The streets were cold as the open plain, and there was no comfort indoors; to haunt the cathedral during those vacant days was the only occupation left to me. There was some shelter to be had under the walls, and the empty, vast interior would seem almost cosy on coming in from the wind. At service my due feet never failed, while morning, noon, and evening I paced the smooth level green by the hour, standing at intervals to gaze up at the immense pile with its central soaring spire, asking myself why I had never greatly liked it in the past and did not like it much better now when grown familiar with it. Undoubtedly it is one of the noblest structures of its kind in England--even my eyes that look coldly on most buildings could see it; and I could admire, even reverence, but could not love. It suffers by comparison with other temples into which my soul has wandered. It has not the majesty and appearance of immemorial age, the dim religious richness of the interior, with much else that goes to make up, without and within, the expression which is so marked in other mediaeval fanes--Winchester, Ely, York, Canterbury, Exeter, and Wells. To the dry, mechanical mind of the architect these great cathedrals are in the highest degree imperfect, according to the rules of his art: to all others this imperfectness is their chief excellence and glory; for they are in a sense a growth, a flower of many minds and many periods, and are imperfect even as Nature is, in her rocks and trees; and, being in harmony with Nature and like Nature, they are inexpressibly beautiful and satisfying beyond all buildings to the aesthetic as well as to the religious sense. Occasionally I met and talked with an old man employed at the cathedral. One day, closing one eye and shading the other with his hand, he gazed up at the building for some time, and then remarked: "I'll tell you what's wrong with Salisbury--it looks too noo." He was near the mark; the fault is that to the professional eye it is faultless; the lack of expression is due to the fact that it came complete from its maker's brain, like a coin from the mint, and being all on one symmetrical plan it has the trim, neat appearance of a toy cathedral carved out of wood and set on a green-painted square.