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The brilliant lights and sooty shades which struggled upon the skin and clothes of the persons standing round caused their lineaments and general contours to be drawn with Dureresque vigour and dash.
Clayton and Swathinglea returned to my mind; the slums and darkness, Dureresque, minute and in their rich dark colors pleasing, and through them I went towards my destiny. I sat hands on knees recalling that queer passionate career that had ended with my futile shot into the growing darkness of the End. The thought of that shot awoke my emotions again.
The brilliant lights and sooty shades which struggled upon the skin and clothes of the persons standing round caused their lineaments and general contours to be drawn with Dureresque vigour and dash.
Dureresque, grimly awful as materialization of a scene of the Dance Macabre and yet vastly comforting. For here was something which was well within the range of human knowledge. It was the light about us that did it; a vibration that even as I conjectured, was within the only partly explored region of the ultraviolet and the comparatively unexplored region above it.
The Welsh and English countryside at that time presented the strangest mingling of the assurance and wealth of the opening twentieth century with a sort of Dureresque medievalism. All the gear, the houses and mono-rails, the farm hedges and power cables, the roads and pavements, the sign-posts and advertisements of the former order were still for the most part intact.
And then suddenly would come the Dureresque element; the skeleton of a horse, or some crumpled mass of rags in the ditch, with gaunt extended feet and a yellow, purple-blotched skin and face, or what had been a face, gaunt and glaring and devastated.
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