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M. Taine's philosophy which regards the art of any people or period as the necessary result of the conditions of race, religion, civilization, and manners in the midst of which the art was produced--and esteems a knowledge of these conditions as sufficient to account for the character of the art, seems to me to exclude many complex and mysterious influences, especially in individual cases, which must affect the work of the artists. At the same time an intelligent study of the art of any nation or period demands a study of the conditions in which it was produced, and I shall endeavor in this _resume_ of the history of women in Art--mere outline as it is--to give an idea of the atmosphere in which they lived and worked, and the influences which affected the results of their labor.

The two women and their sons lived together. To amuse the children the mothers made them a wheel, but cautioned them never to roll it toward the north. Whenever he heard the sound of water, Kobadjischini, to seek its source, would leap straight into any torrent, and his mother hoped that the toy would deter him from falling into such danger. One day the two boys became curious to know what was in the north, so they rolled the wheel in that direction. It went straight on for a long time, then came to a ladder leading up the steep side of a rock, up which it rolled. The boys stopped in astonishment. The wheel rolled on down into a cave, where lived Yiye, a monster Owl, who ate human flesh. A young girl, Yiye's slave, was sent up to see who was outside. "Two young, fine-looking boys," she reported. Yiye sent her to tell them to come into the cave, but this they refused to do, even when he urged them himself, saying, "No! Give us our wheel!" But at last the boys yielded to Yiye's persuasions and proceeded up the ladder and down into the cave. Owl built a fire under a huge pot of water, seized the boys, and put them into it. He boiled them a long time, then lifted them out with a stick. They stood up and said, "Why do you not give us our wheel and let us go home?" Then Yiye became angry and thrust them into a great heap of hot ashes and built a fresh fire over them. After a long time he took them out, but they were still unharmed, and only asked, "Why do you not give us our wheel?" At this Owl became very angry and, seizing them, cut them into small pieces, put them into the pot, and boiled them again; but when he took them out they were alive and whole. Owl said not a word, but gave them their wheel and motioned them to go. All this time the mothers of the two boys knew from the Sun where they were, and by a burning stick could tell when their children were in danger; for if they were safe the flame burned high, but if in danger it burned low.

The crucible is removed from the muffle with the tongs and carried to the desiccator. It is best, in an office, to have a large desiccator permanently fixed alongside the balance, into which all substances may be put before being weighed. The substance is removed from the bench or muffle in the small hand apparatus generally sold, and carried to the balance room to be transferred to the large desiccator, where it is allowed to become thoroughly cold before being weighed. Twenty minutes is generally the time allowed after ignition before it is advisable to weigh. Bodies allowed to cool in the air after they have been ignited will absorb moisture, and hot bodies placed in the balance-pan will disturb the equilibrium and show false results. Compounds that absorb moisture must be weighed quickly; they should, therefore, be weighed in covered vessels. Such compounds are detected by their continually-increasing weight. They should be ignited and weighed again in a well-covered dish.

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