and because the method of visiting even a near neighbour would permit
you to go over hills, the England of quite a little time ago was
familiar with the half-dozen great landscapes of England. You may see it
in that most individual, that most peculiar, and, I think, that most
glorious school of painters, the English landscape painter, Constable
with his thick colours, Turner with his wonderment, and even the
portrait painters in their backgrounds depend upon the view of the
plains from a height. To-day our landscape painters sometimes do the
same, but the market for that emotion is capricious, it is no longer the
secure and natural way of presenting England to English eyes.

If you will consider these plains at the foot of the English hills you
will find in them the whole history of the country, and the whole
meaning of it as well. Two occur to me first: The view of the Weald
(both Kentish and Sussex) through which the influence of Europe
perpetually approached the island, not only in the crisis of the Roman
or the Norman invasions, but in a hundred episodes stretched out through
two thousand years--and the view of the Thames Valley as one gets it on
a clear day from the summits of the North Downs when one looks northward
and sees very faintly the Chilterns along the horizon.

This last is obscured by London. One needs a very particular
circumstance in which to appreciate it. The air must be dry and clear,
there must be little or no wind, or if there is a wind it must be a
strong one from the south and west that has already driven the smoke
from the western edge of the town. When this is so, a man looks right
across to the sandy heights just north of the Thames, and far beyond he
sees the Chilterns, like a landfall upon the rim of the world. He looks
at all that soil on which the government of this country has been
rooted. He sees the hill of Windsor. He overlooks, though he cannot