The reason is this—the barometer foretells the cloud in the sky, but cannot tell where it will burst. The practised eye can judge with very considerable accuracy where the discharge will take place. Some idea of what the local weather of London will be for the next few hours may often be obtained by observation on either of the bridges—Westminster, Waterloo, or London Bridge: there is on the bridges something like a horizon, the best to be got in the City itself, and the changes announce themselves very clearly there. The difference in the definition is really wonderful.
From Waterloo Bridge the golden cross on St. Paul's and the dome at one time stand out as if engraved upon the sky, clear and with a white aspect. At the same time, the brick of the old buildings at the back of the Strand is red and bright. The structures of the bridges appear light, and do not press upon their arches. The yellow straw stacked on the barges is bright, the copper-tinted sails bright, the white wall of the Embankment clear, and the lions' heads distinct. Every trace of colour, in short, is visible.
At another time the dome is murky, the cross tarnished, the outline dim, the red brick dull, the whiteness gone. In summer there is occasionally a bluish haze about the distant buildings. These are the same changes presented by the Downs in the country, and betoken the state of the atmosphere as clearly. The London atmosphere is, I should fancy, quite as well adapted to the artist's uses as the changeless glare of the Continent. The smoke itself is not without its interest.
Sometimes upon Westminster Bridge at night the scene is very striking. Vast rugged columns of vapour rise up behind and over the towers of the House, hanging with threatening aspect; westward the sky is nearly clear, with some relic of the sunset glow: the river itself, black or illuminated with the electric light, imparting a silvery blue tint, crossed again with the red lamps of the steamers. The aurora of dark vapour, streamers extending from the thicker masses, slowly moves and yet does not go away; it is just such a sky as a painter might give to some tremendous historical event, a sky big with presage, gloom, tragedy. How bright and clear, again, are the mornings in summer! I once watched the sun rise on London Bridge, and never forgot it.
In frosty weather, again, when the houses take hard, stern tints, when the sky is clear over great part of its extent, but with heavy thunderous-looking clouds in places—clouds full of snow—the sun becomes of a red or orange hue, and reminds one of the lines of Longfellow when Othere reached the North Cape—
"Round in a fiery ring
Went the great sun, oh King!
With red and lurid light."
The redness of the winter sun in London is, indeed, characteristic.
A sunset in winter or early spring floods the streets with fiery glow. It comes, for instance, down Piccadilly; it is reflected from the smooth varnished roofs of the endless carriages that roll to and fro like the flicker of a mighty fire; it streaks the side of the street with rosiness. The faces of those who are passing are lit up by it, all unconscious as they are. The sky above London, indeed, is as full of interest as above the hills. Lunar rainbows occasionally occur; two to my knowledge were seen in the direction and apparently over the metropolis recently.
When a few minutes on the rail has carried you outside the hub as it were of London, among the quiet tree-skirted villas, the night reigns as completely as in the solitudes of the country. Perhaps even more so, for the solitude is somehow more apparent. The last theatre-goer has disappeared inside his hall door, the last dull roll of the brougham, with its happy laughing load, has died away—there is not so much as a single footfall. The cropped holly hedges, the leafless birches, the limes and acacias are still and distinct in the moonlight. A few steps farther out on the highway the copse or plantation sleeps in utter silence.
But the tall elms are the most striking; the length of the branches and their height above brings them across the light, so that they stand out even more shapely than when in leaf. The blue sky (not, of course, the blue of day), the white moonlight, the bright stars—larger at midnight and brilliant, in despite of the moon, which cannot overpower them in winter as she does in summer evenings—all are as beautiful as on the distant hills of old. By night, at least, even here, in the still silence, Heaven has her own way.