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From today the regeneration of our fleet begins. From today Ottoman hearts must again rejoice. We must work hard now for the strengthening of our navy. We must know that our fleet, which till yesterday was lifeless, is no longer in incompetent hands and under the leadership of lazy minds. New Turkey has intrusted her navy to iron hands. At the head of our fleet is Djemal Pasha, whose naval successes it is unnecessary to mention. The commander of the fleet is the Chief of the Naval Staff, Arif Bey, and in command of the light flotilla is Capt. Muzzafer Bey. Likewise the commanders and the other officers of the two new battleships are chosen among the fittest. This is the beginning of a new era for our navy. In addition to this we must say that we are expecting good results from our political activity. Talaat Bey and Halil Bey have left for Bucharest, where they will try to find a solution of outstanding serious questions. At the same time they will have an opportunity to exchange views with Rumanian statesmen. It is unnecessary, in our belief, to exalt the significance of this mission. We think, however, that a wise and moderate policy, strengthened by a good army and navy, will go far in bringing good results.

Here we meet with Wouverman (1619-1668), a painter of horses, cavalry, battles, and riding parties placed in landscape. His landscape is bright and his horses are spirited in action. There is some mannerism apparent in his reiterated concentration of light on a white horse, and some repetition in his canvases, of which there are many; but on the whole he was an interesting, if smooth and neat painter. Paul Potter (1625-1654) hardly merited his great repute. He was a harsh, exact recorder of facts, often tin-like or woodeny in his cattle, and not in any way remarkable in his landscapes, least of all in their composition. The Young Bull at the Hague is an ambitious piece of drawing, but is not successful in color, light, or _ensemble_. It is a brittle work all through, and not nearly so good as some smaller things in the National Gallery London, and in the Louvre. Adrien van de Velde (1635?-1672) was short-lived, like Potter, but managed to do a prodigious amount of work, showing cattle and figures in landscape with much technical ability and good feeling. He was particularly good in composition and the subtle gradation of neutral tints. A little of the Italian influence appeared in his work, and with the men who came with him and after him the Italian imitation became very pronounced. Aelbert Cuyp (1620-1691) was a many-sided painter, adopting at various times different styles, but was enough of a genius to be himself always. He is best known to us, perhaps, by his yellow sunlight effects along rivers, with cattle in the foreground, though he painted still-life, and even portraits and marines. In composing a group he was knowing, recording natural effects with power; in light and atmosphere he was one of the best of his time, and in texture and color refined, and frequently brilliant. Both (1610-1650?), Berchem (1620-1683), Du Jardin (1622?-1678), followed the Italian tradition of Claude Lorrain, producing semi-classic landscapes, never very convincing in their originality. Van der Heyden (1637-1712), should be mentioned as an excellent, if minute, painter of architecture with remarkable atmospheric effects.

It always seems to me that the quality which most differentiates men is the power of recognising the Unknown. Some natures acquiesce buoyantly or wretchedly in present conditions, and cannot in any circumstances look beyond them; some again have a deep distaste for present conditions whatever they are; and again there are some who throw themselves eagerly and freely into present conditions, use experience, taste life, enjoy, grieve, dislike, but yet preserve a consciousness of something above and beyond. The idealist is one who has a need in his soul to worship, to admire, to love. The mistake made too often by religious idealists is to believe that this sense of worship can only be satisfied by religious and, even more narrowly, by ecclesiastical observance. For there are many idealists to whom religion with its scientific creeds and definite dogmas seems only a dreary sort of metaphysic, an attempt to define what is beyond definition. But there are some idealists who find the sense of worship and the consciousness of an immortal power in the high passions and affections of life. To these the human form, the spirit that looks out from human eyes, are the symbols of their mystery. Others find it in art and music, others again in the endless loveliness of nature, her seas and streams, her hills and woods. Others again find it in visions of helping and raising mankind out of base conditions, or in scientific investigation of the miraculous constitution of nature. It has a hundred forms and energies; but the one feature of it is the sense of some vast and mysterious Power, which holds the world in its grasp--a Power which can be dimly apprehended and even communicated with. Prayer is one manifestation of this sense, though prayer is but a formulation of one's desires for oneself and for the world.

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