, with you, on the earth.

The cloud has a name suggesting darkness; nevertheless, it is not merely
the guardian of the sun's rays and their director. It is the sun's
treasurer; it holds the light that the world has lost. We talk of
sunshine and moonshine, but not of cloud-shine, which is yet one of the
illuminations of our skies. A shining cloud is one of the most majestic
of all secondary lights. If the reflecting moon is the bride, this is
the friend of the bridegroom.

Needless to say, the cloud of a thunderous summer is the most beautiful
of all. It has spaces of a grey for which there is no name, and no other
cloud looks over at a vanishing sun from such heights of blue air. The
shower-cloud, too, with its thin edges, comes across the sky with so
influential a flight that no ship going out to sea can be better worth
watching. The dullest thing perhaps in the London streets is that people
take their rain there without knowing anything of the cloud that drops
it. It is merely rain, and means wetness. The shower-cloud there has
limits of time, but no limits of form, and no history whatever. It has
not come from the clear edge of the plain to the south, and will not
shoulder anon the hill to the north. The rain, for this city, hardly
comes or goes; it does but begin and stop. No one looks after it on the
path of its retreat.

SHADOWS

Another good reason that we ought to leave blank, unvexed, and
unencumbered with paper patterns the ceiling and walls of a simple house
is that the plain surface may be visited by the unique designs of
shadows. The opportunity is so fine a thing that it ought oftener to be
offered to the light and to yonder handful of long sedges and rushes in a
vase. Their slender grey design of shadows upon white walls is better
than a tedious, trivial, or anxious device from the shop.

The shadow has all intricacies of perspective simply translated into line
and intersecting curve, and pictorially presented to the eyes, not to the
mind. The shadow knows nothing except its flat designs. It is single;
it draws a decoration that was never seen before, and will never be seen
again, and that, untouched, varies with the journey of the sun, shifts
the interrelation of a score of delicate lines at the mere passing of
time, though all the room be motionless. Why will design insist upon its
importunate immortality? Wiser is the drama, and wiser the dance, that
do not pause upon an