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 deeds until the wayfarer has passed onward. This is precisely the thought which poetry has celebrated in the dance of the fairies which breaks off on the approach of human feet. The man who has seen the rising moon break out of the clouds at midnight, has been present like an archangel at the creation of light and of the world. I remember that being abroad one summer day, my companion pointed out to me a broad cloud, which might extend a quarter of a mile parallel to the horizon, quite accurately in the form of a cherub as painted over churches,—a round block in the centre which it was easy to animate with eyes and mouth, supported on either side by wide stretched symmetrical wings. What appears once in the atmosphere may appear often, and it was undoubtedly the archetype of that familiar ornament. I have seen in the sky a chain of summer lightning which at once revealed to me that the Greeks drew from nature when they painted the thunderbolt in the hand of Jove. I have seen a snow-drift along the sides of the stone wall which obviously gave the idea of the common architectural scroll to abut a tower.

By simply throwing ourselves into new circumstances we do continually invent anew the orders and the ornaments of architecture, as we see how each people merely decorated its primitive abodes. The Doric temple still presents the semblance of the wooden cabin in which the Dorian dwelt. The Chinese pagoda is plainly a Tartar tent. The Indian and Egyptian temples still betray the mounds and subterranean houses of their forefathers. "The