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The mastiff is a large, grave, sullen-looking dog, with a wide chest, noble head, long switch tail, bright eyes, and a loud, deep voice. Of all dogs this is the most vigilant watcher over the property of his master, and nothing can tempt him to betray the confidence reposed in him. Notwithstanding his commanding appearance, and the strictness with which he guards the property of his master, the mastiff is possessed of great mildness of character, and is very grateful for any favors bestowed upon him. I once went into the barn of a friend where there was a mastiff chained; I went up to the dog and patted him on the head, when out rushed the groom from the stable exclaiming, "Come away, sir! He's dangerous with strangers." But I did not remove my hand nor show any fear. The consequence was, that the dog and I were the best of friends; but had I shown any fear, and hastily removed my hand, I might have fared rather badly, for this dog always couples fear with guilt.

Lucas Cranach (1472-1553) was a Franconian master, who settled in Saxony and was successively court-painter to three Electors and the leader of a small local school there. He, perhaps, studied under Gruenewald, but was so positive a character that he showed no strong school influence. His work was fantastic, odd in conception and execution, sometimes ludicrous, and always archaic-looking. His type was rather strained in proportions, not always well drawn, but graceful even when not truthful. This type was carried into all his works, and finally became a mannerism with him. In subject he was religious, mythological, romantic, pastoral, with a preference for the nude figure. In coloring he was at first golden, then brown, and finally cold and sombre. The lack of aerial perspective and shadow masses gave his work a queer look, and he was never much of a brushman. His pictures were typical of the time and country, and for that and for their strong individuality they are ranked among the most interesting paintings of the German school. Perhaps his most satisfactory works are his portraits. Lucas Cranach the Younger (1515-1586) was the best of the elder Cranach's pupils. Many of his pictures are attributed to his father. He followed the elder closely, but was a weaker man, with a smoother brush and a more rosy color. Though there were many pupils the school did not go beyond the Cranach family. It began with the father and died with the son.

Aside from the difficulties that may arise in actual service due to the failure of staybolts, or in general, due to the use of flat-stayed surfaces, constructional features are encountered in the actual manufacture of such boilers that make it difficult if not impossible to produce a first-class mechanical job. It is practically impossible in the building of such a boiler to so design and place the staybolts that all will be under equal strain. Such unequal strains, resulting from constructional difficulties, will be greatly multiplied when such a boiler is placed in service. Much of the riveting in boilers of this design must of necessity be hand work, which is never the equal of machine riveting. The use of water-leg construction ordinarily requires the flanging of large plates, which is difficult, and because of the number of heats necessary and the continual working of the material, may lead to the weakening of such plates. In vertical or semi-vertical water-tube boilers utilizing flat-stayed surfaces under pressure, these surfaces are ordinarily so located as to offer a convenient lodging place for flue dust, which fuses into a hard mass, is difficult of removal and under which corrosion may be going on with no possibility of detection.

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