oval window looking out upon a strange unfamiliar scene.
At the first glance he was unable to guess what this scene might be. It was a daylight scene, the daylight of a wintry day, grey and clear. Across the picture, and halfway as it seemed between him and the remoter view, a stout cable of twisted white wire stretched vertically. Then he perceived that the rows of great wind-wheels he saw, the wide intervals, the occasional gulfs of darkness, were akin to those through which he had fled from the Council House. He distinguished an orderly file of red figures marching across an open space between files of men in black, and realised before Ostrog spoke that he was looking down on the upper surface of latter-day London. The overnight snows had gone. He judged that this mirror was some modern replacement of the camera obscura, but that matter was not explained to him. He saw that though the file of red figures was trotting from left to right, yet they were passing out of the picture to the left. He wondered momentarily, and then saw that the picture was passing silently, panorama fashion, across the oval.
"In a moment you will see the fighting," said Ostrog at his elbow. "Those fellows in red you notice are prisoners. This is the roof space of London—all the houses are practically continuous now. The streets and public squares are covered in. The gaps and chasms of your time have disappeared."
Something out of focus obliterated half the picture. Its form suggested a man. There was a gleam of metal, a flash, something that swept across the oval,
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