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Wiertz (1806-1865), whose collection of works is to be seen in Brussels, was a partial exposition of romanticism mixed with a what-not of eccentricity entirely his own. Later on came a comparatively new man, Louis Gallait (1810-?), who held in Brussels substantially the same position that Delaroche did in Paris. His art was eclectic and never strong, though he had many pupils at Brussels, and started there a rivalry to Wappers at Antwerp. Leys (1815-1869) holds a rather unique position in Belgian art by reason of his affectation. He at first followed Pieter de Hooghe and other early painters. Then, after a study of the old German painters like Cranach, he developed an archaic style, producing a Gothic quaintness of line and composition, mingled with old Flemish coloring. The result was something popular, but not original or far-reaching, though technically well done. His chief pupil was Alma Tadema (1836-), alive to-day in London, and belonging to no school in particular. He is a technician of ability, mannered in composition and subject, and somewhat perfunctory in execution. His work is very popular with those who enjoy minute detail and smooth texture-painting.

During Scipio's absence in Africa a formidable insurrection had broken out in Spain; but on his return it was speedily put down, and terrible vengeance was inflicted upon the town of Illiturgis, which had taken the principal share in the revolt. Scarcely had this danger passed away when Scipio was seized with a dangerous illness. Eight thousand of the Roman soldiers, discontented with not having received their usual pay, availed themselves of this opportunity to break out into open mutiny; but Scipio quelled it with his usual promptitude and energy. He crushed the last remains of the insurrection in Spain; and to crown his other successes, Gades at last surrendered to the Romans. Mago had quitted Spain, and crossed over into Liguria, to effect a diversion in favor of his brother Hannibal, and there was therefore now no longer any enemy left in Spain.

Sometimes it is necessary to draw up a table which will show, without calculation, the weight of substance equivalent to a given volume of gas or of solution. The substance used for standardising should be, whenever possible, a pure sample of the substance to be determined--that is, for copper assays pure copper should be used, for iron assays pure iron, and so on; but when this cannot be got an impure substance may be used, provided it contains a known percentage of the metal, and that the impurities present are not such as will interfere with the accuracy of the assay. Including compounds with these, the standard may be calculated by multiplying the standard got in the usual way, by the percentage of metal in the compound or impure substance, and dividing by 100. If, for example, the standard 1.008 gram was obtained by using a sample of iron containing 99.7 per cent. of metal, the corrected standard would be 1.008×99.7/100 = 1.005. In volumetric analysis the change brought about must be one in which the end of the reaction is rendered prominent either by a change of colour or by the presence or absence of a precipitate. If the end of the reaction or finishing-point is not of itself visible, then it must be rendered visible by the use of a third reagent called an indicator.

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