That there should be a great affection for and pride in the Hohenzollerns in Prussia was natural enough. They typified the strength of beak, the power of talons and sweeping wings, which had made Prussia what she was. But nothing save a very remarkable train of surprising events could have brought the rest of Germany to share this affection and pride. The truth is, of course, that up to 1866 most other Germans disliked the Prussians thoroughly and vehemently, and decorated those head Prussians, the Hohenzollerns, with an extremity of antipathy. That brief war in Bohemia, with the consequent annexation of Hanover, Hesse-Cassel, Nassau, and Frankfort, did not inspire any new love for the Prussians anywhere, we may be sure, but it did open the eyes of other Germans to the fact that their sovereigns--Kings, Electors, Grand Dukes, and what not--were all collectively not worth the right arm of a single Hohenzollern. It was a good deal to learn even this--and, turning over this revelation in their minds, the Germans by 1871 were in a mood to move almost abreast of Prussia in the apotheosis of the victor of Sedan and Paris. To the end of old William’s life in 1888, there was always more or less of the apotheosis about the Germans’ attitude toward him. He was never quite real to them in the sense that Leopold is real in Brussels or Humbert in Rome. The German imagination always saw him as he is portrayed in the fine fresco by Wislicenus in the ancient imperial palace at Goslar--a majestic figure, clad in modern war trappings yet of mythical aspect, surrounded, it is true, by the effigies of recognizable living Kings, Queens, and Generals, but escorted also by heroic ancestral shades, as he rides forward out of the canvas. Close behind him rides his son, Fritz, and he, too, following in the immediate shadow of his father to the last, lives only now in pictures and in sad musing dreams of what might have been. But William II--the young Kaiser and King--_is_ a reality. He has won no battles. No antique legends wreathe their romantic mists about him. It has occurred to no artist to paint him on a palace wall, with the mailed shadows of mediaeval Barbarossas and Conrads and Sigismunds overhead. The group of helmeted warriors who cluster about those two mounted figures in the Goslar picture, and who, in the popular fancy, bring down to our own time some of the attributes of mediaeval devotion and prowess--this group is dispersed now. Moltke, Prince Frederic Charles, Roon, Manteuffel, and many others are dead; Blumenthal is in dignified retirement; Bismarck is at Friedrichsruh. New men crowd the scene--clever organizers, bright and adroit parliamentarians, competent administrators, but still fashioned quite of our own clay--busy new men whom we may look at without hurting our eyes.