PAINTING IN WATBE-COLOURS. 



subject having its noon in the plural reqoiree the yerb 



la tlm plural. Some nouns, though singular in form, hare 

 a plural MI,-, uple subject consisting of oao mob 



mi mi is ooo th a plural . 



U winrii. being singular in form, hare a plural signi- 

 i. are called noun of multitude, because they denote 

 many object*. They are also termed collective noui. 

 example 



Magna miiltitu.lo convenaraat. 

 A great muUiiiuU had auemlUd. 



A collective noun may bo viewed in two light* : either in relation 

 to the individual objects which separately enter into it 

 relation to the one wholo which thono individual objects u 



In the former case, collective nouns obviously have a 

 plural import, consequently they have a plural construction ; in 

 the Utter case, collective nouns present a single idea or concep- 

 tion, and therefore take a verb in the singular. Whichever of 

 these two states, singular or plural, is prominent in the mind, 

 that determines the number of the verb. It is possible, in 

 . to tho same object, that the two states may succeed each 

 other, an object being conceived of first as plural and then as 

 singokir > > ugly, tho same subject may have a plural 



verb and a singular verb, as 



Pars major receperunt sese, pan peratiiit ad vallum. 

 The greater part fled, a part stood firm at the foist. 



In this sentence, Livy, by tho judicious use of the plural and 

 the singular verb, has painted first, the scattered fugitives, and 

 secondly, tho dense phalanx of the band which kept its post. 



In the example just given, the plural ve:-b precedes the 

 singular. The reverse may bo the case : for example 



Pan STUPET iuuuptm donum exitialo Miuervtc. 



A part is astounded at the destructive gift of the virgin-goddess Hinerva. 



Et molem MIRANTUU e'/ui. 



And ADMIRE the huge site of the horse. 



Here the singular form of pars puts tho verb which it imme- 

 diately precedes into the singular number. At the ond of the 

 sentence the writer's mind was free from the influence of that 

 form, and, thinking of the gazing Trojans as individuals, he 

 naturally employed a plural verb. 



The principles here laid down may, as principles, be con- 

 sidered as applicable to the English language, though in details 

 they may in such application require some modification. For 

 instance, pars, and similar nouns (turba, vis, multitudo, exer- 

 citus, juventas, nobilitas, gens, plebs, vulgus) in Livy, are 

 constructed with a verb in the singular, thus corresponding with 

 our English usage ; but in tho above passage from Virgil, pars 

 has after it stupet, a singular form, and finds in the rendering, 

 is astounded, a translation which offends our English gramma- 

 tical sense. 



A subject may be compound. A subject is compound when 

 it contains two or more nouns : for example 



Pompeius, Lentulus, Scipio, Afranius fcede perierunt. 

 Fompeij, Lenlulus, Scipio, and Afranius perished miserably. 



Hero you see that a compound subject takes the verb in the 

 plural. A compound subject is an abbreviated form of two or 

 more simple subjects. The example just given, if analysed, 

 resolves itself into these simple subjects : Pompeius periit ; 

 Lentulus periit ; Scipio periit ; Afranius periit. Of course, when 

 these single subjects are put together, they form a plural sub- 

 ject, and so demand a plural verb. 



If, however, the single subjects combine so as to form a unit, 

 or so as to give tho idea of unity, then the verb is put in the 

 singular number, as 



Tempus necessitasquo postulat ; 

 Time and necessity demands ; 



that is, tJie necessity of the occasion demands. Two nouns are 

 often employed to express one idea, an idea which could not 

 otherwise be so well expressed ; in such cases, the unity of the 

 thought requires a singular verb. 



The verb must also be in the singular when prominence is 

 given to ono of the nouns forming a compound subject, as 



.Etas et forma, et super omnia EOMAKUM NOMEX, to ferociorem 



FXCIT. 



Tour age and form, and especially your Roman name, has mads thee too 



/ten*. 



The proximity of a singular noun to the verb may have the 

 effect of putting it into the singular number, though other 

 noons in the object are plural, UM 



Nune, inihl uihil libri, uihil liters), nlhil DOCTKIXA rmoDMT. 

 Now, neither learning dim me good, nor boob, nor .- 



Of the nouns in a compound object, each one may be con- 

 eeived of an applied to the verb separately, aud so the singular 

 number be rendered necessary, as 



DobiUre vuus R BULPICIVS t CotU. 

 MpveitM stemsd to doubt and (Mia too. 



Hence disjunctive particles, inasmuch ae they separate a com- 

 pound subject, take the verb in the singular, as 



8i Socrates aut Autistbeaes Hunt. 

 // Uoeratm or Antatkenee said. 



The plural is, however, used when the two or more nouns, 

 though spoken of separately, concur in the act set forth in the 

 verb, as 



Si quid Socrates aut Ariitippus contra morem civilem ftterint. 



Whatever Socratss or Aristippus may have done contrary to social wsafe. 



A construction exclusively according to the sense pots the 

 verb in the plural when the subject, besides a noon singular in 

 the nominative case, contains a plural noon (one or more) in 

 the ablative case, as 



Demosthenes cum ceteris erant eipulsi. 



Demottlienes with the rest was eipeued. 



This latitude is not permit- sible in English. 

 G. A pronoun may agree with a verb, as 



Tu nidum servas, ego laudo ruris amoeni rlvos. 



Thou, keepest thy nest, I praise the streams of the pleasant country. 



Here the personal pronoun tu, which is of the second person 

 singular, has the verb servos, which is also in the second person 

 singular. The same relation subsists between cjo and Inudo. 



This example affords an instance of the proper use in Latin 

 of the personal pronouns. Inasmuch as the verb-endings indi- 

 cate the person, the personal pronouns are in general neither 

 needed nor employed. Emphasis, however, as in the case 

 before us, may require them. 



When, in a compound subject, tho pronouns and nouns are of 

 different persons, the first person prevails over the second, and 

 the second person prevails over the third, in determining tho 

 person of the verb, which, as referring to more persons than 

 one, must bo in the plural number, as 



Si tu et Tullia valetis, ego et Cicero valemus. 



If thou and Tullia (you) are wdl, I and Cicero (tc) are veU. 



The verb valetis is in the plural number, because it has a com- 

 pound subject ; it is also in the second perscn, because tu, thou, 

 in the second person has a grammatical preference over Tullia, 

 a noun of the third person. The facts are similar in regard to 

 valemus. Instead of the plural, the singular sometimes occurs, 

 as 



Ifse meique ante Larem proprium vcstor. 



I myself and my friends eat at our oim hearth. 



Other pronouns require a singular or a plural predicate, accord* 

 ing as they convey a singular or plural idea. 



The general rule is, that Pronoun* agree with their verbs 

 number and person ; the first person taking precedence of the 

 second, and the second of tho third. 



PAINTING IN WATER-COLOURS. III. 



THE USE OP THE BEUSH. 



ONE of the most important qualifications necessary for pro- 

 ducing a clever and effective picture is a thorough command of 

 the use of the brush. Very frequently the cause of failure in 

 painting is not so much in mistaking the exact colour, as an 

 indifference shown for, or an incapacity of representing, tho 

 exact form. Where there is an imperfect ability to draw the 

 object, from the first arrangement to its minutest details, there 

 must necessarily be a corresponding deficiency in the power of 

 execution required with the brush ; and it must be borne in mind 

 that everything introduced into a pictu.3 most bear its own 

 individual character. The portc-crayoc and the brush are the 



