I found the Turkey carpet a mass of unmeaning colours,
rather like the Turkish Empire, or like the sweetmeat called
Turkish Delight. I do not exactly know what Turkish Delight
really is; but I suppose it is Macedonian Massacres.
Everywhere that I went forlornly, with my pencil or my paint brush,
I found that others had unaccountably been before me,
spoiling the walls, the curtains, and the furniture with their
childish and barbaric designs.

. . . . .

Nowhere did I find a really clear space for sketching until this occasion
when I prolonged beyond the proper limit the process of lying on my back
in bed. Then the light of that white heaven broke upon my vision,
that breadth of mere white which is indeed almost the definition
of Paradise, since it means purity and also means freedom.
But alas! like all heavens, now that it is seen it is found
to be unattainable; it looks more austere and more distant
than the blue sky outside the window. For my proposal to paint
on it with the bristly end of a broom has been discouraged--
never mind by whom; by a person debarred from all political rights--
and even my minor proposal to put the other end of the broom into
the kitchen fire and turn it to charcoal has not been conceded.
Yet I am certain that it was from persons in my position that all
the original inspiration came for covering the ceilings of palaces
and cathedrals with a riot of fallen angels or victorious gods.
I am sure that it was only because Michael Angelo was engaged
in the ancient and honourable occupation of lying in bed that
he ever realized how the roof of the Sistine Chapel might be made
into an awful imitation of a divine drama that could only be acted