painters and their sober eyesight, so that, even when the rest of
their picture is calm, the foliage is coloured like foliage in a
gale.[14] There was nothing, however, of this sort to be noticed in a
country where there were no trees and hardly any shadows, save the
passive shadows and clouds or those of rigid houses and walls. But the
wind was nevertheless an occasion of pleasure; for nowhere could you
taste more fully the pleasure of a sudden lull, or a place of
opportune shelter. The reader knows what I mean; he must remember how,
when he has sat himself down behind a dyke on a hill-side, he
delighted to hear the wind hiss vainly through the crannies at his
back; how his body tingled all over with warmth, and it began to dawn
upon him, with a sort of slow surprise, that the country was
beautiful, the heather purple, and the faraway hills all marbled with
sun and shadow. Wordsworth, in a beautiful passage[15] of the
"Prelude," has used this as a figure for the feeling struck in us by
the quiet by-streets of London after the uproar of the great
thoroughfares; and the comparison may be turned the other way with as
good effect:

"Meanwhile the roar continues, till at length,
Escaped as from an enemy we turn,
Abruptly into some sequestered nook,
Still as a shelter'd place when winds blow loud!"

I remember meeting a man once, in a train, who told me of what must
have been quite the most perfect instance of this pleasure of escape.
He had gone up, one sunny, windy morning, to the top of a great
cathedral somewhere abroad; I think it was Cologne Cathedral, the
great unfinished marvel by the Rhine;[16] and after a long while in
dark stairways, he issued at last into the sunshine, on a platform