl., from χρυσιον, & diminutive of χρυσος, gold, and so denoting golden ornaments, jewels. 6. Τεττιγες, grasshoppers, from ὁ τεττιξ (gen. τεττίγος); ευφωνοι, pleasing in sound, nom. pl., from εύφωνος (εν and φωνη, a voice), an adjective of two terminations ; λεγονται, are said, the third person plural, passive voice, present tense, from λεγω, I say; it governs είναι, to be, in the infinitive mood. 7. Μυρμήκων, gen. pl., governed by βιοs, from & μυρμηξ, μυρμηκος, an ant; μελισσων, gen. pl. governed by βιος, from μέλισσα, ης, ή, a bee; πολυπονος, -ον (from πολυς and πονος), laborious. 8. Γιγνώσκει (from γιγνωσκω, I know), indicative mood, active voice, third person singular, agreeing with its subject or nomi native φωρ; φωρ, φωρος, δ, a thief; λυκος, -ου, δ, a wolf. 9. Χρησις, -εως, ἡ, use ; οργανον, -ου, το, a means, our organ. 10. Ανευ, without; τυφλον, from τυφλος, -η, -ον, blind; the adjective is in the neuter gender, denoting disparagement, a blind thing; διχα, separate from; ελλιπες, from ελλιπης, -ες, defective (from λείπω, I leave). 11. Пρоσтibel, adds, from wрeσtionμi, I add; emiotnμn, -ns, ǹ, understanding. 12. Bovкepw, having the horns of an ox, from Boukeрws, -w, and that from Bous and kepa; lovs, Io, from lw, -oûs; #λavai, wander. ings, from wλavn, -ns, ǹ. 14. Aλnows, truly; ws aλnows, very truly. 15. 'Hdiorny, sweetest, the superlative degree of dvs, sweet; poopopov, pleasant, from poσpupes, -ov, suitable to (apos and φέρω). 16. ApioTwv, the best, that is, noble, from apiσTOS, a superlative οι αγαθος. 17. Ξίφος, -ους, το, a sword; τιτρώσκει, wounds, from τιτρωσκω, I wound. 18. MeyloTov, the greatest, superlative from μeyas, great. 20. Tuparvis, -idos, n, usurped power, tyranny; adikias, of injustice (a privative, and dikŋ, right, justice). 21. Δειλος, -η, -ov, cowardly, ὁ δειλος, the coward; προδοτης, -ov, d, a betrayer, traitor. 22. Eikoves, images; eiкwy, -ovos, d, an image. 23. Nouades, the nomads, or wandering tribes, from voμas, -ados, and that from veuw already explained; apieμovov, they number, from apilμew, I number, our arithmetic. 24. Exovear, having, present participle from exw, I have; it agrees with γαστερα. 25. Ήφαιστος, Vulcan ; χωλος, -η, -ον, lame. 26. Mndela, as, n, Medea; vжоßλeжоνσa, scowling at, from ino, under, and Вλenw, I look. (Compare the Latin suspicari sub, specio.) = | days, but by nights. 24. It is hard to speak to the stomach, as it has no ears. 25. Vulcan was lame in his feet. 26. Medea is painted as 27. Time is the test of men's scowling fiercely at her children. character. 28. Serpents have a poison in their teeth. 29. Parnassus is a great and shady mountain. 30. In Boeotia are two remarkablo mountains, the one called Helicon, and the other Citharon. 31. The Nile has all kinds of fishes. 32. Honour your parents. 33. Anacharsis said that the vine bore three branches; one of pleasure, one of intoxication, and the third of disgust. 31. Toil is the parent of glory. 35. Inachus was the son of Oceanus and Tethys. 36. Grasshoppers feed on dew. 37. Cleanthes used to say that uneducated men differed in form only from wild beasts. 38. Anacharsis being reproached because he was a Scythian, said he was so in race but not in character. 39. In hell the bad are punished, (whether) kings, slaves, satraps, poor, rich, or beggars. 40. The daughters of Phorcus were old women even from their birth. 41. Zenon used to say that it was right to adorn cities, not with monuments, but with the virtues of the inhabitants. KEY TO EXERCISES IN LESSONS IN GREEK.-XIII. EXERCISE 47.-GREEK-ENGLISH. 1. Women rejoice in ornament. 2. The Greeks worship Zeus, and Poseidon, and Apollo, and other gods. 3. Modesty becomes women. 4. The dogs guard the house. 5. The pilot directs the ship. 6. The droppings of water make the rock hollow. 7. It is a woman's duty to watch her home. 8. It is the part of a good wife to keep house. 9. The dice of Jove always throw luckily. 10. Dogs always afford men aid and pleasure. 11. The evidence of witnesses is often trustless. 12. Carry, my child, the key of the chest. 13. O Zeus, receive the prayers of the unfortunate man. 14. Castor and Pollux were the saviours of ships. 15. Silence brings adornment to woman. 16. The Ethio17. O woman, preserve your house. 18. We comb our hair with a comb. 19. Excus keeps the keys of Hades. EXERCISE 48.-ENGLISH-GREEK. 27. Heous, of character, from to noos; Baσavos, -ov, ǹ, a touch- pians have dark hair. stone, test. 28. Opis, opews, 8, a serpent; ios, -ov, a dart, sting. 29. Пaрvaσσos, Parnassus, a mountain of Phocis, on which was Delphi ; συσκιος, -ον, overhung with clouds, from συν, with, 3. Φερουσι κλεις της οικίας. 4. Κλείδες της οικίας φερονται τῇ μητέρι. 5. Τους and σxia, a shade. 30. Eπionμos, -ov, distinguished, remarkable, from eri, on (here an intensive), and σnua, a sign, whence our semaphore, that is, a telegraph ; 'Ελίκων, Helicon; Κιθαιρών, Citharon; καλουμενον, called, named, participle agreeing with ro, that is opos; éтepos, -a, -ov, other, the other. 33. Αναχαρσις, Anacharsis; ειπε, said; ἡδονης depends on Bотpus; μeon, -ns, ǹ, intoxication; andia (from a, not, and dus, sweet), disgust. 34. Eukλela, -as, ǹ, glory, distinction. 1. Κοσμος πρεπει την γυναίκα. 2. Εργον εστι γυναικων φυλαττειν την οικίαν. Αθηναίοις ησαν πολλαι νηες, 6. Δεν ησαν πολλοι ναοι. 7. Οἱ ιχθυες ανακύπτουσιν εκ του ύδατος. 8. Ο κυβερνητης ιθύνει την ναῦν. 9. Η ναυς ιθύνεται ύπο του κυβερνητου. 10. Σεβεις Δια και Απολλωνα, EXERCISE 19.-GREEK-ENGLISH. 1. To drink much wine is an evil. 2. Kings have large revenues. 3. In Egypt is abundance of corn. 4. The sea is great. 5. Croesus had great wealth. 6. From a slight joy often arises great anguish. 7. To gentle words we yield with pleasure. 8. The great gifts of fortune bring terror. 9. The tempers of many men are gentle. 10. Toil is a great aid to virtue. 11. Children love gentle fathers and gentle mothers. 13. 12. Keep up an acquaintance with gentle-hearted men. 35. keǎvos, -ov, 8, Oceanus, Ocean considered as a divinity; The women are, gentle. 14. The majority of mankind call Alexander, Tnous, -os,, Tethys, a sea-goddess. 36. Σιτεομαι, I feed on ; δροσος, -ου, ἡ, dew. 37. Kλeavens, Cleanthes; eon, said; añaideutos, -ov, untaught, uneducated; poppn, -ns, ʼn, form; diapepw, I differ. King of Macedonia, Great. EXERCISE 50.-ENGLISH-GREEK. 1. Απέχον πολλου του οινον. 2. Οι κακοι χαίρουσι πολλῷ τῷ οινῷ. 3. Πολύς ο οινος βλαπτει τους ανθρώπους. 4. Τοις βασιλεύσι εισι μεγάλαι 33. Ονειδίζω, I reproach, Anacharsis being reproached, Σκύθης, προσόδοι. 5. Η προσοδος των βασιλεων εστι μεγάλη. β. Αιγυπτος έχει πολυν a Scythian. σιτον. 7. Πολλοις εστι πολυς πλουτος, ολιγος δε νους. 8. Ορέγεσθε πραέων εθεών. 9. Τα έθη των γυναικών εστι πραέα. 10. Καλλος εστι πραεσ ιεθεσι. 11, 39. Koλafw, I punish; ev adov, Soup is understood, in the abode of Hades, in hell; σατραπης, -ου, δ, a satrap or governor Αλεξανδρος, ο των Μακεδονων Βασιλευς, πολλακις μέγας προσαγορεύεται. of a province; πevns, -ntos, poor; πтwxоs, -n, -ov, begging, oi πTWXоi, beggars. 40. гpaia,, old, an old woman, grey-haired. 41. Aew, that it was necessary, proper; avalnμa, -TOS, TO, an offering, public monument, from ava, up, and Tionμi, I place; TWV OIKOUTW, of their inhabitants, from oikew, I inhabit (com pare oikos and oikia). KEY TO THE RECAPITULATORY EXERCISES FROM THE GREEK CLASSICS. 1. One swallow does not make a spring. 2. Time brings all things to light. 3. Atreus and Thyestes were the sons of Pelops. 4. Many things happen to men contrary to expectation. 5. Women's ornament is a (kind) disposition, not jewels. 6. Grasshoppers are said to be melodious. 7. Ants and bees have a laborious life. 8. Thief knows thief, and wolf (knows) wolf. 9. It is the use and not the possession of books that is the means of education. 10. Nature without instruction is a blind thing, and instruction with nature is a defective thing. 11. Time brings knowledge to old age. 12. Many were the wanderings of the cow-horned Io. 13. Man saves man, and city city. 14. Very truly was Epaminondas a hero amongst heroes. 15. An old man has the sweetest tongue for an old man, a child for a child, and a woman has a tongue suitable for woman. 16. All the children of the noblest Persians are educated at the king's court. 17. The sword wounds the body, but speech wounds the mind. 18. Intellect is the greatest good. 19. Laws are a city's soul. 20. Tyranny is the mother of injustice. 21. The coward is the betrayer of his country. 22. Good men are the likenesses of deity. 23. The nomad Lybians reckon (time) not by EXERCISE 51.-GREEK-ENGLISH. 1. Speech is a mirror of the mind. 2. Men have intellect as a master. 3. Cherish a well-disposed friend. 4. Good friends have a faithful mind. 5. The voyage is uncertain to sailors. 6. Lead a life with discretion. 7. The mob has no discretion. 8. Do not quarrel with people. 9. The good are well disposed to the good. 10. Seek for good friends. 11. The bones of Orestes were in Tegea, 12. The female servants carry bread in baskets. 13. The gods give both the fair and foul voyage to sailors. 14. The intellect is the soul's curb. 15. Often the tempers of men reveal their abilities. 16. The speech of truth is simple. 17. A kind word lessens grief. 18. The cup is 19. Death is called a brazen sleep. silver. EXERCISE 52.-ENGLISH-GREEK. 1. Ο νοῦς ἐστι διδάσκαλος ανθρώπου. 2. Ο ευνοος φίλος θεραπεύεται. 3. Οἱ εννοοι φιλοι θεραπεύονται. 4. Τοις εννοοις είσι πολλοι φιλοι. 5. Απέχου του ανοου. 6. Ορεγου των ευνοων φίλων. 7. Κομιζε τον αρτον εν τοις κάνοις. 8. Φεύγετε τους ανθούς νεανίας. 9. Οἱ νεανίαι ανοοι φεύγονται. 10. Το κυπελλον εστι χρυσοῦν. 11. Τα κυπελλα αγγυρέα εστι καλα. 12. Βιον αγε τῷ νῷ. 13. Mn epite our Tois avoois. GEOMETRICAL PERSPECTIVE.-V. We have said in a previous lesson that if we are able to determine the perspective position of one point, we can of more; and should these points be considered as the extremities of straight lines, we can, by drawing lines to unite them, represent the lines themselves. We repeat this statement for the |