298 



THE POPULAR EDUCATOR. 



and the brown colouring over the rim may be sharp and distinct 

 in its edges. If our pupils will look at their model more 

 attentively, after this first process is completed, they will no 

 doubt perceive other colours more or less influencing the general 

 effect slight glazings of lake over some parts of the brown, 

 especially on the light side. Probably here and there, in con- 

 nection with these, some similar glazings of raw sienna, where 

 the brown is not so strong and partakes of that colour ; even 

 delicate washes of indigo may be seen ; but it must be re- 

 membered these are only suggestions, and must be followed 

 with judgment. 



The next part of the subject to be considered is the lantern. 

 The general colour here is grey. The horn through which the 

 light passes will most probably be warmer in tone. This may 

 be effected with burnt and raw sienna broken to different degrees 

 of strength, and for the clearer parts a little yellow ochre may 

 be useful. If the lantern is an old one, patches of rust may be 

 scattered over it in places Indian red will answer the purpose ; 

 but, as we have said, grey is the prevailing colour, diversified 

 by warmer or cooler colours, subject to the manner in which 

 they are disposed in the object. The darkest and very sharp 

 shadows under the rim and in the corners can be imitated with 

 sepia, indigo, and a little lake. There is a greenness about sepia 

 and indigo alone which lake will neutralise and render the tint 

 more intense. 



It will be well now to paint the background ; this will 

 reveal the strength of the colours in the objects, and very 

 likely we shall discover some parts deficient. Let this at first 

 be done with grey tint (backgrounds must be of a retiring 

 character ; grey will accomplish this), till it descends to below 

 the top of the jar, then continue it to the bottom with an 

 addition of raw umber and yellow ochre. If after this is dry 

 a wash of terre verte be passed over the grey only, the slight 

 green thus contributed will increase by contrast the value of the 

 red, and confine the greys of the lantern more particularly to 

 itself. 



Lastly, the bottle. This is a dark object, and affords a 

 powerful contrast to the others, assisting to give the greys and 

 lighter tones in the lantern, their true value and strength. The 

 principal and general colour will be sepia and indigo ; but this 

 will be broken up by a variety of other colours depending upon 

 the objects which surround it. The narrow strips of middle 

 tone at a, a were caused by the reflection of the jar and another 

 object near it, not in the picture. The one b was from a saucer 

 placed near to the bottle, and c was from a plaster cast that 

 stood about two feet away from it. This being an object sus- 

 ceptible of reflection, everything near it has an influence upon 

 the colour, and it must be remembered that the colours for 

 these reflections are always those of the objects reflected. The 

 cork may be painted with raw umbor and a little ochre ; the 

 shadow sepia. The darkest parts of the bottle, not affected 

 by reflection, must be put in with sharp, decisive touches of 

 very dark indigo and sepia. There will also be many cool tones 

 to be painted with indigo. Very frequently it is necessary 

 to assist the very darkest parts with a little gum. We do not 

 advocate an indiscriminate use of gum ; but in cases like this, 

 to assist the intensity of the darkest parts, an exception may 

 be made ; only it must be .used sparingly, or the intention would 

 be frustrated. 



Now we desire our pupils to tinderstand that the above 

 hints are given for the purpose of directing them how to look 

 at an object and to study its colour. No absolute rule could be 

 given for painting either this or any other subject ; even if it 

 were possible to write one, it could not be of any use. There- 

 fore, all who wish to overcome the difficulties of painting from 

 Nature, must persevere under continual practice until they 

 become quite familiar with their colours, and know, in short, the 

 full extent of their capabilities. When this has been acquired, 

 together with a readiness of execution, there need not be any 

 embarrassment in finding a subject to paint from. The motive 

 that guided us in this lesson has been to direct the attention of 

 our pupils to other subjects besides that of landscape, from 

 which may be derived many valuable lessons upon colouring. 

 "W e know of none better capable of helping them in their studies 

 than those which are usually termed " still life ; " their variety 

 affords abundant choice, in which both form and colour may be 

 studied with equal advantage. Fruits, flowers, vegetables, 

 articles of ornament and dress, culinary utenails, and number- 



less other objects, insignificant perhaps in themselves, possess 

 great value in the eyes of an artist, who is open to receive 

 instruction from whatever source it may be obtained. There 

 are times and seasons when it would be impossible to seek 

 our subjects out of doors, and on these occasions we must 

 depend upon something we can place upon the table : and 

 although our model may not be of the class to enable us to 

 produce a picture of very high art, it may, nevertheless, afford 

 us some valuable instruction, and on that account it must not 

 be despised. 



LESSONS IN GREEK. LI, 



THE VOICES OP THE VEEB. 



WE have seen that the verb in Greek appears in three voices 

 active, middle, and passive. The connection of these with the 

 subject may be shown as follows : In the active, the subject 

 conveys the action, as 6 THUS rvwret, the boy strikes; in this 

 passive, the subject receives the action from an object, as 6 

 TTCUS TvtTtTat biro TOV itaTpos, the boy is struck BY HIS FATHER; 

 while in the middle the subject acts on itself, as 6 ircus rvTr-Tfrat, 

 the boy STRIKES HIMSELF. 



The second modification of the form of verbs is owing to the 

 fact that every affirmation has respect to time the time when 

 the declared fact took place. But time is grammatically ex- 

 pressed by tense. Accordingly, we must consider the Greek 

 verb in its tenses. 



Further, declarations or affirmations may be made in different 

 ways. We may declare a fact simply and independently, and 

 we may declare one fact in relation to another. Hence the 

 manner in which affirmations are made demands attention, and 

 so we are led to study the verb in its moods. 



The active voice has two modifications, and may appear as 

 either transitive or intransitive : for example active transitive, 

 & irau Tvwrtt (rov a.Sf\<pov), the boy STRIKES (HIS BROTHER) ; 

 active intransitive, 6 Traiy Tpx f( > ^ ie boy RUNS. 



In the first instance the verb is transitive as well as active, 

 because the action passes from the subject to an object. In 

 the second instance the verb is intransitive, since it has no 

 object, but the action limits itself to the subject. The form of 

 the verbs shows that they are both in the active voice. 



Generally every verb has either a transitive or an intransitive 

 signification. Many verbs combine the two meanings, being 

 sometimes transitive and sometimes intransitive. When the two 

 imports unite in one verb, either the two run through all the 

 forms, or they are united, so that one signification belongs to 

 this form, and the other signification belongs to that form. 



Of the verbs, however, in which the two namely, the transi- 

 tive and the intransitive import run through all the tenses, 

 take as examples ex e(I/ > t hold; rtiveiv, to stretch; nKivtiv, to 

 lean ; frrpftyfiv, to turn ; and irparrTtiv, to do. 



Many transitive verbs become intransitive by combination 

 with prepositions, as irpoaKpovtiv, to dash against; airaAA.oTTjj/, 

 to depart; jutTa/GaAAeir, to- change; eirtStSoj/ai, to increase. 



Many verbs which have only a transitive meaning become 

 intransitive by the omission of an easily understood object ; as 

 Tf\eirat> (soil. TOV fitov), to end (life), to die; irpo^t-^fiv (under- 

 standing TOV vow), literally, to apply (one's mind) to. 



The ensuing are the forms to which the intransitive meaning 

 chiefly belongs namely, the second perfect and its derivative 

 the second pluperfect, which are intransitive not merely in the 

 verbs which in the present have both significations, but also in 

 other verbs which in the other tenses are employed only transi- 

 tively. Of the first kind take as examples, -ireirpaya, I have 

 found myself, I am ; aveyya, I am open. As examples of the 

 second sort take eypyyopa, I am awakened, I watch ; /^e/urjva, I 

 rage ; ireiroiQa, I trust. 



The intransitive import attaches also to the second aorist, 

 the perfect and the pluperfect of to-Trj/xt, I place ; Svo>, I enclose; 

 <pvci>, I beget ; which in the tenses mentioned .signify I stand, I 

 enter, I arise. 



If, with intransitive verbs, the object is named by which the 

 condition expressed in the verb is occasioned, then, as in the 

 passive, that object is put in the genitive with a preposition ; as 

 TroAAa KO.KO, Tra6ofnev viro TU>V \riffTcav, we have SUFFERED many 

 evil things FROM ROBBERS. 



If a thing or a circumstance is given with the passive as the 

 occasion of the act spoken of in the verb, then the object is 



