INTRODUCTION 



succession of roofs could be found not unpleasingly 

 suggestive, it is little wonder that, standing in Trafal- 

 gar Square, the man could see much beauty before 

 him. "At my back, within the gallery, there is many 

 a canvas painted under Italian skies, in glowing 

 Spain, in bright southern France. But yet, if any 

 one impartial will stand here outside, under the 

 portico, and forgetting that it is prosaic London, 

 will look at the summer inclosed within the square, 

 and acknowledge it for itself as it is, he must admit 

 that the view light and colour, tone and shade 

 is equal to the painted canvas, is full, as it were, to 

 the brim of interest, suggestion, and delight. Trace 

 out the colour and the brightness; gaze up into the 

 sky, watch the swallows, note the sparkle of the 

 fountain, observe the distant tower chiselled with 

 the light and shade." The charm, the colour, the 

 endless variety, are there; only the seeing eye is 

 needed. It is well to be reminded sometimes, by 

 the words of a genius like Jefferies, that the elements 

 of beauty are never far to seek; if we miss them in 

 town, we are not likely to find them in the country. 

 Jefferies had been living at Surbiton, a suburb of 

 London, for four years when his illness began, in 

 1 88 1, and from that time until the end, in 1887, his 

 life was a constant fight against " three great giants, 

 disease, despair, and poverty." In all the annals of 

 literature we know of no sadder life nor more heroic 



