By day it is a London avenue, and the grass and gravel are, as it were, disowned by Nature; but now this rigid pattern of a landscape is visibly in the heart and centre of Nature and Night. No pilgrimage of days can take a traveller further than the places he is rapt to by a pause, at night, where distance and dreams themselves have made the journey.

Or seek the trees earlier in the night; for the trees of Kensington Gardens are not deprived of the delicate dusk, though the first twilight has too much of day in it, and the touching restoration does not begin until the paths are vague and colour is absorbed and effaced by the influence of the local sky. London passes away from the trees while the June north-west is still luminous, but barely luminous, and going out so fast that to watching eyes it seems to flash softly while it darkens, as though summer lightning were at play under the horizon; then the tender leaves of penetrable trees, lightly apart in the tree-tops, let showering glimpses of sky go through.

If, on the other hand, you turn your own face from the bright regions and take the leaves with the north-west upon them, on no apple-trees in orchards, and on no olives in the south, does the subsiding evening look more sweetly. All is forgotten except the cool ablution of evening upon the separate leaves.

Or if there is an early moon, she is as sovereign a restorative as the dark itself. She touches the high places of avenues within sound of the London wheels, and they become as simple as tree-tops at Verona. But, indeed, the moon is plainly seen to bring this dignity and liberty from the simple skies. All the world knows her to be like that lady of the poets who spoke to none that was not worthy, because before she talked with men she ‘knighted them with her smile.’ It is one of the tyrannies wreaked by the electric light and the gas-lamps upon the street-side tree that they keep away from it the glimpses of the moon. Not only is secret darkness forbidden, but the secret light is quenched. The tree waves softly all night in the unaltering lamplight, and the moonlight is killed upon its leaves.

As to these lights of London lamps, their beauty, which is so great, seems to depend almost entirely upon the sky. See them as they glow in the long unequal curves that follow the subtly misleading directions of the streets of London, and in all their brilliancy they make but a common show—pretty enough, but not beautiful. But let any lamp or line of lamps come into visible relation with the sky—any sky, whether a mysterious night-sky softly embrowned, or a night-sky swept pure by a west wind, or the most ordinary grey of any average evening—and the lamp has indescribable beauties. I have seen a grey blue sky at the earliest moment when street lamps were alight at all, and radiant against the light grey of its invisible and equal clouds an electric lamp has been reared: an electric lamp of cold white light, pure and keen, and armed with intense and splendid arrows that would pierce day itself. Light grey sky and thrilling lamp together make—or so it seems to me—one of the most beautiful sights that eyes can see—the most refined, most severe, and most exquisite. This carbon electric light is so much disliked because, no doubt, it was generally seen under the glass and iron of a railway station. Seen with the sky it cannot but be seen to be most beautiful. The golden lights—electric lamps or gas lamps—have the beauty of fire, but the white lamp has the beauty of light. The golden, too, however, cannot be seen at their best but in one picture with the sky.

London at night has begun, of late, so to multiply her lights that they make all her scenery. A search-light suddenly draws the eye up to the chimney-pots (sweetly touched, they too, on the westernmost of their squalid sides) and to the unbroken sky; and then at once the eye travels down its shaft, revealing clouded air; and here a puff of steam from some machine at work on the new underground railway takes colour on its curves. Or the search-light makes the programme of a music-hall to shine black and white upon the wall; anon, an advertisement is written in light, and perpetually among the even progress of the carriage lights flit the lamps of bicycles. And if, from a heart of glowing lights, you look into the streets, you find them so filled with blue air that there is evident blue between you and the houses opposite.

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NIGHT SCENE, BERMONDSEY.

The street-corner tree has always the golden gas and the blue air; upon it rains a sky that is not seen to darken for rain, and you hear the drops, silent elsewhere, upon its open leaves.