The Power That Preserves | My Web Site Page 046 Chapter 03 Page 01

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~Gasometric Assays.~--Gasometric methods are not much used by assayers, and, therefore, those students who wish to study them more fully than the limits of this work will permit, are recommended to consult Winkler and Lunge's text-book on the subject. The methods are without doubt capable of a more extended application. In measuring liquids, ordinary variations of temperature have but little effect, and variations of atmospheric pressure have none at all, whereas with gases it is different. Thus, 100 c.c. of an ordinary aqueous solution would, if heated from 10° C. to 20° C., expand to about 100.15 c.c. 100 c.c. of a gas similarly warmed would expand to about 103.5 c.c., and a fall of one inch in the barometer would have a very similar effect. And in measuring gases we have not only to take into account variations in volume due to changes in temperature and atmospheric pressure, but also that which is observed when a gas is measured wet and dry. Water gives off vapour at all temperatures, but the amount of vapour is larger as the temperature increases. By ignoring these considerations, errors of 3 or 4 per cent. are easily made; but, fortunately, the corrections are simple, and it is easy to construct a piece of apparatus by means of which they may be reduced to a simple calculation by the rule of three. The volume of a gas is, in practice, usually reduced to that which it would be at a temperature of 0° C., when the column of mercury in the barometer is 760 mm. high. But, although convenient, this practice is not always necessary. The only thing required is some way of checking the variations in volume, and of calculating what the corrected volume would be under certain fixed conditions.

At Augsburg there was still another school, which came into prominence in the sixteenth century with Burkmair and the Holbeins. It was only a part of the Swabian school, a concentration of artistic force about Augsburg, which, toward the close of the fifteenth century, had come into competition with Nuremberg, and rather outranked it in splendor. It was at Augsburg that the Renaissance art in Germany showed in more restful composition, less angularity, better modelling and painting, and more sense of the _ensemble_ of a picture. Hans Burkmair (1473-1531) was the founder of the school, a pupil of Schoengauer, later influenced by Duerer, and finally showing the influence of Italian art. He was not, like Duerer, a religious painter, though doing religious subjects. He was more concerned with worldly appearance, of which he had a large knowledge, as may be seen from his illustrations for engraving. As a painter he was a rather fine colorist, indulging in the fantastic of architecture but with good taste, crude in drawing but forceful, and at times giving excellent effects of motion. He was rounder, fuller, calmer in composition than Duerer, but never so strong an artist.

In the parish church at Saas-Grund there are two altar-pieces which deserve attention. In the one over the main altar the arrangement of the Last Supper in a deep recess half-way up the composition is very pleasing and effective; in that above the right-hand altar of the two that stand in the body of the church there are a number of round lunettes, about eight inches in diameter, each containing a small but spirited group of wooden figures. I have lost my notes on these altar-pieces and can only remember that the main one has been restored, and now belongs to two different dates, the earlier date being, I should imagine, about 1670. A similar treatment of the Last Supper may be found near Brieg in the church of Naters, and no doubt the two altar-pieces are by the same man. There are, by the way, two very ambitious altars on either side the main arch leading to the chance in the church at Naters, of which the one on the south side contains obvious reminiscences of Gaudenzio Ferrari's Sta. Maria frescoes at Varallo; but none of the four altar-pieces in the two transepts tempted me to give them much attention. As regards the smaller altar-piece at Saas-Grund, analogous work may be found at Cravagliana, half-way between Varallo and Fobello, but this last has suffered through the inveterate habit which Italians have of showing their hatred towards the enemies of Christ by mutilating the figures that represent them. Whether the Saas work is by a Valsesian artist who came over to Switzerland, or whether the Cravagliana work is by a Swiss who had come to Italy, I cannot say without further consideration and closer examination than I have been able to give. The altar-pieces of Mairengo, Chiggiogna, and, I am told, Lavertezzo, all in the Canton Ticino, are by a Swiss or German artist who has migrated southward; but the reverse migration was equally common.

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