timbers and painted glass." They walked round Notre Dame, pausing, criticizing, admiring and discussing; mingling the grave with the gay and paradox with contemplation. Behind and at the sides the huge dusky vessel of the church seemed to dip into the Seine, or rise out of it, floating expansively—a ship of stone, with its flying buttresses thrown forth like an array of mighty oars. Nick Dormer lingered near it with joy, with a certain soothing content; as if it had been the temple of a faith so dear to him that there was peace and security in its precinct. And there was comfort too, and consolation of the same sort, in the company, at this moment, of Nash's equal response, of his appreciation, exhibited by his own signs, of the great effect. He felt it so freely and uttered his impression with such vividness that Nick was reminded of the luminosity his boyish admiration had found in him of old, the natural intelligence of everything of that kind. "Everything of that kind" was, in Nick's mind, the description of a wide and bright domain.
They crossed to the further side of the river, where the influence of the Gothic monument threw a distinction even over the Parisian smartnesses—the municipal rule and measure, the importunate symmetries, the "handsomeness" of everything, the extravagance of gaslight, the perpetual click on the neat bridges. In front of a quiet little café on the right bank Gabriel Nash said, "Let's sit down"—he was always ready to sit down. It was a friendly establishment and an unfashionable quarter, far away from the Grand Hôtel; there were the usual little tables and chairs on the quay, the muslin curtains behind the glazed front, the general sense of sawdust
