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The methods of assaying are best classed under two heads, Gravimetric and Volumetric, in the former of which the final results are weighed, whilst in the latter they are measured. A commoner and older division is expressed in the terms much used in practice--wet assays and dry assays. Wet assays include all those in which solvents, &c. (liquid at the ordinary temperature), are mainly used; and dry assays, those in which solid re-agents are almost exclusively employed. Dry assays form a branch of gravimetric work, and we shall include under this head all those assays requiring the help of a wind furnace. Wet assays, as generally understood, would include not only those which we class as wet gravimetric assays, but also all the volumetric processes. ~Gravimetric Methods~ aim at the separation of the substance from the other matters present in the ore, so that it may be weighed; and, therefore, they must yield the _whole_ of the substance in a pure state. It is not necessary that a metal should be weighed as metal; it may be weighed in the form of a compound of definite and well known composition. For example, one part by weight of silver chloride contains (and, if pure, always contains) 0.7527 part of silver; and a quantity of this metal can be as exactly determined by weighing it as chloride as by weighing it in the metallic state. But in either case the metal or its chloride must be pure.

This statement only applies to the actual marching, and does not at all mean that you had not to go through severe sufferings and endless trials of other kinds. Unless you were careful where you were sitting, you found yourself spiked by thorns of great length which were strewn all over the forest hidden under the thick carpet of discarded foliage from the trees. Not only that, but the moment you sat down your body was simply invaded by swarms of ants of all sizes and degrees of viciousness, which proceeded to bite you all over with considerable vigour. There were not many mosquitoes where the forest was dense, but there were millions--in fact, milliards--of bees, which rendered your life absolutely unbearable, as they clung to your face, hands and clothes. Fortunately, they did not sting, but clinging with their claws upon your skin they produced such an irritation that you were nearly driven mad by it.

What, again, is one to make of Dickens, with his love of private theatricals, his florid waistcoats and watch-chains, his sentimental radicalism, his kindly, convivial, gregarious life? He, again, did his work in a rapture of solitary creation, and seemed to have no taste for discussing his ideas or methods. Then, too, Dickens's later desertion of his work in favour of public readings and money-making is curious to note. He was like Shakespeare in this, that the passion of his later life seemed to be to realise an ideal of bourgeois prosperity. Dickens seems to have regarded his art partly as a means of social reform, and partly as a method of making money. The latter aim is to a great extent accounted for by the miserable and humiliating circumstances of his early life, which bit very deep into him. Yet his art was hardly an end in itself, but something through which he made his way to other aims.

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