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Where stayed surfaces or water legs are features in the design of a water-tube boiler, the factor of safety of such parts must be most carefully considered. In such parts too, is the determination of the factor most difficult, and because of the "rule-of-thumb" determination frequently necessary, the factor of safety becomes in reality a factor of ignorance. As opposed to such indeterminate factors of safety, in the Babcock & Wilcox boiler, when the factor of safety for the drum or drums has been determined, and such a factor may be determined accurately, the factors for all other portions of the pressure parts are greatly in excess of that of the drum. All Babcock & Wilcox boilers are built with a factor of safety of at least five, and inasmuch as the factor of the safety of the tubes and headers is greatly in excess of this figure, it applies specifically to the drum or drums. This factor represents a greater degree of safety than a considerably higher factor applied to a boiler in which the shell or any riveted portion is acted upon directly by the fire, or the same factor applied to a boiler utilizing flat-stayed surface construction, where the accurate determination of the limiting factor of safety is difficult, if not impossible.

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.

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