CHAPTER LII
ON DIPPERS.
Sir Joshua Reynolds, in his treatise on the composition of a picture, lays down as a necessity that a patch of blue sky should be introduced into every painting, an opening through which the eye may escape out of the constraint and gloom of the canvas. If the subject be a dungeon, in one corner must be a window through which the eye can mount to heaven; if a forest, there must be a gap in the foliage through which the sun may strike and the free air blow. If a landscape under a grey canopy, or a storm at sea under rolling thunder clouds, there must be a rift somewhere through which the upper azure gleams; otherwise the picture oppresses and the frame cramps. For this reason, the preceding chapter was entitled "A Patch of Blue Sky," for in that chapter a small opening was made quite in a corner, into that serene and super-terrestrial, that ethereal and sublime realm—matrimony.
For a good many chapters our hero and heroine have been in a poor way, inhaling London smoke, without sunshine enlivening their existences. From Orleigh Park to Shepherd's Bush, and from the elastic atmosphere of the country to the fogs of the metropolis, is a change which, considering the altered conditions of both—Jingles without a situation, living on bread and thin tea, and Arminell
