ARSENIC ACID. 



ART-UNIONa 



we burn, the toys and sweetmeats our children handle and devour, are 

 too often coloured with arsenic. 



In cases of poisoning, antidotes are needful ; but DO very efficacious 

 one can be recommended. Hydratod Mquioxide of iron is tueful in 

 large doses, but U teldom at hand ; hydratod n"*e"** i *. in large do*e, 

 ueeful. and more generally procurable. 



ARSENIC ACID. [Aumic.] 



ARSENIO-DI ETHYL. [OBOAJCO-METALLIC COMPOUNDS.] 



ARSENIO-DIMETHYL. [CAOODTL.] 



ARSENIO-METHYI.KTHYL. [ORGANO-MCTALLIC COMPOUNDS.] 



ARSENIO-TRIETHYL. [ORQANO-mTAUJO COMPOUNDS.] 



ARSEXIO-TKIMETH YL. [OROAXO-MITAUJC COMPOUNDS.] 



ARSENIOUS ACID, [ARSENIC.] 



AKSENITES. [AMEMC.] 



ARSENURETTED HYDROGEN. [ARSENIC.] 



ARSIS (tffit, elevation) is a technical term in ancient music and 

 ancient metrics. In the latter it denotes that elevation of the voice which 

 we now call metrical accentuation ; but whether it connote in a higher 

 musical note, a greater volume, or greater duration of sound, or rather, 

 perhaps, in all the three combined, is matter of dispute. The musi- 

 cian is said to have struck the ground with his foot to mark the arsis, 

 and hence the Latin term icttu (stroke) has been used in the same 

 sense. The arsis is opposed to the thai* (tiaa) or depression of the 

 voice, the precise """'"g of which is of course subject to the same 

 ambiguity. The order in which the arsis and thesis recur, constitutes 

 the law of any verse or metre. It must be recollected, however, that 

 although only two terms are used, yet one arsis may be more energetic 

 than another, one thesis weaker than another. Thus in the ordinary 

 iambic measure of six feet, there are six places marked by the arsis, 

 namely, every even syllable, the second, fourth, Ac. ; but the stronger 

 arsis attaches itself to the second, sixth, and tenth. The Latin writers 

 on metrics accordingly called the verse we are speaking of sixfold 



(senarius), while the Greeks applied it to the name of a triple metre 

 trimeter), the former including every arsis, the latter only those which 

 are more marked. 



Bentley, following the Greek principle, has inserted only three 

 accents in his edition of ' Terence,' yet he was fully aware, and often 

 speaks of the arsis upon the fourth and eighth syllables if not the 

 twelfth also. The German editors of ' Plautus ' have, for the most 

 part, followed his example. An attention to the difference of power 

 in the stronger and weaker arsis is important for another reason. 

 After the stronger arsis, the thesis must be very weak to mark the 

 contrast, while after the other there may be admitted even a long 

 syllable, provided it has not also the accent. The laws of the iambic, 

 trochaic, Sapphic metres, Ac., will afford examples. In many metres, 

 certain variations in the place of the arsis are not merely permitted, 

 but even desirable, at least in poems of any length. In our own 

 iambic metre of five feet, commonly called the heroic verse, the arsis 

 is often found upon the first instead of the second syllable. Again, in 

 the hexameter of Homer, the dactylic arsis, or the arsis followed by 

 two depressions, is the prevailing law ; whereas in the Latin hexa- 

 meter, in addition to the pure dactylic rhythm, we find a large 

 proportion of lines in which there is an approach to an iambic rhythm 

 at the beginning of a line, as in the second verse of the ' ^Eneid ' : 



" lUliam fito pntfngiu | Ltvuuqu* rtnit. 



Perhaps this variety may have been more pleasing to the Roman ear, 

 u it U certainly more common in Latin hexameters, from an old 

 iHsjchmsnt to the Saturnisn verse, in which the iambic cadence 

 commences, and the trochaic terminates the line ; or, in other words, 

 perhaps the Latin hexameter may be a compromise between the Greek 

 hexameter and the Latin Satumian. A metre in which the arsis is 

 very commonly misplaced by the English reader is the Sapphic, the 

 true melody of which runs thus : 



and s mark respectively the stronger and weaker arsis; 

 the thesis ; whereas the ordinary English intonation is 



Ac.; -and thui a melody, which by Horace was selected as peculiarly 

 adapted to the solemnity of the religious hymn, has been degraded by 

 the English into the fit vehicle of burlesque and ridicule. An example 

 may be seen in the pseudo-Sapphic ode on a Knife-grinder in the 

 Antijacobin.' [PBOSODT ; AccWT.] 



AK-IS and THESIS, in music, the rising and falling of the hand 

 n beating time, from Ifau, " raUing," and ttaa, " depressing." These 

 Unas were also used by the early composers to express the inversion 

 ol a subject. Ptr artin is, when the air, or counterpoint, descends from 

 acute to grave : ptr lAcnn is, when it ascends from grave to acute. 



ARSON (from ardeo, to burn), in the technical meaning of the 



term, at common law, signified the offence of voluntarily and 

 maliciously burning the house of another. This offence always 

 amounted to felony by the law of England, and was punishable with 

 death. But in order to constitute burning a felony at common law, 

 it was necessary that the building destroyed should be a dwelling- 

 house, or a part of it, or at least some of the buildings attached t<> it. 

 The property destroyed must also have been in the possession (mo jure) 

 of some other person than the supposed offender at the time of the 

 fact committed. On these grounds, and on account of the obscure 

 phraseology of several statutes, nice and doubtful questions constantly 

 arose upon the trial of persons charged with, arson, both with respect 

 to the nature of the buildings destroyed, and the character of the 

 possession of the proprietor. These ambiguities were removed by the 

 statute 7*8 Goo. IV. c. SO, sec. 2, afterwards repealed by the 7 Will I V. 

 and 1 Viet. c. 89, by which (as extended and amended by subsequent 

 acts) unlawfully and maliciously to set fire to any dwelling-house, 

 any person being therein, is a capital felony; and unlawfully and 

 maliciously to set fire to any church or chapel, or to any house, 

 stable, coach-house, out-house, warehouse, office, shop, mill, malt- 

 house, hop-oast, barn, or granary; or to any building or erection 

 used in carrying on any trade or manufacture ; or to any hovel, shed, 

 or fold, or to any farm building, or any building or erection used in 

 farming land, whether the same or any of them respectively be in 

 the possession of the offender or of any other person, with intent 

 thereby to injure or defraud any person is a felony punishable by 

 penal servitude for life, or for a less period, or by imprisonment not 

 exceeding three years. Setting fire to any hay, straw, wood, or other 

 vegetable produce being in any farm-house or farm-building, or to any 

 implement of husbandry therein, with intent thereby to set fire to 

 such house or building, and to injure or defraud any person, involves 

 (by the 7*8 Viet. c. 62) the same penalties as setting fire to the 

 house or building with the like intent. 



The before-mentioned statute 7 Will. IV. and 1 Viet. c. 89, also 

 provides for the offence of setting fire to vessels, coal mines, and also 

 to stacks of grain and vegetable produce, peat, coals, charcoal, or 

 wood. By the 9 & 10 Viet. c. 25, s. 7, attempting to commit any of 

 the above offences is made a felony which is now punishable by penal 

 servitude not exceeding fifteen years, or imprisonment not exceeding 

 two years. 



The burning of a man's own house, if it be situate in a town, or so 

 near to other houses as to endanger them, is a misdemeanour at common 

 law, punishable with fine and imprisonment. 



ART AND PART is a term used in Scotch law to denote the charge 

 of contriving a criminal design, as well as that of participating in the 

 actual perpetration of the criminal fact. The derivation of the phrase 

 is uncertain. Sir George Mackenzie, in his ' Discourse upon the Laws 

 and Customs of Scotland in matters Criminal,' says, that " by art it 

 meant that the crime was contrived by the art or skill of the accused 

 (nirum arte) ; and that by part is meant, that they were sharers in the 

 crime committed, et quorum part magna fui." By other writers it has 

 been considered as an abbreviation of the Latin phrase of artifex et 

 particepi. It is a charge of very extensive meaning, comprehending 

 not only the offence of accessories before and after the fact according 

 to the English law, and the ape et coniilio of the Roman law, but also 

 all interference and assistance at the time of the commission of the 

 criminal act. By an ancient Scotch statute, passed in 1592, it is 

 required that in all criminal libels or indictments, the offenders shall 

 be charged as having committed the imputed offence ' art and port.' 

 This enactment was occasioned, as its preamble intimates, by the fre- 

 quent instances of failure of justice in criminal trials, in consequence of 

 a variance between the evidence and the particulars detailed in the libel 

 or indictment. Thus, previously to the statute, if A and B were 

 charged with murder, and the indictment stated that A held the 

 deceased while B stabbed him, and it appeared in evidence that the 

 facts were reversed, and that B held him while A stabbed him, neither 

 of the accused persons could be convicted. But by the insertion of the 

 charge of ' art and part,' such a failure of justice could not occur ; for 

 in fact, both the panels, or prisoners, are substantially guilty ' art and 

 part,' and ore therefore comprehended in the general charge of the 

 indictment This subject ts very copiously discussed in Hume's 

 ' Commentaries on the Law of Scotland respecting the Description and 

 Punishment of Crimes." 



ART-UNIONS. In the ' Report' issued in 1836 by a Select Com- 

 mittee of the House of Commons, which had been appointed in the 

 preceding year " to inquire into the best means of extending a know- 

 ledge of the arts, and of the principles of design, among the people 

 (especially the manufacturing population) of the country," and "to 

 inquire into the constitution, management, and effects of institutions 

 connected with the arts," it is observed that among exhibitions con- 

 nected with the encouragement of art, the attention of the committee 

 had been called to the institutions established in Germany under the 

 name of ' Kunst-Vereine,' and which were even then being introduced 

 into this country. " These associations, for the purchase of pictures 

 to be distributed by lot," observe the committee," form one of the 

 many instances in the present age of the advantages of combination. 

 The smalhless of the contribution required brings together a large 

 mass of subscribers, many of whom without such a system of associa- 

 tion would never have been patrons of the arts." The committee 



