Turner's famous "Fighting Téméraire" combines into an exquisite whole a group of human moods and natural phenomena. Was his choice of phenomena determined by purely subjective considerations? A veteran warship is being towed by a little steamer to her last berth. The human interest is intense. The problem is to give it a fitting and noble setting. Study the nature-setting which the artist has chosen for his theme--the wealth of glowing, but gently subdued colour--the sun setting, like the old ship, in mellow glory--the crescent moon that speaks of the birth of a new economic era--the cool mists stealing up, precursors of the night when work is done-- how marvellously all these tone with the general sentiment. Shall it be maintained that they are arbitrary conventions, mere fanciful products of the association of ideas? Armed with triple brass must be the breast of the critic who could uphold such a view. For the common heart of humanity repudiates it, and intuitively feels that in such a picture there is more than a display of artistic skill embodying subtle symbols--it feels that there is a blending of elements which share a common spiritual nature. The same conclusion is reached when the matter is brought to the test of science and philosophy. Science, in its own domain, is every whit as anthropomorphic as Nature Mysticism--and inevitably so if it is to exist at all; for it rests upon the assumption that the behaviour of external objects is in harmony with the workings of human reason. In other words, it postulates a vital relationship between man's inner nature and the inner nature of his material environment. Human reason goes out into nature expecting to find there something akin to itself, and is not disappointed of its hope. Man's conceptions of this kinship were at first, like all his other conceptions, crude and confused; but as his experience widened and ripened, his outlook became more adequate to the infinite complexity and variety of the phenomena with which he has to deal. And throughout, both in the lower and in the higher stages of intellectual development, the same truth unchangingly asserts itself, that man is a microcosm. His reason proves it by finding itself in the macrocosm. And what holds good of the imperfect and recently developed rational faculties holds good even more substantially of the fundamental instincts and emotions, and of intuitions and spiritual promptings.