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~Drying and Igniting.~--Precipitates, as a rule, require drying before being ignited. With small precipitates the filter-paper may be opened out, and placed on a warm asbestos slab till dry; or the funnel and the filter with the precipitate is placed in a warm place, and supported by any convenient means. The heat must never be sufficient to char the paper. Some precipitates must be dried at a temperature not higher than 100° C. These are placed in the water-oven (fig. 20), and, when apparently dry, they are taken from the funnel, placed between glasses, and then left in the oven till they cease to lose weight. Such precipitates are collected on tared filters. Those precipitates which will stand a higher temperature are dried in the hot-air oven at a temperature of from 120° to 150°. The drying is continued until they appear to be free from moisture, and until the precipitate ceases to adhere to the filter. In drying sulphides the heat must not be raised to the melting point of sulphur, since, if there is any free sulphur present, it fuses and filters through.

The cook on the launch was a lunatic, who was under the impression that he was the Saviour. It was too pathetic, and occasionally quite alarming, to see the poor man leaving the cooking stove whenever we passed any Indians on the banks, when he raised his arms up in the air and, stretching them forward, gave his benediction to the people he saw, instead of looking after the boiling rice. His benedictions cost him frequent kicks and shakings by the neck on the part of the captain of the launch. He was absorbed in fervent praying during the night. He seldom condescended to speak to any of us on board, as he said that he was not living on this earth, but would come back some day to bring peace and happiness to the whole world. Words of that kind were uttered whilst he was holding a saucepan in one hand and a ladle in the other. It was pathetic.

Reynolds was well-grounded in Venetian color, Bolognese composition, Parmese light-and-shade, and paid them the homage of assimilation; but if Gainsborough (1727-1788) had such school knowledge he positively disregarded it. He disliked all conventionalities and formulas. With a natural taste for form and color, and with a large decorative sense, he went directly to nature, and took from her the materials which he fashioned into art after his own peculiar manner. His celebrated Blue Boy was his protest against the conventional rule of Reynolds that a composition should be warm in color and light. All through his work we meet with departures from academic ways. By dint of native force and grace he made rules unto himself. Some of them were not entirely successful, and in drawing he might have profited by school training; but he was of a peculiar poetic temperament, with a dash of melancholy about him, and preferred to work in his own way. In portraiture his color was rather cold; in landscape much warmer. His brush-work was as odd as himself, but usually effective, and his accessories in figure-painting were little more than decorative after-thoughts. Both in portraiture and landscape he was one of the most original and most English of all the English painters--a man not yet entirely appreciated, though from the first ranked among the foremost in English art.

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