The Power That Preserves | My Web Site Page 153 Chapter 02 Page 03

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_In the case of solids_, the whole mass must be crushed, and, if not already of fairly uniform quality, mixed, before sampling can take place. Most of the material which a sampler is called upon to deal with, is, however, in a more or less divided state and fairly uniform. In practice it is assumed that 5 per cent. of the whole (= 1/20th), if taken in portions of equal weight and at frequent and regular intervals, will represent the mass from which it was taken. Taking a heap of ore, A, and selecting one out of every twenty spade-, bag-, barrow-, or wagon-fuls, according to the quantity of stuff in the heap, there is obtained a second heap, B, containing one-twentieth of the stuff of the heap A. If we crush the stuff in B until this heap contains approximately the same number of stones as A did--which means, crushing every stone in B into about twenty pieces--B will become the counterpart of A. Selecting in the same manner 5 per cent. of B, there is got a third heap, C. This alternate reduction and pulverising must be carried on until a sample of suitable size is obtained. This may be expressed very clearly thus:--

Here we meet with Wouverman (1619-1668), a painter of horses, cavalry, battles, and riding parties placed in landscape. His landscape is bright and his horses are spirited in action. There is some mannerism apparent in his reiterated concentration of light on a white horse, and some repetition in his canvases, of which there are many; but on the whole he was an interesting, if smooth and neat painter. Paul Potter (1625-1654) hardly merited his great repute. He was a harsh, exact recorder of facts, often tin-like or woodeny in his cattle, and not in any way remarkable in his landscapes, least of all in their composition. The Young Bull at the Hague is an ambitious piece of drawing, but is not successful in color, light, or _ensemble_. It is a brittle work all through, and not nearly so good as some smaller things in the National Gallery London, and in the Louvre. Adrien van de Velde (1635?-1672) was short-lived, like Potter, but managed to do a prodigious amount of work, showing cattle and figures in landscape with much technical ability and good feeling. He was particularly good in composition and the subtle gradation of neutral tints. A little of the Italian influence appeared in his work, and with the men who came with him and after him the Italian imitation became very pronounced. Aelbert Cuyp (1620-1691) was a many-sided painter, adopting at various times different styles, but was enough of a genius to be himself always. He is best known to us, perhaps, by his yellow sunlight effects along rivers, with cattle in the foreground, though he painted still-life, and even portraits and marines. In composing a group he was knowing, recording natural effects with power; in light and atmosphere he was one of the best of his time, and in texture and color refined, and frequently brilliant. Both (1610-1650?), Berchem (1620-1683), Du Jardin (1622?-1678), followed the Italian tradition of Claude Lorrain, producing semi-classic landscapes, never very convincing in their originality. Van der Heyden (1637-1712), should be mentioned as an excellent, if minute, painter of architecture with remarkable atmospheric effects.

Melbourne can hardly be called a very great man,--he had not the purpose or tenacity for that, and he thought both too contemptuously and too indulgently of human nature,--but I know of no historical figure who is more wholly transfused and penetrated by the aroma of charm. Everything that he did and said had some distinction and unusualness: perceptive observation, ripe wisdom, and, with it all, the petulant attractiveness of the spoiled and engaging child. And yet even so, one is baffled, because it is not the profundity or the gravity of what he said that impresses; it is rather the delicate and fantastic turn he gave to a thought or a phrase that makes his simplest deductions from life, his most sensible bits of counsel, appear to have something fresh and interesting about them, though prudent men have said much the same before, and said it heavily and solemnly.

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