There are also recent acquisitions and promised gifts to admire: a sulfurous early farmscape by Mondrian; a shimmering Bonnard still life from 1926; a blocky, abstract sculpture in cast plaster by Georges Vantongerloo, also from 1926; and Magritte’s enigmatic “White Race,” from 1937, which dissects a female bather, evoking both Picasso’s monstrous paintings of Olga and his pneumatic treatments of Marie-Thérèse Walter.

So sentences in which a referenceless name occurs have no sense, either.

The question is the same if inverted in a Manichean form: how can Voldemort and his wicked forces have such power and yet be unable to destroy a mild-mannered and rather disorganized schoolboy?

But even this will not answer, as both the outside Horses must have distinct rigwoodies, and would seldom or never, have equal weight upon their backs.