back and again beneath the body; they are put forth to his full stroke. When his flight inclines and becomes gradually horizontal, the effort is less and the wing tips do not approach so closely. They have not laboured in mental searching as we have; they have not wasted their time looking among empty straw for the grain that is not there. They have been in the sunlight. Since the days of ancient Greece the doves have remained in the sunshine; we who have laboured have found nothing. In the sunshine, by the shady verge of woods, by the sweet waters where the wild dove sips, there alone will thought be found. THE PLAINEST CITY IN EUROPE The fixed perspective of Paris neither elongates nor contracts with any change of atmosphere, so that the apparent distance from one point to another remains always the same. Reduced to the simplest elements the street architecture of Paris consists of two parallel lines, which to the eye appear to gradually converge. In sunshine and shade the sides of the street approach in an unvarying ratio; a cloud goes over, and the lines do not soften; brilliant light succeeds, and is merely light--no effect accompanies it. The architecture conquers, and is always architecture; it resists the sun, the air, the rain, being without expression. The geometry of the street can never be forgotten. Moving along it you have merely advanced so far along a perspective, between the two lines which tutors rule to teach drawing. By-and-by, when you reach the other end and look back, the perspective is accurately reversed. This is now the large end of the street, and that which has been left the small. The houses seen from this end present precisely the same facade as they did at starting, so that were it not for the sense of weariness from walking it would be easy to imagine that no movement had taken place. Each house is exactly the same height as the next, the windows are of the same pattern, the wooden outer blinds the same shape; the line of the level roof runs along straight and unbroken, the chimneys are either invisible or insignificant. Nothing projects, no bow window, balcony, or gable; the surface is as flat as well can be. From parapet to pavement the wall descends plumb, and the glance slips along it unchecked. Each house is exactly the same colour as the next, white; the wooden outer blinds are all the same colour, a dull grey; in the windows there are no visible red, or green, or tapestry curtains, mere sashes. There are no flowers in the windows to catch the sunlight. The upper storeys have the air of being uninhabited, as the windows have no curtains whatever, and the wooden blinds are frequently closed. Two flat vertical surfaces, one on each side of the street, each white and grey, extend onwards and approach in mathematical ratio. That is a Parisian street. Go on now to the next street, and you find precisely the same conditions repeated--the streets that cross are similar, those that radiate the same. Some are