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But supposing that the unknown solution required, say, 100.5 instead of 50.5 c.c., he would not be justified in saying that, since 50.3 c.c. are equivalent to 0.5 gram, 100.6 c.c. are equivalent to twice that amount; and that, consequently, the unknown solution contained a little less than 1 gram of iron; or, at least, he could not say it except he (or some one else) had determined it by experiment. But if on dissolving 1 gram of iron, he found it to require 100.6 c.c. of the solution, and in another experiment with 0.8 gram of iron that 80.5 c.c. of the solution were required, he would be justified in stating that _the volume of solution required is proportional to the quantity of metal present_. There are a large number of volumetric assays of which this is true, but that it is true in any particular case can only be proved by experiment. Even where true it is well not to rest too much weight upon it, and in all cases the quantity of metal taken, to determine the strength of the solution used, should not differ widely from that present in the assay. There are certain terms which should be explained here. When the solution of a reagent is applied under such conditions that the volume added can be correctly determined, the operation is called "titrating," the solution of the reagent used the "standard solution," and the process of determining the strength of the standard solution is "standardising." The "standard" is the quantity of metal equivalent to 100 c.c. of the standard solution.

ASSCHE, AMELIE VAN. Portrait painter and court painter to Queen Louise Marie of Belgium. She was born in 1804, and was the daughter of Henri Jean van Assche. Her first teachers were Mlle. F. Lagarenine and D' Antissier; she later went to Paris, where she spent some time as a pupil of Millet. She made her debut at Ghent in 1820, and in Brussels in 1821, with water-colors and pastels, and some of her miniatures figured in the various exhibitions at Brussels between 1830 and 1848, and in Ghent between 1835 and 1838. Her portraits, which are thought to be very good likenesses, are also admirable in color, drawing, and modelling; and her portrait of Leopold I., which she painted in 1839, won for her the appointment at court.

Though he never lies in wait, yet, when he hears, sees, or scents a man, he immediately utters his characteristic cry, prepares for an attack, and always acts on the offensive. The cry he utters resembles a grunt more than a growl, and is similar to the cry of the Chimpanzee when irritated, but vastly louder. It is said to be audible at a great distance. His preparation consists in attending the females and young ones, by whom he is usually accompanied, to a little distance. He, however, soon returns with his crest erect and projecting forward, his nostrils dilated, and his under-lip thrown down; at the same time uttering his characteristic yell, designed, it would seem, to terrify his antagonist. Instantly, unless he is disabled by a well-directed shot, he makes an onset, and, striking his antagonist with the palm of his hands, or seizing him with a grasp from which there is no escape, he dashes him upon the ground, and lacerates him with his tusks.

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