The valley of the Lune at Kirby is one of the loveliest scenes in England—therefore, in the world. Whatever moorland hill, and sweet river, and English forest foliage can be at their best, is gathered there; and chiefly seen from the steep bank which falls to the stream side from the upper part of the town itself. There, a path leads from the churchyard, out of which Turner made his drawing of the valley, along the brow of the wooded bank, to open downs beyond; a little bye footpath on the right descending steeply through the woods to a spring among the rocks of the shore. I do not know in all my own country, still less in France or Italy, a place more naturally divine, or a more priceless possession of true “Holy Land.” Well, the population of Kirby cannot, it appears, in consequence of their recent civilization, any more walk, in summer afternoons, along the brow of this bank, without a fence. I at first fancied this was because they were usually unable to take care of themselves at that period of the day: but saw presently I must be mistaken in that conjecture, because the fence they have put up requires far more sober minds for safe dealing with it than ever the bank did; being of thin, strong, and finely sharpened skewers, on which if a drunken man rolled heavily, he would assuredly be impaled at the armpit. They have carried this lovely decoration down on both sides of the wood-path to the spring, with warning notice on ticket,—“This path leads only to the Ladies’ [19] well—all trespassers will be prosecuted”—and the iron rails leave so narrow footing that I myself scarcely ventured to go down,—the morning being frosty, and the path slippery,—lest I should fall on the spikes. The well at the bottom was choked up and defaced, though ironed all round, so as to look like the ‘pound’ of old days for strayed cattle: they had been felling the trees too; and the old wood had protested against the fence in its own way, with its last root and branch,—for the falling trunks had crashed through the iron grating in all directions, and left it in already rusty and unseemly rags, like the last refuse of a railroad accident, beaten down among the dead leaves. Just at the dividing of the two paths, the improving mob [20] of Kirby had got two seats put for themselves—to admire the prospect from, forsooth. And these seats were to be artistic, if Minerva were propitious,—in the style of Kensington. So they are supported on iron legs, representing each, as far as any rational conjecture can extend—the Devil’s tail pulled off, with a goose’s head stuck on the wrong end of it. Thus: and what is more—two of the geese-heads are without eyes (I stooped down under the seat and rubbed the frost off them to make sure,) and the whole symbol is perfect, therefore,—as typical of our English populace, fashionable and other, which seats itself to admire prospects, in the present day.