owing to the narrowness of life and thought, the calmer acceptance of coarse or cruel things, I incline to think that they were less interesting, those men and women of the past, whose rustling dresses fill old houses with fantastic sounds. They had, some few of them, their great art, great aims, feelings, struggles; but the majority were of the earth, and intolerably earthy. 'Tis their clothes' ghosts that haunt us, not their own.

So why should the past be charming? Perhaps merely because of its being the one free place for our imagination. For, as to the future, it is either empty or filled only with the cast shadows of ourselves and our various machineries. The past is the unreal and the yet visible; it has the fascination of the distant hills, the valleys seen from above; the unreal, but the unreal whose unreality, unlike that of the unreal things with which we cram the present, can never be forced on us. There is more behind; there may be anything. This sense which makes us in love with all intricacies of things and feelings, roads which turn, views behind views, trees behind trees, makes the past so rich in possibilities.... An ordinary looking priest passes by, rings at the door of the presbytery, and enters. Those who lived there, in that old stained house with the Strozzi escutcheon, opposite the five bare mulberry-trees, were doubtless as like as may be to this man who lives there in the present. Quite true; and yet there creeps up the sense that they lived in the past.

For there is no end to the deceits of the past; we protest that we know it is cozening us, and it continues to cozen us just as much. Reading over Browning's Galuppi lately, it struck me that this dead world of vanity was no more charming or poetical than the one we live in, when it also was alive; and that those ladies, Mrs. X., Countess Y., and Lady Z., of whose toilettes at last night's ball that old gossip P—— had been giving us details throughout dinner, will in their turn, if any one care, be just as charming, as dainty, and elegiac as those other women who sat by while Galuppi "played toccatas stately at the clavichord." Their dresses, should they hang for a century or so, will emit a perfume as frail, and sad, and heady; their wardrobe filled with such dust as makes tears come into one's eyes, from no mechanical reason.

"Was a lady such a lady?" They will say that of ours also. And, in recognising this, we recognise how trumpery, flat, stale and unprofitable were those ladies of the past. It is not they who make the past charming, but the past that makes them. Time has wonderful cosmetics for its favoured ones; and if it brings white hairs and wrinkles to the realities, how much does it not heighten the bloom, brighten the eyes and hair of those who survive in our imagination!

And thus, somewhat irrelevantly, concludes my chapter in praise of old houses.

THE LIE OF THE LAND

NOTES ABOUT LANDSCAPES

I

I want to talk about the something which makes the real, individual landscape—the landscape one actually sees with the eyes of the body and the eyes of the spirit—the landscape you cannot describe.

That is the drawback of my subject—that it just happens to elude all literary treatment, and yet it must be treated. There is not even a single word or phrase to label it, and I have had to call it, in sheer despair, the lie of the land: it is an unnamed mystery into which various things enter, and I feel as if I ought to explain myself by dumb show. It will serve at any rate as an object-lesson in the extreme one-sidedness of language and a protest against human silence about the things it likes best.

Of outdoor things words can of course tell us some important points: colour, for instance, and light, and somewhat of their gradations and relations. And an adjective, a metaphor, may evoke an entire atmospheric effect, paint us a sunset or a star-lit night. But the far subtler and more individual relations of visible line defy expression: no poet or prose writer can give you the tilt of a roof, the undulation of a field, the bend of a road. Yet these are the things in landscape which constitute its individuality and which reach home to our feelings.

For colour and light are variable—nay, more, they are relative. The same tract will be green in connection with one sort of sky, blue with another, and yellow with a third. We may be disappointed when the woods, which we had seen as vague, moss-like blue before the sun had overtopped the hills, become at midday a mere vast lettuce-bed. We should be much more than disappointed, we should doubt of our senses if we found on going to our window that it looked down upon outlines of hills, upon precipices, ledges, knolls, or flat expanses, different from those we had seen the previous day or the previous year. Thus the unvarying items of a landscape happen to be those for which precise words cannot be found. Briefly, we praise colour, but we actually live in the indescribable thing which I must call the lie of the land. The lie of the land means walking or climbing, shelter or bleakness; it means the corner where we dread a boring neighbour, the bend round which we have watched some one depart, the stretch of road which seemed to lead us away out of captivity. Yes, lie of the land is what has mattered to us since we were children, to our fathers and remotest ancestors; and its perception, the instinctive preference for one kind rather than another, is among the obscure things inherited with our blood, and making up the stuff of our souls. For how else explain the strange powers which different shapes of the earth's surface have over different individuals; the sudden pleasure, as of the sight of an old friend, the pang of pathos which we may all receive in a scene which is new, without memories, and so unlike everything familiar as to be almost without associations?

The lie of the land has therefore an importance in art, or if it have not, ought to have, quite independent of pleasantness of line or of anything merely visual. An immense charm consists in the fact that the mind can walk about in a landscape. The delight at the beauty which is seen is heightened by the anticipation of further unseen beauty; by the sense of exploring the unknown; and to our present pleasure before a painted landscape is added the pleasure we have been storing up during years of intercourse, if I may use this word, with so many real ones.

II

For there is such a thing as intercourse with fields and trees and skies, with the windings of road and water and hedge, in our everyday, ordinary life. And a terrible thing for us all if there were not; if our lives were not full of such various commerce, of pleasure, curiosity, and gratitude, of kindly introduction of friend by friend, quite apart from the commerce with other human beings. Indeed, one reason why the modern rectangular town (built at one go for the convenience of running omnibuses and suppressing riots) fills our soul with bitterness and dryness, is surely that this ill-conditioned convenient thing can give us only its own poor, paltry presence, introducing our eye and fancy neither to further details of itself, nor to other places and people, past or distant.

Words can just barely indicate the charm of this other place other time enriching of the present impression. Words cannot in the least, I think, render that other suggestion contained in The Lie of the Land, the suggestion of the possibility of a delightful walk. What walks have we not taken, leaving sacred personages and profane, not to speak of allegoric ones, far behind in the backgrounds of the old Tuscans, Umbrians, and Venetians! Up Benozzo's hillside woods of cypress and pine, smelling of myrrh and sweet-briar, over Perugino's green rising grounds, towards those slender, scant-leaved trees,