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In 1690, Papin suggested that the condensation of steam should be employed to make a vacuum beneath a cylinder which had previously been raised by the expansion of steam. This was the earliest cylinder and piston steam engine and his plan took practical shape in Newcomen's atmospheric engine. Papin's first engine was unworkable owing to the fact that he used the same vessel for both boiler and cylinder. A small quantity of water was placed in the bottom of the vessel and heat was applied. When steam formed and raised the piston, the heat was withdrawn and the piston did work on its down stroke under pressure of the atmosphere. After hearing of Savery's engine, Papin developed an improved form. Papin's engine of 1705 consisted of a displacement chamber in which a floating diaphragm or piston on top of the water kept the steam and water from direct contact. The water delivered by the downward movement of the piston under pressure, to a closed tank, flowed in a continuous stream against the vanes of a water wheel. When the steam in the displacement chamber had expanded, it was exhausted to the atmosphere through a valve instead of being condensed. The engine was, in fact, a non-condensing, single action steam pump with the steam and pump cylinders in one. A curious feature of this engine was a heater placed in the diaphragm. This was a mass of heated metal for the purpose of keeping the steam dry or preventing condensation during expansion. This device might be called the first superheater.

The work consists of about forty figures in all, not counting Cupids, and is divided into four main divisions. First, there is the large public sitting-room or drawing-room of the College, where the elder young ladies are engaged in various elegant employments. Three, at a table to the left, are making a mitre for the Bishop, as may be seen from the model on the table. Some are merely spinning or about to spin. One young lady, sitting rather apart from the others, is doing an elaborate piece of needlework at a tambour-frame near the window; others are making lace or slippers, probably for the new curate; another is struggling with a letter, or perhaps a theme, which seems to be giving her a good deal of trouble, but which, when done, will, I am sure, be beautiful. One dear little girl is simply reading "Paul and Virginia" underneath the window, and is so concealed that I hardly think she can be seen from the outside at all, though from inside she is delightful; it was with great regret that I could not get her into any photograph. One most amiable young woman has got a child's head on her lap, the child having played itself to sleep. All are industriously and agreeably employed in some way or other; all are plump; all are nice looking; there is not one Becky Sharp in the whole school; on the contrary, as in "Pious Orgies," all is pious--or sub-pious--and all, if not great, is at least eminently respectable. One feels that St. Joachim and St. Anne could not have chosen a school more judiciously, and that if one had daughter oneself this is exactly where one would wish to place her. If there is a fault of any kind in the arrangements, it is that they do not keep cats enough. The place is overrun with mice, though what these can find to eat I know not. It occurs to me also that the young ladies might be kept a little more free of spiders' webs; but in all these chapels, bats, mice and spiders are troublesome.

Mathilde Blind, in her "Study of Marie Bashkirtseff," says: "Marie loved to recall Balzac's questionable definition that the genius of observation is almost the whole of human genius. It was natural it should please her, since it was the most conspicuous of her many gifts. As we might expect, therefore, she was especially successful as a portrait painter, for she had a knack of catching her sitter's likeness with the bloom of nature yet fresh upon it. All her likenesses are singularly individual, and we realize their character at a glance. Look, for example, at her portrait of a Parisian swell, in irreproachable evening dress and white kid gloves, sucking his silver-headed cane, with a simper that shows all his white teeth; and then at the head and bust of a Spanish convict, painted from life at the prison in Granada. Compare that embodiment of fashionable vacuity with this face, whose brute-like eyes haunt you with their sadly stunted look. What observation is shown in the painting of those heavily bulging lips, which express weakness rather than wickedness of disposition--in those coarse hands engaged in the feminine occupation of knitting a blue and white stocking!"

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