relief, which he will experience when it has finally disappeared, will amply repay him for all he will have endured.
The best view of the Belfry is that selected by our Artist for the admirable frontispiece which he has furnished for the first Volume of the present work.[1] This view may be seen, in all its beauty, from the far end of Merton Meadow. From that point the imposing position (or, more briefly, the imposition) of the whole structure is thrillingly apparent. There the thoughtful passer-by, with four right angles on one side of him, and four anglers, who have no right to be there, on the other, may ponder on the mutability of human things, or recall the names of Euclid and Isaak Walton, or smoke, or ride a bicycle, or do anything that the local authorities will permit.
§ 7. On the impetus given to Art in England by the new Belfry, Ch. Ch.
The idea has spread far and wide, and is
- ↑ On further consideration, it was deemed inexpedient to extend this work beyond the compass of one Volume.
