Moreover，theJapaneseevadesymmetry，intheunitoftheirrepeatingpatterns，byanothersimpledevice——thatofnumbers。Theymakeasmalldifferenceinthenumberofcurvesandoflines。A
greatdifferencewouldnotmakethesameeffectofvariety；itwouldlooktoomuchlikeacontrast。Forexample，threerodsononesideandsixonanotherwouldbesomethingelsethanamerevariation，andvarietywouldbelostbytheuseofthem。TheJapanesedecoratorwillvarythreeinthisplacebytwointhat，andasenseofthedefeatofsymmetryisimmediatelyproduced。Withmoreviolentmeanstheideaofsymmetrywouldhavebeenneithersuggestednorrefuted。
Leavingmererepeatingpatternsanddiaperdesigns，youfind，inJapanesecompositions，completedesignsinwhichthereisnopointofsymmetry。Itisabalanceofsuspensionandofantithesis。
Thereisnosenseoflackofequilibrium，becauseplaceis，mostsubtly，madetohavetheeffectofgivingorofsubtractingvalue。
Asmallthingisarrangedtoreplytoalargeone，forthesmallthingisplacedattheprecisedistancethatmakesita（Japanese）
equivalent。InItaly（andperhapsinothercountries）thescalescommonlyinusearefurnishedwithonlyasingleweightthatincreasesordiminishesinvalueaccordingasyouslideitnearerorfartheruponahorizontalarm。Itisequivalenttosomanyounceswhenitisclosetotheupright，andtosomanypoundswhenithangsfromthefartherendofthehorizontalrod。DistanceplayssomesuchpartwiththetwigorthebirdintheuppercornerofaJapanesecomposition。Itsplaceisitssignificanceanditsvalue。
Suchanartofpositionimpliesagreatartofintervals。TheJapanesechoosesafewthingsandleavesthespacebetweenthemfree，asfreeasthepausesorsilencesinmusic。Butastime，notsilence，isthesubject，ormaterial，ofcontrastinmusicalpauses，soitisthemeasurementofspace——thatis，collocation——thatmakesthevalueofemptyintervals。Thespacebetweenthisformandthat，inaJapanesecomposition，isvaluablebecauseitisjustsowideandnomore。Andthis，again，isonlyanotherwayofsayingthatpositionistheprincipleofthisapparentlywilfulart。
Moreover，thealienartofJapan，initspictorialform，hashelpedtojustifythemorestenographicschoolofetching。GreatlytranscendingJapaneseexpression，themodernetcherhasundoubtedlyacceptedmoralsupportfromtheislandsoftheJapanese。Hetooetchesakindofshorthand，eventhoughhisnotesappealmuchtothespectator’sknowledge，whiletheOrientalshorthandappealstonothingbutthespectator’ssimplevision。Thusthetwoartistsworkinwaysdissimilar。Nevertheless，theFrenchetcherwouldneverhavewrittenhissignssofreelyhadnottheJapanesesofreelydrawnhisown。Furthermorestill，thetransitoryanddestructiblematerialofJapanesearthasdoneasmuchasthemultiplicationofnewspapers，andthediscoveryofprocesses，toreconciletheEuropeandesigner——theblackandwhiteartist——toworkingfortheday，thedayofpublication。Japanlivesmuchofitsdailylifebymeansofpaper，painted；sodoesEuropebymeansofpaper，printed。Butaswe，unlikethoseOrientals，areadestructivepeople，paperwithusmeansshortlife，quickabolition，transformation，re-appearance，averycirculationoflife。Thisisourpresentwayofsurvivingourselves——thenewversionofthatfeatoflife。Timewaswhentosurviveyourselfmeanttosecure，foratimeindefinitelylongerthanthelifeofman，suchdullformasyouhadgiventoyourwork；tointrudeuponposterity。Tosurviveyourself，to-day，istoletyourworkgointodailyoblivion。
Now，thoughtheJapanesearenotadestructivepeople，theirpaperdoesnotlastforever，andthatmaterialhasclearlysuggestedtothemadifferentconditionofornamentfromthatwithwhichtheyadornedoldlacquer，fineivory，orotherperdurablethings。Forthetransitorymaterialtheykeepthemorepurelypictorialartoflandscape。WhatofJapaneselandscape？AssuredlyitistoofarreducedtoamonotonousconventiontomerittheseriousstudyofracesthathaveproducedCotmanandCorot。Japaneselandscape-
drawingreducesthingsseentosuchfewnessasmusthavemadetheartinsuperablytedioustoanypeoplelessfresh-spiritedandmoreinclinedtotakethemselvesseriouslythantheseOrientals。A
preoccupiedpeoplewouldneverendureit。ButalittlecloserattentionfromtheOccidentalstudentmightfindfortheirevasiveattitudetowardslandscape——itisanattitudealmosttraitorouslyevasive——amoresignificantreason。Itisthatthedistances，thegreatness，thewindsandthewavesoftheworld，colouredplains，andtheflightofasky，areallcertainlyalientotheperceptionsofapeopleintentuponlittledeformities。DoesitseemharshtodefinebythatphrasethecuriousJapanesesearchforaccidents？
Uponsuchsearchthesepeopleareavowedlyintent，eventhoughtheyshowthemselvescapableofexquisiteappreciationoftheformofanormalbirdandofthehabitofgrowthofanormalflower。TheyarenotinsearchoftheperpetualslightnoveltywhichwasAristotle’sidealofthelanguagepoetic（\"alittlewildly，orwiththeflowerofthemind，\"saysEmersonofthewayofapoet’sspeech）——andsuchnoveltyitis，likethefrequentpulseofthepinion，thatkeepsverseuponthewing；no，whattheJapaneseareintentuponisperpetualslightdisorder。InJapanthemaninthefieldshaseyeslessfortheskyandthecrescentmoonthanforsomestoneinthepath，ofwhichtheasymmetrystrikeshiscurioussenseofpleasureinfortunateaccidentofform。Forloveofalittlegrotesquestrangenesshewillloadhimselfwiththestoneandcarryithometohisgarden。Theartofsuchapeopleisnotliberalart，nottheartofpeace，andnottheartofhumanity。Lookatthecurlsandcurveswherebythispeopleconventionallysignifywaveorcloud。
Allthesecurlshaveanattitudewhichislikethatofafigureslightlymalformed，andnotlikethatofahumanbodythatisperfect，dominant，andifbent，bentatnolowlyornigglinglabour。
Whythesecurvesshouldbesocharmingitwouldbehardtosay；theyhaveanexquisiteprankishnessofvariety，theplacewheretheupwardordownwardscrollscurlofffromthemainwaveisdelicatelyunexpectedeverytime，and——especiallyingoldembroideries——issensitivelyfitforthematerial，catchingandlosingthelight，whilethelengthsofwavinglinearesuchasthelonggoldthreadstakebynature。
Amomentagothisartwasdeclarednothuman。And，infact，innootherarthasthefiguresufferedsuchcrookedhandling。TheJapanesehavegenerallyevadedeventhelocalbeautyoftheirownraceforthesakeofperpetualslightdeformity。Theirbeautyisremotefromoursympathyandadmiration；anditisquitepossiblethatwemightmissitinpictorialpresentation，andthattheJapaneseartistmayhaveintendedhumanbeautywherewedonotrecogniseit。Butifitisnoteasytorecognise，itiscertainlynotdifficulttoguessat。And，accordingly，youaregenerallyawarethattheseparatebeautyoftherace，anditsseparatedignity，even——tobeverygenerous——hasbeenadmiredbytheJapaneseartist，andisrepresentedhereandthereoccasionally，inthefigureofwarriorormousme。ButevenwiththisexceptionthehabitofJapanesefigure-drawingisevidentlygrotesque，derisive，andcrooked。Itiscurioustoobservethatthesearchforslightdeformityissoconstantastomakeuse，foritspurposes，notofactiononly，butofperspectiveforeshortening。Withusitistotheyoungestchildonlythattherewouldappeartobemirthinthedrawingofamanwho，stoopingviolentlyforward，wouldseemtohavehishead\"beneathhisshoulders。\"TheEuropeanchildwouldnotseefuninthelivingmansopresented，but——unusedtothesameeffect\"intheflat\"——hethinksitprodigiouslyhumorousinadrawing。Butsoonlywhenheisquiteyoung。TheJapanesekeeps，apparently，hissenseofthiskindofhumour。Itamuseshim，butnotperhapsaltogetherasitamusesthechild，thattheforeshortenedfigureshould，indrawingandtotheunpractisedeye，seemdistortedanddislocated；thesimpleOrientalappearstofindmorederisioninitthanthesimplechild。Thedistortionisnotwithoutasuggestionofignominy。And，moreover，theJapaneseshowsderision，butnotpreciselyscorn。Hedoesnotholdhimselfsuperiortohishideousmodels。Hemakesfreewiththemonequalterms。Heisfamiliarwiththem。
Andifthisistheconvictiongatheredfromordinarydrawings，noneedtoinsistupontheignoblecharacterofthosethatareintentionalcaricatures。
Perhapsthetimehashardlycomeforwritinganewthepraisesofsymmetry。TheworldknowstoomuchoftheabuseofGreekdecoration，andwouldbegladtoforgetit，withtheintentionoflearningthatartafreshinafutureageandofseeingitthenanew。
Butwhatevermaybethephasesofthearts，thereistheabidingprincipleofsymmetryinthebodyofman，thatgoeserect，likeanuprightsoul。Itsbalanceisequal。Exteriorhumansymmetryissurelyacuriousphysiologicalfactwherethereisnosymmetryinteriorly。ForthecentresoflifeandmovementwithinthebodyareplacedwithOrientalinequality。ManisGreekwithoutandJapanesewithin。Buttheabsolutesymmetryoftheskeletonandofthebeautyandlifethatcoveritisaccuratelyaprinciple。Itcontrols，butnottyrannously，allthelifeofhumanaction。
Attitudeandmotiondisturbperpetually，withinfiniteincidents——
inequalitiesofwork，war，andpastime，inequalitiesofsleep——thesymmetryofman。Onlyindeathand\"atattention\"isthatsymmetrycompleteinattitude。Nevertheless，itrulesthedanceandthebattle，anditsrhythmisnottobedestroyed。Allthemorebecausethishandholdsthegoadandthattheharrow，thistheshieldandthatthesword，becausethishandrocksthecradleandthatcaressestheunequalheadsofchildren，isthisrhythmthelaw；andgraceandstrengthareinflectionsthereof。Allhumanmovementisavariationuponsymmetry，andwithoutsymmetryitwouldnotbevariation；itwouldbelawless，fortuitous，andasdullandbroadcastaslawlessart。Theorderofinflectionthatisnotinfractionhasbeenexplainedinamostauthoritativesentenceofcriticismofliterature，asentencethatshouldsavetheworldthetroubleofsomeofitsfutile，violent，andweakexperiments：\"Law，therectitudeofhumanity，\"saysMrCoventryPatmore，\"shouldbethepoet’sonlysubject，as，fromtimeimmemorial，ithasbeenthesubjectoftrueart，thoughmanyatrueartisthasdonetheMuse’swillandknewitnot。Asallthemusicofversearises，notfrominfractionbutfrominflectionofthelawofthesetmetre；sothegreatestpoetshavebeenthosethemodulusofwhoseversehasbeenmostvariouslyanddelicatelyinflected，incorrespondencewithfeelingsandpassionswhicharetheinflectionsofmorallawintheirtheme。Lawputsastrainuponfeeling，andfeelingrespondswithastrainuponlaw。Furthermore，AristotlesaysthatthequalityofpoeticlanguageisacontinualSLIGHTnovelty。Inthehighestpoetry，likethatofMilton，thesethreemodesofinflection，metrical，linguistical，andmoral，allchimetogetherinpraiseofthetruerorderoflife。\"
Andlikethatorderistheorderofthefigureofman，anordermostbeautifulandmostsecurewhenitisputtotheproof。Thatperpetualproofbyperpetualinflectionistheveryconditionoflife。Symmetryisaprofound，ifdisregardedbecauseperpetuallyinflected，conditionofhumanlife。
ThenimbleartofJapanisunessential；itmaycomeandgo，maysettleorbefannedaway。Ithaslifeanditisnotwithoutlaw；ithasanobviouslife，andalessobviouslaw。ButwithGreeceabidestheobviouslawandthelessobviouslife：symmetryasapparentasthesymmetryoftheformofman，andlifeoccultlikehisunequalheart。Andthisseemstobethenoblerandthemoreperdurablerelation。
THEPLAID
ItisdisconcertingtohearoftheplaidinIndia。Ourdyes，weknow，theyuseinthesilkmillsofBombay，withthedeplorableresultthattheiroldclothesaredullandunintentionallyfalsifiedwithinfelicitousdecay。TheHindusareawashingpeople；andthesunandwaterthatdobutdim，soften，andwarmthenativevegetabledyestothelast，dobutburlesquetheaniline。Magentaisbadenoughwhenitisitself；buttheworstofmagentaisthatitspoilsbutpoorly。Nobadmodernformsandnobadmoderncoloursspoilwell。Andspoilingisanimportantprocess。Itisatest——oneoftheironicalteststhatcometoolatewiththeirproofs。Londonportico-houseswillmakesomesuchruinsasdochemicaldyes，whichundergonousebutderidesthem，noaccidentsbutcaricaturethem。
Thisisanoldenoughgrievance。Buttheplaid！
TheplaidistheScotchman’scontributiontothedecorativeartoftheworld。Scotlandhasnootherindigenousdecoration。Inhismostadmirablelectureon\"TheTwoPaths，\"Ruskinacknowledged，withapassingmisgiving，thathisHighlandershadlittleart。Andthemisgivingwasbutpassing，becauseheconsideredhowfatallywrongwastheartofIndia——\"itneverrepresentsanaturalfact。Itformsitscompositionsoutofmeaninglessfragmentsofcolourandflowingsofline……Itwillnotdrawaman，butaneight-armedmonster；itwillnotdrawaflower，butonlyaspiralorazig-zag。\"BecauseofthisaversionfromNaturetheHinduandhisarttendedtoevil，weread。ButoftheScotwearetold，\"YouwillfinduponreflectionthatallthehighestpointsoftheScottishcharacterareconnectedwithimpressionsderivedstraightfromthenaturalsceneryoftheircountry。\"
What，then，abouttheplaid？Whereisthenaturalfactthere？IftheIndian，bypractisinganon-naturalartofspiralsandzig-zags，cutshimselfoff\"fromallpossiblesourcesofhealthyknowledgeornaturaldelight，\"towhatdidthegoodandhealthyHighlandercondemnhimselfbypractisingtheartoftheplaid？Aspiralmaybefoundinthevine，andazig-zaginthelightning，butwhereinnatureistheplaidtobefound？Thereissurelynocurveorcurlthatcanbedrawnbyadesigninghandbutisaplayuponsomeinfinitelyvariousnaturalfact。Thesmokeofthecigarette，moresensitiveinmotionthanbreathorblood，hasitswavessomultitudinouslyinflectedandreinflected，withsuchflightsandsuchdelays，itflowsandbendsuponcurrentsofsosubtleinfluenceandimpulseastoincludethemostactive，impetuous，andlingeringcurlseverdrawnbythefinestOrientalhand——andthatisnotaHinduhand，noranyhandofAryanrace。TheJapanesehascapturedthecurveofthesectionofasea-wave——itsflow，relaxation，andfall；butthisisasinglemovement，whereasthelineofcigarette-
smokeinastillroomfluctuatesintwentydelicatedirections。No，itisimpossibletoacceptthesayingthatthepoorspiralorscrollofahumandesignisanythingbutaparticipationintheinnumerablecurvesandcurlsofnature。
Nowtheplaidisnotonly\"cutoff\"fromnaturalsources，asRuskinsaysofOrientaldesign——theplaidisnotonlycutofffromnature，andcutofffromnaturebytheyard，foritistobemeasuredoffininorganicquantity；butitisevenakindofintentionalcontradictionofallnaturalorvitalforms。Anditisequallydefiantofvitaltoneandofvitalcolour。Everywhereinnaturetoneisgradual，andbetweenthefaintingofatoneandthefailingofacurvethereisacharminganalogy。Butthetartaninsiststhatitstoneshallbeinvariable，andsharplydefinedbycontrastsofdarkandlight。Astocolour，ithascolours，notcolour。
ButthatplaidshouldnowgosofarafieldastodecoratethenoblegarmentoftheIndiesisillnews。True，RuskinsawnothingbutcrueltyandcorruptioninIndianlifeorart；butletushearanIndianmaximinregardtothosewho，incruelplaces，arereadysufferers：\"There，\"saystheMahabharata，\"wherewomenaretreatedwithrespect，theverygodsaresaidtobefilledwithjoy。Womendeservetobehonoured。Serveyethem。Bendyourwillbeforethem。
Byhonouringwomenyearesuretoattaintothefruitionofallthings。\"AndtherashteachersofouryouthwouldhavepersuadedusthatthisgenerouslessonwasfirstlearntinTeutonicforests！
Nothingbutextremelowlinesscanwellreply，orwouldprobablybesufferedtoreply，tothisHinduprofessionofreverence。
Accordinglythewomansohonouredmakesanofferingofcakesandoiltothesoulsofhermother-in-law，grandmother-in-law，andgreat-
grandmother-in-law，ingratitudefortheirgivingheragoodhusband。AndtogobackforamomenttoRuskin’scontrastofthetworaces，itwasassuredlyunderthestressofsometoorashreasoningthathejudgedthelovelyartoftheEastasaministranttosuperstition，cruelty，andpleasure，whetherwroughtuponthetemple，thesword，orthegirdle。TheinnocentartofinnocentHinduwomenforcenturiesdeckedtheirmostmodestheads，theirdedicatedandsequesteredbeauty，theirchild-lovingbreasts，andconsecratedchambers。
THEFLOWER
Thereisaformofoppressionthathasnotuntilnowbeenconfessedbythosewhosufferfromitorwhoareparticipants，asmerewitnesses，initstyranny。Itistheobsessionofmanbytheflower。Intheshapeoftheflowerhisownpaltrinessrevisitshim——
histriviality，hissloth，hischeapness，hiswholesalehabitualness，hisslatternlyostentation。Thesereturntohimandwreakuponhimtheirdullrevenges。Whatthetyrannyreallyhadgrowntocanbegaugednowheresowellasincountrylodgings，wherethemostordinarythingsofdesignanddecorationhavesifteddownandgatheredtogether，sothatfoolishornamentgainsacumulativeforceandachievesaconspicuouscommonness。Stemandpetalandleaf——thefluentformsthatamanhasnotbyheartbutcertainlybyrote——arewoven，printed，cast，andstampedwhereverrestlessnessandinsimplicityhavefearedtoleaveplainspaces。Themostuglyofallimaginablerooms，whichisprobablytheparlourofafarm-
housearrayedforthosewhomAmericanscallsummer-boarders，isbesetwithflowers。Itblooms，adry，woollen，papery，cast-irongarden。Thefloorflourisheswithblossomsadust，poorlyconventionalizedintoakindoforder；thetable-coverisablazewithamorerealisticflorescence；thewall-paperissetwithbunches；therigidmachine-lacecurtainisallofrosesandliliesinitsveryconstruction；overthemuslinblindsanimpotentsprigisscattered。Intheworstedrosettesofthebell-ropes，intheplasterpicture-frames，inthepaintedtea-trayandonthecups，inthepedimentofthesideboard，intheornamentthatcrownsthebarometer，inthefinialsofsofaandarm-chair，inthefinger-
platesofthe\"grained\"door，istobeseentheineffectualportraitortobetracedthestaleinspirationoftheflower。Andwhatisthisbossinessaroundthegratebutsomeblunt，black-leadedgarland？Therecitaliswearisome，buttheretributionoftheflowerispreciselyweariness。Itisthepersecutionofman，thehauntingofhistrivialvisions，andtheoppressionofhisinconsiderablebrain。
Themansopossessedsuffersthelotoftheweakling——subjectiontothesmallestofthethingshehasabused。Thedesignerofcheappatternsisnomoreinevitablyriddenbytheflowerthanisthevainandtransitoryauthorbythephrase。Inliteratureasinallelsemanmeritshissubjectiontotrivialitiesbyhiseconomicalgreed。
Aconditionforusingjustlyandgailyanydecorationwouldseemtobeameasureofreluctance。Ornament——strangeasthedoctrinesoundsinaworlddecivilized——wasinthebeginningintendedtobesomethingjocund；andjocunditywasnevertobeachievedbutbypostponement，deference，andmodesty。NorcantheprodigalityofthemeadowsinMaybequotedindispute。ForNaturehassomethingevenmoreseverethanmodertion：shehasaninnumerablesingleness。
Herbuttercupmeadowsarenotprodigal；theyshowmultitude，butnotmultiplicity，andmultiplicityisexactlythedisgraceofdecoration。Whohasevermultipliedorrepeatedhisdelights？orwhohasevergainedthegrantingofthemostfoolishofhiswishes——
theprayerforreiteration？ItisacuriousslighttogenerousFatethatmanshould，likeachild，askforonethingmanytimes。Heranswereverytimeisaresemblingbutnewandsinglegift；untilthedaywhensheshallmaketheonetremendousdifferenceamonghergifts——andmakeitperhapsinsecret——bynamingoneofthemtheultimate。What，fornovelty，what，forsingleness，what，forseparateness，canequalthelast？Ofmanythousandkissesthepoorlast——buteventhekissesofyourmouthareallnumbered。
UNSTABLEEQUILIBRIUM
Itisprincipallyforthesakeofthelegthatachangeinthedressofmanissomuchtobedesired。Theleg，completingasitdoestheformofman，shouldmakeagreatpartofthathumanscenerywhichisatleastasimportantasthesceneryofgeologicalstructure，orthesceneryofarchitecture，orthesceneryofvegetation，butwhichtheloversofmountainsandthepreserversofancientbuildingshaveconsentedtoignore。Thelegisthebestpartofthefigure，inasmuchasithasthefinestlinesandtherewiththoseslender，diminishingformswhich，comingatthebaseofthehumanstructure，showittobeathingoflifebyitsunstableequilibrium。A
lifelessstructureisinstableequilibrium；thebody，springing，poised，uponitsfineanklesandnarrowfeet，neverstandswithoutimplyingandexpressinglife。Itisthelegthatfirstsuggestedthephantasyofflight。Weimaginewingstothefigurethatiserectuponthevitalandtenselegsofman；andtheheraldMercury，becauseofhisstation，looksnew-lighted。Allthisistrueofthebestleg，andthebestlegistheman’s。Thatoftheyoungchild，inwhichtheItalianschoolsofpaintingdelighted，hasneithermovementnorsupportingstrength。Inthecaseofthewoman’sfigureitisthefoot，withitsextremeproportionalsmallness，thatgivesthepreciousinstability，thespringandbalancethataresoorganic。Butmanshouldnolongerdisguisethelonglines，thestrongforms，inthoselengthsofpipingortubingthatareofallgarmentsthemoststupid。Inexpressiveofwhattheyclotheasnokindofconcealingdraperycouldeverbe，theyareneitherimplicitlynorexplicitlygoodraiment。Itishardlypossibletoerrbyviolenceindenouncingthem。Why，whenanindifferentwriterispraisedfor\"clothinghisthought，\"itistomodernraimentthatone’sagilefancyflies——fainofcompletingthemetaphor！
Thehumanscenery：yes，costumecouldmakeacrowdsomethingotherthanthemassofsootycolour——darkwithoutdepth——andthemultiplicationofundignifiedformsthatfillthestreets，anddemonstrate，andmeet，andlistentothespeaker。Fortheundistinguishedareveryimportantbytheirnumbers。Thesearetheywhomakethelookoftheartificialworld。Theyaremangeneralized；asunitstheyinevitablylacksomethingofinterest；
allthemoretheyhavecumulativeeffect。Itwouldbewellifwecouldpersuadetheaveragemantotakeonacertainhumandignityintheclothingofhisaveragebody。Unfortunatelyhewillbeslowtobechanged。Andastothepoorerpartofthemass，sowretchedaretheirnationalcustoms——andthewretchedestofthemallthewearingofothermen’soldraiment——thattheymustwaitforreformuntilthereformeddress，whichthereformershavenotyetputon，shallhaveturnedsecond-hand。
VICTORIANCARICATURE
Therehasbeennodenunciation，andperhapsevennorecognition，ofacertainsocialimmoralityinthecaricatureofthemid-centuryandearlier。Literaryandpictorialalike，ithadforitsaimthevulgarizingofthemarriedwoman。NoonenowwouldreadDouglasJerroldforpleasure，butitisworthwhiletoturnupthathumourist’sserial，\"Mrs。Caudle’sCurtainLectures，\"whichwerepresumablyconsideredgoodcomicreadinginthe\"Punch\"ofthattime，andtomakeacquaintancewithacertainidealofthegrotesque。Obviouslytomakeaseriouscommentonanythingwhichothersconsiderorhaveconsideredhumorousistoputoneselfatadisadvantage。Hewhoseesthejokeholdshimselfsomewhatthesuperiorofthemanwhowouldseeit，suchasitis，ifhethoughtitworthhiseyesight。Thelast-namedhastobeartheleasttolerableofmodernreproaches——thathelackshumour；butheneednotalwayscare。NowtoturnoverDouglasJerrold’smonologuesistofindthatpeopleinthemid-centurytooktheirmirthprincipallyfromthelifeofthearriereboutique。Onthatshabbystagewasenactedthecomedyofliterature。ThereforewemusttakesomethingofthevulgarityofJerroldasacircumstanceofthesocialrankswhereinhedelighted。Buttheessentialvulgarityisthatofthewoman。Thereisinsomeold\"Punch\"volumeadrawingbyLeech——whomoneiswearyofhearingnamedthegentle，therefined——wheretheworkoftheartisthasviedwiththespiritoftheletterpress。
DouglasJerroldtreatsofthewoman’sjealousy，Leechofherstays。
Theylieonachairbythebed，beyonddescriptiongross。Andpagebypagethewomanisderided，withanunfailingenjoymentofherfoolishuglinessofperson，ofmanners，andoflanguage。Inthattimetherewas，moreover，onegreathumourist，onewhomIinfinitelyadmire；he，too，Iamgrievedtoremember，borehispartwillinglyinvulgarizingthewoman；andthepartthatfelltohimwasthevulgarizingoftheactofmaternity。Womanspiteful，womansuingmanatthelawforevadingherfatuouscompanionship，womanincoherent，womanabandonedwithoutrestrainttoviolenceandtemper，womanfeigningsensibility——innoneoftheseignominiesiswomansocommonandsofoolishforDickensassheisinchild-
bearing。
InamedLeechbutnow。Hewas，inallthingsessential，Dickens’scontemporary。Andaccordinglythemarriedwomanandherchildarehumiliatedbyhispencil；notgrossly，butcommonly。Forhimsheismoderatelyanddullyridiculous。Whatdelightshimashumorousisthatherhusband——himselfwearisomeenoughtodieof——iswearyofher，findsthetimelong，andtriestoescapeher。Itamuseshimthatsheshouldfurtivelyspendmoneyoverherowndowdiness，totheannoyanceofherhusband，andthatherhusbandshouldhavenodesiretoadornher，andthathermothershouldbeintolerable。Itpleaseshimthatherbaby，withenormouscheeksandahideousrosetteinitshat——aburlesquebaby——shouldbeagrotesqueobjectofherlove，forthattoomakessubtlyforherabasement。CharlesKeene，again——
anothercontemporary，thoughhelivedintoalateranddifferenttime。Hesawlittleelsethancommonformsofhumanignominy——
indignitiesofcivicphysique，ofstupidprosperity，ofdress，ofbearing。Hetransmitsthesethingsingreaterproportionthanhefoundthem——whetherforloveofthehumourofthem，orbyakindofinverteddisgustthatisaseagerasdelight——oneisnotsurewhichistheimpulse。Thegrossnessofthevulgaritiesisrenderedwithacompletenessthatgoesfartoconvinceusofacertainsensitivenessofapprehensioninthedesigner；andthenagainwegetconvincedthatrealapprehension——realapprehensiveness——wouldnothaveinsisteduponsuchthings，couldnothavelivedwiththemthroughalmostawholecareer。Thereisonedrawinginthe\"Punch\"ofyearsago，inwhichCharlesKeeneachievedthenastiestthingpossibletoeventheinventionofthatday。Adrunkencitizen，intheusualbroadcloth，hasgonetobed，fullydressed，withhisbootsonandhisumbrellaopen，andthejokeliesinthesurpriseawaiting，whensheawakes，thewifeasleepathissideinanight-cap。EveryonewhoknowsKeene’sworkcanimaginehowthehugewell-fedfigurewasdrawn，andhowthecoatwrinkledacrosstheback，andhowthebourgeoiswhiskerswereindicated。Thisobscenedrawingismatchedbymanyequallyodious。Abjectdomesticity，ignominiesofmarriedlife，ofmiddle-age，ofmoney-making；theoldcommonjapeagainstthemother-in-law；abominableweddings：inonedrawingabridegroomwithshamblingside-longlegsaskshisbrideifsheisnervous；sheisawidow，andsheanswers，\"No，neverwas。\"Inallthesethingsthereisverylittlehumour。WhereKeeneachievedfunwasinthefiguresofhisschoolboys。Thehintoftendernesswhichinreallyfineworkcouldneverbeabsentfromaman’sthoughtofachildorfromhistouchofone，howeverfrolicorrowdythesubjectinhand，isabsolutelylackinginKeene’sdesigns；nevertheless，weacknowledgethatthereishumour。Itisalsoinsomeofhisclericalfigureswhentheyarenotcaricatures，andcertainlyin\"Robert，\"theCitywaiterof\"Punch。\"ButsoirresistibleisthederisionofthewomanthatallCharlesKeene’spersistentsenseofvulgarityisintentcentrallyuponher。Neverforanygracegoneastrayisshebantered，neverforthesocialextravagances，forprattle，orforbeloveddress；butalwaysforherjealousy，andfortherepulsivepersonofthemanuponwhomshespiesandinwhomshevindicatesherignoblerights。Ifthisistheshopkeeperthepossessionofwhomisherboast，whatthenisshe？
Thisgreatimmorality，centringintheirreproachabledaysoftheExhibitionof1851，orthereabouts——thepleasureinthisparticularformofhumandisgrace——haspassed，leavingonetraceonly：thehabitbywhichsomemenreproachasillywomanthroughhersex，whereasasillymanisnotreproachedthroughhissex。ButthevulgarityofwhichIhavewrittenherewasdistinctivelyEnglish——
themostEnglishthingthatEnglandhadindayswhenshebraggedofmanyanother——anditwasnotabletosurviveanincreasedcommerceofmannersandletterswithFrance。ItwasthechiefimmoralitydestroyedbytheFrenchnovel。
THEPOINTOFHONOUR
NotwithoutsignificanceistheSpanishnationalityofVelasquez。
InSpainwasthePointputuponHonour；andVelasquezwasthefirstImpressionist。AsanImpressionistheclaimed，implicitlyifnotexplicitly，awholeseriesofdelicatetrustsinhistrustworthiness；hemadeanappealtotheconfidenceofhispeers；
hereliedonhisowncandour，andaskedthatthecandidshouldrelyuponhim；hekeptthechastityofartwhenothermasterswerecontentwithitshonesty，andwhenotherssavedartisticconsciencehesafeguardedthepointofhonour。Contemporarymastersmoreorlessprovedtheirposition，andconvincedtheworldbysomethingofdemonstration；thefirstImpressionistsimplyaskedthathiswordshouldbeaccepted。Tothosewhowouldnottakehiswordheoffersnobond。Tothosewhowill，hegrantsthedistinctionofashareinhisresponsibility。
Somewhatunrefined，incomparisonwithhisloftyandsimpleclaimtobebelievedonasuggestion，isthecommonerpainter’sproductionofhiscredentials，hisappealtothesanctionsofordinaryexperience，hisself-defenceagainstthesuspicionofmakingirresponsiblemysteriesinart。\"Youcanseeforyourself，\"thelessermanseemstosaytotheworld，\"thusthingsare，andIrendertheminsuchmannerthatyourintelligencemaybesatisfied。\"Thisisanappealtoaverageexperience——atthebestthecumulativeexperience；andwiththeaverage，orwiththesum，artcannotdealwithoutderogation。TheSpaniardseemstosay：\"Thusthingsareinmypictorialsight。Trustme，Iapprehendthemso。\"Wearenotexcludedfromhiscounsels，butweareaskedtoattributeacertainauthoritytohim，masterofthecraftasheis，masterofthatartofseeingpictoriallywhichisthebeginningandnotfarfromtheend——notfarshortofthewhole——oftheartofpainting。SolittleindeedareweshutoutfromthemysteriesofagreatImpressionist’simpressionthatVelasquezrequiresustobeinsomedegreehiscolleagues。Thusmayeachofustowhomheappealstakepraisefromthepraised：heleavesmyeducatedeyestodoalittleofthework。
Herespectsmyresponsibilitynoless——thoughherespectsitlessexplicitly——thanIdohis。Whatheallowsmewouldnotbegrantedbyameanermaster。Ifhedoesnotholdhimselfboundtoprovehisowntruth，hereturnsthanksformytrust。Itisasthoughheusedhiscountrymen’scourteoushyperboleandcalledhishousemyown。
Inasenseofthemostnoblehostshiphedoesmethehonoursofhispicture。
BecauseImpressionismwithallitsextreme——letushopeitsultimate——derivativesissofree，thereforeisitdoublybound。
Becausethereisnonetoarraignit，itisathousandtimesresponsible。Toundertakethisartforthesakeofitsprivilegeswithoutconfessingitsobligations——oratleastwithoutconfessingthemuptothepointofhonour——istotakeavulgarfreedom：toseeimmunitiespreciselywherethereareduties，andanadvantagewherethereisabond。AverymobofmenhavetakenImpressionismuponthemselves，inseveralformsandunderasuccessionofnames，inthisourlaterday。Itisagainstallprobabilitiesthatmorethanafewamongthesehavewithinthemthepointofhonour。Intheirgallerieswearebesetwithadimdistrust。Andtodistrustismorehumiliatingthantobedistrusted。Howmanyoftheselandscape-
painters，deliberatelyrash，arepaintingthetruthoftheirownimpressions？Anethicalquestionastoloyaltyiseasilyanswered；
truthandfalsehoodastofactare，happilyfortheintelligenceofthecommonconscience，nothardtodivide。Butwhenthedubiumconcernsnotfactbutartistictruth，canthemanybesurethattheirsensitiveness，theircandour，theirscruple，theirdelicateequipoiseofperceptions，thevigilanceoftheirapprehension，areenough？NowImpressionistshavetoldusthingsastotheirimpressions——astotheeffectofthingsuponthetemperamentofthismananduponthemoodofthat——whichshouldnotbeassertedexceptontheartisticpointofhonour。Themajoritycantellordinarytruth，butshouldnottrustthemselvesfortruthextraordinary。
Theycanfacethegeneraljudgement，buttheyshouldhesitatetoproduceworkthatappealstothelastjudgement，whichisthejudgementwithin。Thereistoomuchreasontodivinethatacertainnumberofthosewhoaspiretodifferfromthegreatestofmastershavenotemperamentsworthspeakingof，nopointofviewworthseizing，novigilanceworthawaiting，nomoodworthwaylaying。Andtobe，departipris，anImpressionistwithoutthese！OVelasquez！
Norisliteraturequitefreefromalikereproachinherownthings。
Anauthor，hereandthere，willmakeasthoughhehadawordworthhearing——nay，worthover-hearing——awordthatseekstowithdrawevenwhileitisuttered；andyetwhatitseemstodissembleisalltooprobablyaplatitude。Butobviously，literatureisnot——asisthecraftandmysteryofpainting——soatthemercyofahalf-imposture，soguardedbyunprovablehonour。Fortheartofpaintingisreservedthatshadowyrisk，thatundefinedsalvation。Iftheartistictemperament——tediousword！——withallitsgrotesqueprivileges，becomesyetmorecommonthanitis，therewillbeyetlessresponsibility；forthepointofhonouristhesimplesecretofthefew。
THECOLOUROFLIFE
Redhasbeenpraisedforitsnobilityasthecolouroflife。Butthetruecolouroflifeisnotred。Redisthecolourofviolence，oroflifebrokenopen，edited，andpublished。Orifredisindeedthecolouroflife，itissoonlyonconditionthatitisnotseen。
Oncefullyvisible，redisthecolouroflifeviolated，andintheactofbetrayalandofwaste。Redisthesecretoflife，andnotthemanifestationthereof。Itisoneofthethingsthevalueofwhichissecrecy，oneofthetalentsthataretobehiddeninanapkin。Thetruecolouroflifeisthecolourofthebody，thecolourofthecoveredred，theimplicitandnotexplicitredofthelivingheartandthepulses。Itisthemodestcolouroftheunpublishedblood。
Sobright，solight，sosoft，somingled，thegentlecolouroflifeisoutdonebyallthecoloursoftheworld。Itsverybeautyisthatitiswhite，butlesswhitethanmilk；brown，butlessbrownthanearth；red，butlessredthansunsetordawn。Itislucid，butlesslucidthanthecolouroflilies。Ithasthehintofgoldthatisinallfinecolour；butinourlatitudesthehintisalmostelusive。
UnderSicilianskies，indeed，itisdeeperthanoldivory；butunderthemistyblueoftheEnglishzenith，andthewarmgreyoftheLondonhorizon，itisasdelicatelyflushedasthepalerwildroses，outtotheirutmost，flatasstars，inthehedgesoftheendofJune。
FormonthstogetherLondondoesnotseethecolouroflifeinanymass。Thehumanfacedoesnotgivemuchofit，whatwithfeatures，andbeards，andtheshadowofthetop-hatandchapeaumelonofman，andoftheveilsofwoman。Besides，thecolourofthefaceissubjecttoathousandinjuriesandaccidents。ThepopularfaceoftheLondonerhassoonlostitsgold，itswhite，andthedelicacyofitsredandbrown。Wemisslittlebeautybythefactthatitisneverseenfreelyingreatnumbersout-of-doors。Yougetitinsomequantitywhenalltheheadsofagreatindoormeetingareturnedatonceuponaspeaker；butitisonlyintheopenair，needlesstosay，thatthecolouroflifeisinperfection，intheopenair，\"clothedwiththesun，\"whetherthesunshinebegoldenanddirect，ordazzlinglydiffusedingrey。
ThelittlefigureoftheLondonboyitisthathasrestoredtothelandscapethehumancolouroflife。Heisallowedtocomeoutofallhisignominies，andtotakethelatecolourofthemidsummernorth-westevening，onthebordersoftheSerpentine。Atthestrokeofeightheshedsthesloughofnamelesscolours——allalliedtothehuesofdust，soot，andfog，whicharethecolourstheworldhaschosenforitsboys——andhemakes，inhishundreds，abrightanddelicateflushbetweenthegrey-bluewaterandthegrey-bluesky。
Clothednowwiththesun，heiscrownedby-and-bywithtwelvestarsashegoestobathe，andthereflectionofanearlymoonisunderhisfeet。
SolittlestandsbetweenagaminandallthedignitiesofNature。
Theyaresoquicklyrestored。Thereseemstobenothingtodo，butonlyalittlethingtoundo。ItisliketheartofEleonoraDuse。
Thelastandmostfinishedactionofherintellect，passion，andknowledgeis，asitwere，theflickingawayofsomeinsignificantthingmistakenforartbyotheractors，somelittleobstacletothewayandlibertyofNature。
Allthesqualorisgoneinamoment，kickedoffwiththesecondboot，andthechildgoesshoutingtocompletethelandscapewiththelackingcolouroflife。Youareinclinedtowonderthat，evenundressed，hestillshoutswithaCockneyaccent。Youhalfexpectpurevowelsandelasticsyllablesfromhisrestoration，hisspring，hisslenderness，hisbrightness，andhisglow。Oldivoryandwildroseinthedeepeningmidsummersun，hegiveshiscolourstohisworldagain。
Itiseasytoreplaceman，anditwilltakenogreattime，whereNaturehaslapsed，toreplaceNature。Itisalwaystodo，bythehappilyeasywayofdoingnothing。Thegrassisalwaysreadytogrowinthestreets——andnostreetscouldaskforamorecharmingfinishthanyourgreengrass。Thegasometerevenmustfalltopiecesunlessitisrenewed；butthegrassrenewsitself。Thereisnothingsoremediableastheworkofmodernman——\"athoughtwhichisalso，\"asMrPecksniffsaid，\"verysoothing。\"AndbyremediableI
mean，ofcourse，destructible。Asthebathingchildshufflesoffhisgarments——theyarefew，andonebracesufficeshim——sothelandmightalways，inreasonabletime，shuffleoffitsyellowbrickandpurpleslate，andallthethingsthatcollectaboutrailwaystations。AsinglenightalmostclearstheairofLondon。
ButifthecolouroflifelookssowellintherathershamsceneryofHydePark，itlooksbrilliantandgraveindeedonarealsea-
coast。Tohaveonceseenitthereshouldbeenoughtomakeacolourist。Omemorablelittlepicture！Thesunwasgainingcolourasitnearedsetting，anditsetnotoverthesea，butovertheland。Theseahadthedarkandratherstern，butnotcold，blueofthataspect——thedarkandnottheopaltints。Theskywasalsodeep。Everythingwasverydefinite，withoutmystery，andexceedinglysimple。Themostluminousthingwastheshiningwhiteofanedgeoffoam，whichdidnotceasetobewhitebecauseitwasalittlegoldenandalittlerosyinthesunshine。Itwasstillthewhitestthingimaginable。Andthenextmostluminousthingwasthelittlechild，alsoinvestedwiththesunandthecolouroflife。
Inthecaseofwomen，itisofthelivingandunpublishedbloodthattheviolentworldhasprofessedtobedelicateandashamed。SeethecurioushistoryofthepoliticalrightsofwomanundertheRevolution。Onthescaffoldsheenjoyedanungrudgedshareinthefortunesofparty。Politicallifemightbedeniedher，butthatseemsatriflewhenyouconsiderhowgenerouslyshewaspermittedpoliticaldeath。Shewastospinandcookforhercitizenintheobscurityofherlivinghours；buttothehourofherdeathwasgrantedapartinthelargestinterests，social，national，international。Thebloodwherewithsheshould，accordingtoRobespierre，haveblushedtobeseenorheardinthetribune，wasexposedinthepublicsightunshelteredbyherveins。
Againstthistherewasnomodesty。Ofallprivacies，thelastandtheinnermost——theprivacyofdeath——wasneverallowedtoputobstaclesinthewayofpublicactionforapubliccause。Womenmightbe，andwere，dulysuppressedwhen，bythemouthofOlympedeGouges，theyclaimeda\"righttoconcurinthechoiceofrepresentativesfortheformationofthelaws\"；butinherperson，too，theywereliberallyallowedtobearpoliticalresponsibilitytotheRepublic。OlympedeGougeswasguillotined。Robespierrethusmadeherpublicandcompleteamends。
THEHORIZON
Tomountahillistoliftwithyousomethinglighterandbrighterthanyourselforthananymeanerburden。Youlifttheworld，youraisethehorizon；yougiveasignalforthedistancetostandup。
ItislikethesceneintheVaticanwhenaCardinal，withhisdramaticItalianhands，bidsthekneelinggroupstoarise。Hedoesmorethanbidthem。Heliftsthem，hegathersthemup，farandnear，withtheupwardgestureofbotharms；hetakesthemtotheirfeetwiththecompulsionofhisexpressiveforce。Oritisaswhenaconductortakeshisplayerstosuccessiveheightsofmusic。Yousummonthesea，youbringthemountains，thedistancesunfoldunlooked-forwingsandtakeanevenflight。Youarebutamanliftinghisweightupontheupwardroad，butasyouclimbthecircleoftheworldgoesuptofaceyou。
Nothereorthere，butwithadefinitecontinuity，theunseenunfolds。Thisdistanthilloutsoarsthatlessdistant，butallareonthewing，andtheplainraisesitsverge。Allthingsfollowandwaituponyoureyes。Youlifttheseup，notbytheraisingofyoureyelids，butbythepilgrimageofyourbody。\"Liftthineeyestothemountains。\"Itisthenthatothermountainsliftthemselvestoyourhumaneyes。
Itisthelawwherebytheeyeandthehorizonansweroneanotherthatmakesthewayupahillsofullofuniversalmovement。Allthelandscapeisonpilgrimage。Thetowngathersitselfcloser，anditsinnerharboursliterallycometolight；theheadlandsrepeatthemselves；littlecupswithinthetreelesshillsopenandshowtheirfarms。Intheseaaremanyregions。Abreezeisatplayforamileortwo，andthesurfaceisturned。Thereareroadsandcurvesintheblueandinthewhite。Notastepofyourjourneyuptheheightthathasnotitsrepliesinthesteadymotionoflandandsea。Thingsrisetogetherlikeaflockofmany-featheredbirds。
Butitisthehorizon，morethanallelse，youhavecomeinsearchof。Thatisyourchiefcompaniononyourway。Itistoupliftthehorizontotheequalityofyoursightthatyougohigh。Yougiveitadistanceworthyoftheskies。Thereisnodistance，exceptthedistanceinthesky，tobeseenfromthelevelearth；butfromtheheightistobeseenthedistanceofthisworld。Thelineissentbackintotheremotenessoflight，thevergeisremovedbeyondverge，intoadistancethatisenormousandminute。
SodelicateandsoslenderisthedistanthorizonthatnothinglessnearthanQueenMabandherchariotcanequalitsfineness。Hereontheedgesoftheeyelids，orthereontheedgesoftheworld——weknownootherplaceforthingssoexquisitelymade，sothin，sosmallandtender。Thetouchesofherpassing，ascloseasdreams，ortheutmostvanishingoftheforestortheoceaninthewhitelightbetweentheearthandtheair；nothingelseisquitesointimateandfine。Theextremitiesofamountainviewhavejustsuchtinytouchesastheclosenessofclosedeyesshutsin。
Onthehorizonisthesweetestlight。Elsewherecolourmarsthesimplicityoflight；buttherecolouriseffaced，notasmeneffaceit，byablurordarkness，butbymerelight。Thebluestskydisappearsonthatshiningedge；thereisnotsubstanceenoughforcolour。Therimofthehill，ofthewoodland，ofthemeadow-land，ofthesea——letitonlybefarenough——hasthesameabsorptionofcolour；andeventhedarkthingsdrawnuponthebrightedgesoftheskyarelucid，thelightisamongthem，andtheyaremingledwithit。Thehorizonhasitsownwayofmakingbrightthepencilledfiguresofforests，whichareblackbutluminous。
Onthehorizon，moreover，closesthelongperspectiveofthesky。
Thereyouperceivethatanordinaryskyofclouds——notathundersky——isnotawallbuttheundersideofafloor。Youseethecloudsthatrepeateachothergrowsmallerbydistance；andyoufindanewunityintheskyandearththatgatheralikethegreatlinesoftheirdesignstothesamedistantclose。Thereisnolongeranaliensky，tossedupinunintelligibleheightsaboveaworldthatissubjecttointelligibleperspective。
OfallthethingsthatLondonhasforegone，themosttoberegrettedisthehorizon。Notthebarkofthetreesinitsrightcolour；notthespiritofthegrowinggrass，whichhasinsomewayescapedfromtheparks；notthesmelloftheearthunmingledwiththeodourofsoot；butratherthemerehorizon。NodoubtthesunmakesabeautifulthingoftheLondonsmokeattimes，andinsomeplacesofthesky；butnotthere，notwherethesoftsharpdistanceoughttoshine。Tobedullthereistoputallrelationsandcomparisonsinthewrong，andtomaketheskylawless。
Ahorizondarkwithstormisanotherthing。Theweatherdarkensthelineanddefinesit，orminglesitwiththerainingcloud；orsoftlydimsit，orblackensitagainstagleamofnarrowsunshineinthesky。Thestormyhorizonwilltakewing，andthesunny。Gohighenough，andyoucanraisethelightfrombeyondtheshower，andtheshadowfrombehindtheray。Onlytheshapelessandlifelesssmokedisobeysanddefeatsthesummeroftheeyes。
Upatthetopoftheseawardhillyourfirstthoughtisoneofsomecompassionforsailors，inasmuchastheyseebutlittleoftheirsea。AchildonamereChannelclifflooksuponspacesandsizesthattheycannotseeinthePacific，ontheoceansideoftheworld。
Neverinthesolitudeofthebluewater，neverbetweentheCapeofGoodHopeandCapeHorn，neverbetweentheIslandsandtheWest，hastheseamanseenanythingbutalittlecircleofsea。TheAncientMariner，whenhewasalone，didbutdriftthroughathousandnarrowsolitudes。Thesailorhasnothingbuthismast，indeed。Andbutforhismasthewouldbeisolatedinassmallaworldasthatofatravellerthroughtheplains。
Roundtheplainsthehorizonlieswithfoldedwings。Itkeepsthemsoperpetuallyforman，andopensthemonlyforthebird，replyingtoflightwithflight。
Aclosecircletofwavesisthesailor’sfamousoffing。Hisoffinghardlydeservesthenameofhorizon。Tohearhimyoumightthinksomethingofhisoffing，butyoudonotsowhenyousitdowninthecentreofit。
Astheupspringingofallthingsatyourgoinguptheheights，sosteady，soswift，isthesubsidenceatyourdescent。Thefurthersealiesaway，hillfoldsdownbehindhill。Thewholeupstandingworld，withitslookssereneandalert，itsdistantreplies，itssignalsofmanymiles，itssignsandcommunicationsoflight，gathersdownandpauses。Thisflockofbirdswhichisthemobilelandscapewheelsandgoestoearth。TheCardinalweighsdowntheaudiencewithhisdownwardhands。Farewelltothemostdelicatehorizon。