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It acquires a yellowish tinge. As it continues to contract it grows hotter and hotter until its temperature reaches a maximum as a white star. At this point the contraction process does not stop, but the heating process does. Further contraction is now accompanied by cooling, and the star goes through its colour changes again, but this time in the inverse order. It contracts and cools to yellow and finally to red. But when it again becomes a red star it is enormously denser and smaller than when it began as a red star. Consequently the red stars are divided into two classes called, appropriately, Giants and Dwarfs. This theory, which we owe to an American astronomer, H. N. Russell, has been successful in explaining a variety of phenomena, and there is consequently good reason to suppose it to be true. But the question as to how the red giant stars were formed has received less satisfactory and precise answers.

The whole academic tendency of modern painting in Germany and Austria for the past fifty years has not been favorable to the best kind of pictorial art. There is a disposition on the part of artists to tell stories, to encroach upon the sentiment of literature, to paint with a dry brush in harsh unsympathetic colors, to ignore relations of light-and-shade, and to slur beauties of form. The subject seems to count for more than the truth of representation, or the individuality of view. From time to time artists of much ability have appeared, but these form an exception rather than a rule. The men to-day who are the great artists of Germany are less followers of the German tradition than individuals each working in a style peculiar to himself. A few only of them call for mention. Menzel (1815-1905) is easily first, a painter of group pictures, a good colorist, and a powerful pen-and-ink draughtsman; Lenbach (1836-1904), a forceful portraitist; Uhde (1848-), a portrayer of scriptural scenes in modern costumes with much sincerity, good color, and light; Leibl (1844-1900), an artist with something of the Holbein touch and realism; Thoma, a Frankfort painter of decorative friezes and panels; Liebermann, Gotthardt Kuehl, Franz Stuck, Max Klinger, Greiner, Truebner, Bartels, Keller.

The Great Latin War_, B.C. 340.--The legion in B.C. 340 had almost entirely discarded the tactics of the phalanx. It was now drawn up in three, or perhaps we ought to say, in five lines. The soldiers of the first line, called Hastati, consisted of youths in the first bloom of manhood, distributed into 15 companies or maniples (_manipuli_), a moderate space being left between each. The maniple contained 60 privates, 2 centurions (_centuriones_), and a standard-bearer (_vexillarius_). The second line, the Principes, was composed of men in the full vigor of life, divided in like manner into 15 maniples, all heavily armed. The two lines of the Hastati and Principes taken together amounted to 30 maniples, and formed the Antepilani. The third line, the Triarii, composed of tried veterans, was also in 15 divisions, but each of these was triple, containing 3 maniples. In these triple maniples the veterans, or Triarii proper, formed the front ranks; immediately behind them stood the Rorarii, inferior in age and prowess, while the Accensi, or supernumeraries, less trustworthy than either, were posted in the extreme rear.

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