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The precipitate, having been dried, is transferred to a watch-glass. The filter-paper is opened out over a sheet of note-paper, and, with a camel-hair brush, the precipitate is gently brought into the glass. Most precipitates come away easily, and the transfer can be made without apparent loss. The watch-glass is covered by the funnel, and the filter-paper (folded into a quadrant) held by the tweezers and set fire to with the flame of a Bunsen burner. It is allowed to burn over the crucible, into which the black bulky ash is allowed to drop, and two or three drops of nitric acid are then added. The crucible is placed on a pipe-stem triangle (fig. 21), supported on a tripod. It is at first heated gently with a Bunsen burner, and afterwards more strongly, until the residue is free from carbon. It is cooled, and treated with any acid necessary to convert the small amount of precipitate into the state in which it is to be weighed; heated again, and cooled. The main precipitate is transferred to the crucible, and the heating repeated very gently at first, but more strongly towards the end of the operation. It is next placed in the muffle, and, after two or three minutes at a red heat, it is removed and allowed to cool in the desiccator before weighing. This is for bodies that will bear a red heat; for those compounds that require a lower temperature the heating in the muffle is omitted. The muffle used for this purpose must not be used at the same time for cupelling; a gas muffle (fig. 22), such as one of Fletcher's, is best. A desiccator (fig. 23) is an air-tight vessel which prevents access of moisture, &c., to the substance. Usually the air in it is kept dry by means of a basin containing sulphuric acid.

This spectrum is apparently the same as that of the bright Pleiades stars. Slipher's interpretation is that the nebula is not shining by its own light, but is reflecting to us the light of the Pleiades stars. That this material will eventually be drawn into the stars already existing in the neighborhood, or be condensed into new centers and form other stars, we can scarcely doubt. The condensation of such materials to form stars large enough to be seen from the great distance of the Pleiades cluster must generate heat in the process, and cause these stars in their earliest youth to be substantially as hot as other stars formed directly from gaseous materials. It is possible, also, that the spiral nebulae will develop into stars, perhaps each such object into many, or some of the larger ones into multitudes, of stars.

The whole academic tendency of modern painting in Germany and Austria for the past fifty years has not been favorable to the best kind of pictorial art. There is a disposition on the part of artists to tell stories, to encroach upon the sentiment of literature, to paint with a dry brush in harsh unsympathetic colors, to ignore relations of light-and-shade, and to slur beauties of form. The subject seems to count for more than the truth of representation, or the individuality of view. From time to time artists of much ability have appeared, but these form an exception rather than a rule. The men to-day who are the great artists of Germany are less followers of the German tradition than individuals each working in a style peculiar to himself. A few only of them call for mention. Menzel (1815-1905) is easily first, a painter of group pictures, a good colorist, and a powerful pen-and-ink draughtsman; Lenbach (1836-1904), a forceful portraitist; Uhde (1848-), a portrayer of scriptural scenes in modern costumes with much sincerity, good color, and light; Leibl (1844-1900), an artist with something of the Holbein touch and realism; Thoma, a Frankfort painter of decorative friezes and panels; Liebermann, Gotthardt Kuehl, Franz Stuck, Max Klinger, Greiner, Truebner, Bartels, Keller.

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