but not cheap; insular but large; barely tolerant of an outside world, and absolutely self-confident. The boys in the streets made such free comments on the American clothes and figures, that the travellers hurried to put on tall hats and long overcoats to escape criticism. No stranger had rights even in the Strand. The eighteenth century held its own. History muttered down Fleet Street, like Dr. Johnson, in Adams's ear; Vanity Fair was alive on Piccadilly in yellow chariots with coachmen in wigs, on hammer-cloths; footmen with canes, on the foot-board, and a shriveled old woman inside; half the great houses, black with London smoke, bore large funereal hatchments; everyone seemed insolent and the most insolent structure in the world was the Royal Exchange and the Bank of England. In November, 1858, London was still vast, but it was the London of the eighteenth century that an American felt and hated.
Education went backward. Adams, still a boy, could not guess how intensely intimate this London grime was to become to him as a man, but he could still less conceive himself returning to it fifty years afterwards, noting at each return how the great city grew smaller as it doubled in size; cheaper as it quadrupled its wealth; less imperial as its empire widened; less dignified as it tried to be civil. He liked it best when he hated it. Education began at the end, or perhaps would end at the beginning. Thus far it had remained in the eighteenth century, and the next step took it back to the sixteenth. He crossed to Antwerp. As the "Baron Osy" steamed up the Scheldt in the morning mists, a travelling-band on deck began to play, and groups of peasants, working along the fields, dropped their tools to join in dancing. Ostade and Teniers were as much alive as they ever were, and even the Duke of Alva was still at home. The thirteenth-century Cathedral towered above a sixteenth-century mass of tiled roofs, ending abruptly in walls and a landscape that had not changed. The taste of the town was thick, rich, ripe, like a sweet wine; it was mediaeval, so that Rubens seemed modern; it was one of the strongest and fullest flavors that ever touched the young man's palate; but he might as well have drunk out his excitement in old Malmsey, for all the education he got from it. Even in art, one can hardly begin with Antwerp Cathedral and the Descent from the Cross. He merely got drunk on his emotions, and had then to get sober as he best could. He was terribly sober when he saw Antwerp half a century afterwards. One lesson he did
