direct, or dazzlingly diffused in grey.

The little figure of the London boy it is that has restored to the
landscape the human colour of life. He is allowed to come out of all his
ignominies, and to take the late colour of the midsummer north-west
evening, on the borders of the Serpentine. At the stroke of eight he
sheds the slough of nameless colours--all allied to the hues of dust,
soot, and fog, which are the colours the world has chosen for its
boys--and he makes, in his hundreds, a bright and delicate flush between
the grey-blue water and the grey-blue sky. Clothed now with the sun, he
is crowned by-and-by with twelve stars as he goes to bathe, and the
reflection of an early moon is under his feet.

So little stands between a gamin and all the dignities of Nature. They
are so quickly restored. There seems to be nothing to do, but only a
little thing to undo. It is like the art of Eleonora Duse. The last and
most finished action of her intellect, passion, and knowledge is, as it
were, the flicking away of some insignificant thing mistaken for art by
other actors, some little obstacle to the way and liberty of Nature.

All the squalor is gone in a moment, kicked off with the second boot, and
the child goes shouting to complete the landscape with the lacking colour
of life. You are inclined to wonder that, even undressed, he still
shouts with a Cockney accent. You half expect pure vowels and elastic
syllables from his restoration, his spring, his slenderness, his
brightness, and his glow. Old ivory and wild rose in the deepening
midsummer sun, he gives his colours to his world again.

It is easy to replace man, and it will take no great time, where Nature
has lapsed, to replace Nature. It is always to do, by the happily easy