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Upon reaching Tarentum he began to make preparations to carry on the war with activity. The Tarentines soon found they had obtained a master rather than an ally. He shut up the theatre and all other public places, and compelled their young men to serve in his ranks. Notwithstanding all his activity, the Romans were first in the field. The Consul M. Valerius Laevinus marched into Lucania; but as the army of Pyrrhus was inferior to that of the Romans, he attempted to gain time by negotiation in order that he might be joined by his Italian allies. He accordingly wrote to the Consul, offering to arbitrate between Rome and the Italian states; but Laevinus bluntly told him to mind his own business and retire to Epirus. Fearing to remain inactive any longer, although he was not yet joined by his allies, Pyrrhus marched out against the Romans with his own troops and the Tarentines.

Solution is generally best effected in flasks; but where the resulting liquid has afterwards to be evaporated to dryness and ignited, evaporating dishes (fig. 12) are used. With them clock glasses are used as covers during solution to avoid loss through effervescence. Evaporating dishes are also best when an insoluble residue has to be collected, since it is difficult to wash out most residues from a flask. Bumping occurs less frequently in dishes than in flasks. After the addition of the acid, and mixing by agitation, the vessel containing the substance is heated. This is best done on the "hot plate" (fig. 13). This consists of a slab of cast iron about half or three-quarters of an inch thick, supported on loose fire bricks, and heated by two or three ring burners (figs. 14 and 15). The burners are connected to the gas supply by means of _lead_ tubing, to which they are soldered. Flasks and dishes after being put on the plate are not further handled until solution is complete or the evaporation is carried to dryness. The hot plate is contained in a cupboard so as to be out of the reach of cold draughts.

The internal evidence of the wooden figures themselves--nothing analogous to which, it should be remembered, can be found in the chapel of 1687--points to a much earlier date. I have met with no school of sculpture belonging to the early part of the eighteenth century to which they can be plausibly assigned; and the supposition that they are the work of some unknown local genius who was not led up to and left no successors may be dismissed, for the work is too scholarly to have come from any one but a trained sculptor. I refer of course to those figures which the artist must be supposed to have executed with his own hand, as, for example, the central figure of the Crucifixion group and those of the Magdalene and St. John. The greater number of the figures were probably, as was suggested to me by Mr. Ranshaw, of Lowth, executed by a local woodcarver from models in clay and wax furnished by the artist himself. Those who examine the play of line in the hair, mantle, and sleeve of the Magdalene in the Crucifixion group, and contrast it with the greater part of the remaining draperies, will find little hesitation in concluding that this was the case, and will ere long readily distinguish the two hands from which the figures have mainly come. I say "mainly," because there is at least one other sculptor who may well have belonged to the year 1709, but who fortunately has left us little. Examples of his work may perhaps be seen in the nearest villain with a big hat in the Flagellation chapel, and in two cherubs in the Assumption of the Virgin.

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