292 



THE POPULAR EDUCATOR. 



HarpoK\os <pi\os T\V 



16. Kvpov, TOV rtav 



Ba<n\fa, firi TJJ re aperp KCU TJ) <ro</>iqi Qav/jLa^optv. 



EXERCISE 34. ENGLISH- GREEK. 



1. The flocks follow the shepherd. 2. The king has care of 

 (for) the citizen. 3. Ears are tired by the idle talk of the old 

 woman. 4. An old woman is talkative. 5. The shepherd leads 

 the herd of oxen to the city. 6. Oxen are sacrificed to the gods 

 by (VTTO with gen.) the priests. 7. O priests, sacrifice an ox 

 to the gods. 8. Children love their (the) parents. 9. Parents 

 are loved by their children. 10. It is the business of a good 

 shepherd to take (have) care of his herds. 



KEY TO EXEECISES IN LESSONS IN GREEK. IX. 



EXERCISE 25. GREEK-ENGLISH. 



1. The ravens croak. 2. Avoid flatterers. 3. Keep away from the 

 deceiver. 4. Men delight in the harp, in the dance, and iii song. 5. 

 Horses are driven by whips. 6. The harps delight the minds of men. 



7. A grasshopper is friendly to a grasshopper, and an ant to an ant. 



8. The shepherds sing to their pipes. 9. Among the Athenians there 

 were contests between quails and cocks. 10. The shepherds drive the 

 flocks of goats into the meadows. 11. The life of ants and quails is 

 very laborious. 12. Many have a good countenance, but a bad voice. 



EXERCISE 26. ENGLISH-GREEK. 



1. *ew7W KoXaKa. 2. KupuKer Kpwfouai. 3. TepTrctrtfc tpopw/t. 4. Opxn#M< 

 rout avBptjLHTOvt rcpTTOvcri. 5. EXui/voixnv imrov? naimyti. 6. Oi MV/JLUI rtav 

 at/Opiairiov e\avvovrai (popntfft. 7. Ai avpi-yjf; -rcpirovcri TOW noififvat, 8. 

 A ai^et c<r TOV /V./iun<u eXawoia-uJ. 9. 'O Trutfj.ni' if&tt irpor Tipi avpf-fia. 10. 

 KaXrji/ (lev coira e%ft '; Ovfa-rr\p, nani\v oe OTTO. 



EXERCISE 27. GREEK-ENGLISH. 



1. The birds sing. 2. Favour begets favour, (and) strife (begets) 

 strife. 3. We count youth happy. 4. Need begets strife. 5. Rich 

 men often conceal their baseness by (means of) wealth. 6. O fair boy, 

 love your good brother and your fair sister. 7. Avarice is the mother 

 of every kind of baseness. 8. The poor are often happy. 9. Wisdom 

 in the hearts of men stirs up marvellous longings for the beautiful. 

 10. Death sets men free from their cares. 11. Friendship springs 

 up by means of resemblance (in disposition). 12. Wine creates 

 laughter. 13. Deliberation comes to the wise in the night. 14. The 

 wise punish baseness. 15. Men often delight themselves with light 

 (or vaiii) hopes. 



EXERCISE 28. ENGLISH-GREEK. 



1. OpviOet aiov<ri. 2. Xupif x a P'* TiKjei, fpjt tpiv. 3. Zorpia ffftptTat fv 

 TOir Ta)v avOpwirtijv Ovfjioif daujua<7TO? cpu? ayuBtitv. 4. T6p7ro/icu otdfj TWI* 



7- Oi avOpiairoi ?rov7ai TOIJ avai. 8. Ol avdptairoi irfi6o\nai rtf avan-ri. 



EXERCISE 29. GREEK-ENGLISH. 



1. In difficult matters few companions are faithful. 2. The suppliants 

 touch our knees. 3. Death is a separation of the soul and body. 4. 

 Wealth furnishes men with various aids. 5. Do not yield to the words 

 of wicked men. 6. Do not, my son, be a slave to the service of the 

 body. 7. The Greeks pour cups of milk as libation-offerings to the 

 nymphs. 8. Accustom yourself to, and exercise your body with, toil 

 and sweat. 9. Chatterers vex (or weary) the ear with repetitions (of 

 the same story). 10. Accustom your soul, my son, to good deeds. 11. 

 Evil stories do not lay hold of our ears. 12. We listen with our ears. 

 13. Do not hate a friend for a small fault. 14. My son, taste the milk. 

 15. The soldiers bear lances. 



EXERCISE 30. ENGLISH-GREEK. 



1. ft veaviat, e&fere TO. aia/iara aw irovip nai lopwri. 2. Opejo/meOa TUIV 

 ayaOav Trpa*/fj.<na>v. 3. IloXXoj repirovrai xpvcrtfi. 4. F.f a-yaOiiv wpa-y/aaror 

 fiyveTai K\tot. 5. Tour Ka\oi/r fjivBom rtav aoipiav Oavfiafofiev. 6. Ta T<av 

 afadiav avOponrtav ayatia wpayfiara OavyuafeTui. 7. Ol arpuTiwTcu juaxovTai 

 Xo7xa<9. 8. Ov iiafj.fi/Jofjiai TOV TrXoi/TOK -rnv apeujt TOir amfi. 9. Mr) 

 nfttieatfe roir \ofott ru>v <f>av\iav. 



THE HISTORY OF ART. 



X.-RAFFAEL. 



THE culminating point of the Renaissance was during the first 

 quarter of the sixteenth century ; and the most famous name in 

 art of this or any other period is that of Raffaello Sanzio, whom 

 we English generally call Raffael. With him we reach the final 

 stage of modern painting. Everything before Raffael is felt by 

 most of us to be more or less mediaaval : everything since him 

 is felt to be purely modern. Whether the change of which he 

 is the great exponent was in every respect an advance or not, 

 at any rate it has been thorough and lasting. In our own days 



a few painters, struck by some of the best characteristics of the- 

 earlier Italian artists their minute fidelity, their sincerity,, 

 their earnestness, their lack of theatrical effects or trickines* 

 have gone back in some matters to the pre-Raffaelites for 

 their models ; but even they have been largely and necessarily 

 influenced by those new ideas and principles which Lionard 

 introduced and which Raftael and Michel Angelo perfected,, 

 while all other modern art is directly affiliated upon the Renais- 

 sance schools. It is not without the highest reason, therefore, 

 that we look upon Raffael as the great epoch-making personage 

 in the history of modern art. 



Raffaello Sanzio was bo.-.n at Urbino, in the States of the- 

 Church, in 1483. He was thus thirty years the junior of 

 Lionardo, and eight years younger than Michel Angelo. But- 

 his comparatively short life makes him more the contemporary 

 of the one, and rather the predecessor than the follower of the 

 other ; for Lionardo died only one year before his younger 

 fellow, while Michel Angelo outlived him by over forty years. 

 For this reason, though the date of Baffael 's birth is later than 

 that of Michel Angelo' s, it is best in such a brief sketch as this 

 to place the elder painter after the younger one, because his 

 lifetime will carry us many stages further down in the history 

 of the development of art. Michel Angelo's later works belong- 

 to a far more advanced school not in principles, indeed, but in 

 order of evolution than those of Raffael. 



As in many other cases, especially in Italy. Raffael's love for 

 art, and his skill in the manual dexterity of his craft, were here- 

 ditary endowments. His father, Giovanni Santi, or Sanzio, was 

 a painter of some eminence, not without touches of the same 

 peculiar qualities which gave so much value to the works of the 

 son. Young Raffael took his first lessons in art in his father's 

 studio at Urbino while he was still a mere child, and when 

 Giovanni died, the boy, then only eleven years old, went to 

 Perugia, where he became an assistant to Pietro Vanucci, better 

 known by his nickname of Perugino, one of the richest colourists 

 and best handiworkers of his age, but a firm adherent of the 

 older conventional mediaeval school. Some of Perngino's later 

 works, however, have probably been touched up in part by his 

 great pupil. Naturally, young Raffael learnt at first to follow 

 in the steps of his master, and the paintings which he produced 

 while under Perugino's influence are commonly said to be in 

 his "early bad style." At twenty-one, however, in the most 

 plastic period of life, he went to Florence, where he fell in with 

 all the great works of the Florentine school, and could trace the 

 gradual emancipation of art from the days of Giotto to those of 

 Lionardo, who had then returned to his native town, and had 

 just completed his famous cartoon of the Battle of the Standard. 

 Here, too, he had the opportunity of studying some of Michel 

 Angelo's greatest works. Under the influence of these new 

 ideas, Baffael's style soon moulded itself in a totally new direc- 

 tion. Casting off the conventional principles which he had 

 learned from Perugino, the young artist threw himself with 

 fervour into the new life of the Renaissance, and became a 

 principal figure in the movement which was then stirring the 

 heart of all contemporary Italy. As yet, however, Raffael 

 remained to a great extent a follower rather than a leader, 

 aiming at the sort of excellence which he found in Lionardo, in 

 Michel Angelo, and in his friend Fra Bartolomeo, instead of 

 striking out a wholly new line for himself. He had thrown off 

 the rude composition and artificial grouping of Perugino, he 

 had attained to great skill in the management of drapery and of 

 light and shade, but he had not yet developed the peculiar 

 Raffaelite beauty of expression and harmony. 



Raffael remained four years in Florence, till the pope 

 (Julius LT.) invited him to Rome to decorate the Vatican. This 

 was in 1508, when he had reached the age of twenty-five, and 

 ranked already among the most famous painters of the day. 

 The rest of his brief life was passed in the papal capital, where 

 he died at the early age of thirty-seven, in 1520. At Rome the 

 old imperial Roman frescoes on the Thermae of Titus, now obli- 

 terated by time and weather, were still distinctly visible, and 

 the study of these remarkable monuments (which must have 

 somewhat resembled the frescoes of Pompeii, though doubtless 

 of a much higher character than those provincial decorations) 

 appears largely to have affected his further development. The 

 contrast between the light and airy grace of the old Grseco- 

 Roman school and the stiffness of the traditional mediaeval art, 

 upon whose principles his artistic education had been conducted, 



