"It's a dreadful business," he went on, "that northern industrial country. There's a grandeur about it--the bare valleys, the steep bleak fields, the dead or dying trees, the huge factories. Those great furnaces, with tall iron cylinders and galleries, and spidery contrivances, and black pipes, and engines swinging vast burdens about, and moving wheels, are fearfully interesting and magnificent. They stand for all sorts of powers and forces; they frighten me by their strength and fierceness and submissiveness. But the land is awfully barren of beauty, and I doubt if that can be wholesome. It all fascinates me, it increases my pride, but it makes me unhappy too, because it excludes beauty so completely. Those bleak stone-walled fields of dirty grass, the lines of grey houses, are fine in their way--but one wants colour and clearness. I longed for a glimpse of elms and water-meadows, and soft-wooded pastoral hills. It produces a shrewd, strong, good-tempered race, but very little genius. There is something harsh about Northerners--they haven't enough colour." "But you are always saying," said Rose, "that we must look after form, and chance colour." "Yes, but that is because you are _in statu pupillari_," said Father Payne, "If a man begins by searching for colour and ornament and richness, he gets clotted and glutinous. Colour looks after itself--but it isn't clearness that I am afraid of, it is shrewdness--I think that is, on the whole, a low quality, but it is awfully strong! What I am afraid of, in bare laborious country like that, is that people should only think of what is comfortable and sensible. Imagination is what really matters. It is not enough to have solid emotions; one ought not to be too reasonable about emotions. The thing is to care in an unreasonable and rapturous way about beautiful things, and not to know why one cares. That is the point of things which are simply beautiful and nothing else,--that you feel it isn't all capable of explanation." "But isn't that rather sentimental?" said Rose.