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ARSENIC 274 ABT Plymouth, and Pembroke. In France there are various arsenals or depots of war material at L'Orient, Rochefort, Cherbourg, Mezieres, Toulouse, etc.; the great naval arsenals are Brest and Toulon. The chief German arsenals were at Spandau, Strasburg, and Dant- zig, that at the first-mentioned place having been the great center of the mili- tary manufactories. The chief Austrian arsenal was the immense establishment at Vienna, which includes gun factory, laboratory, small-arms and carriage factories, etc. Russia had her principal arsenal at Petrograd with supplemen- tary factories of arms and ammunition at Briansk, Kiev, and elsewhere. In Italy Turin is the center of the military factories. The principal arsenals of the United States are at Pittsburgh (Pa.) ; Augusta (Ga.) ; Benecia (Cal.) ; Columbia (Tenn.) ; Fort Monroe (Va.) ; Frankford (Pa.) ; Indianapolis (Ind.) ; Augusta (Me.) ; New York (N. Y.) ; Rock Island (111.) ; San Antonio (Tex.) ; Watertown (Mass.); and Watervliet (N. Y.). There were also powder depots at St. Louis (Mo.), and Dover (N. J.) ; a noted armory at Springfield (Mass.), and ord- nance proving grounds at Sandy Hook (N. J.) and Aberdeen (Md.). ARSENIC, (symbol As, at. wt. 75, sp. gr. 5.76), a metallic element of very com- mon occurrence, being found in combi- nation with many of the metals in a variety of minerals. It is of a dark gray color, and readily tarnishes on exposure to the air, first changing to yellow, and finally to black. In hardness it equals copper; it is extremely brittle, and very volatile, beginning to sublime before it melts. It burns with a blue flame, and emits a smell of garlic. It forms alloys with most of the metals. Combined with sulphur it forms orpiment and realgar, which are the yellow and red sulphides of arsenic. Orpiment is the true arsen- icum of the ancients. With oxygen ar- senic forms two compounds, the more im- portant of which is arsenious oxide or arsenic trioxide (AS2O3) which is the white arsenic or simply arsenic of the stores. It is used as a flux for glass, and also for forming pigments. The arsenite of copper (Scheele's green) and a double arsenite and acetate of copper (emerald green) are largely used by painters; they are also used to color paper hang- ings for rooms. Arsenic has been too frequently used to give that bright green often seen in colored confectionery. ARSINOE (ar^sin'o-e), a city of an- cient Egypt, on Lake Moeris, said to have been founded about B. c. 2,300, but re- named after Arsinoe, wife and sister of Ptolemy II., of Egypt, and called also Crocodilopolis, from the sacred croco- diles kept at it. ARSINOE, daughter of Ptolemy I., King of Egypt, born 316 B, C, married at 16 the aged Lysimachus, King of Thrace, whose eldest son, Agathocles, had already wedded Lysandra, her half- sister. Desirous of securing the throne for her own children, Arsinoe prevailed on her husband to put Agathocles to death. Later Lysimachus was slain. In 279, she married her own brother, Ptolemy II. Philadelphus. ARSON, the malicious and willful burn- ing of a dwelling-house or out-house be- longing to another person by directly set- ting fire to it, or even by igniting some edifice of one's own in its immediate vi- cinity. If a person, by maliciously set- ting fire to an inhabited house, cause the death of one or more of the inmates, the deed is murder, and capital pun- ishment may be inflicted. When no one is fatally injured the crime is not capi- tal, but is still heavily punishable; it is a penal ofl^ense also to attempt to set a house on fire, even if the endeavor do not succeed. ART, the power of doing something not taught by nature or instinct; as, to walk is natural, to dance is an art; — power or skill in the use of knowledge; the practical application of the rules or principles of science. A system of rules to facilitate the performance of certain actions; contrivance; dexterity; address; adroitness. In esthetics, art as distinguished from science consists of the truths disclosed by that species of knowledge disposed in the most convenient order for practice, instead of the best order for thought. Art proposes to itself a given end, and, after defining it, hands it over to science. Science, after investigating the causes and conditions of this end, returns it to art, with a theorem of the combina- tion of circumstances under which the desired end may be effected. After re- ceiving them, art requires whether any or all of those scientific combinations are within the compass of human power and human means, and pronounces the end inquired after obtainable or not. The grounds of every rule of art are to bo found in the theorems of science. An art can then only consist of rules, to- gether with as much of the speculative propositions (which lose all their specu- lative look as soon as they come into the artist's hands) as comprises the justifi- cation of those rules. Though art must