The Nore sand remains covered at low-water, and never seen by human eye; but the Nore is a name to conjure with visions of historical events, of battles, of fleets, of mutinies, of watch and ward kept upon the great throbbing heart of the State. This ideal point of the estuary, this centre of memories, is marked upon the steely gray expanse of the waters by a lightship painted red that, from a couple of miles off, looks like a cheap and bizarre little toy. I remember how, on coming up the river for the first time, I was surprised at the smallness of that vivid object — a tiny warm speck of crimson lost in an immensity of gray tones. I was startled, as if of necessity the principal beacon in the water-way of the greatest town on earth should have presented imposing proportions. And, behold! the brown sprit-sail of a barge hid it entirely from my view.

Coming in from the eastward, the bright colouring of the lightship marking the part of the river committed to the charge of an Admiral (the Commander-in-Chief at the Nore) accentuates the dreariness and the great breadth of the Thames Estuary. But soon the course of the ship opens the entrance of the Medway, with its men-of-war moored in line, and the long wooden jetty of Port Victoria, with its few low buildings like the beginning of a hasty settlement upon a wild and unexplored shore. The famous Thames barges sit in brown clusters upon the water with an effect of birds floating upon a pond. On the imposing expanse of the great estuary the traffic of the port where so much of the world’s work and the world’s thinking is being done becomes insignificant, scattered, streaming away in thin lines of ships stringing themselves out into the eastern quarter through the various navigable channels of which the Nore lightship marks the divergence. The coasting traffic inclines to the north; the deep-water ships steer east with a southern inclination, on through the Downs, to the most remote ends of the world. In the widening of the shores sinking low in the gray, smoky distances the greatness of the sea receives the mercantile fleet of good ships that London sends out upon the turn of every tide. They follow each other, going very close by the Essex shore. Such as the beads of a rosary told by business-like shipowners for the greater profit of the world they slip one by one into the open: while in the offing the inward-bound ships come up singly and in bunches from under the sea horizon closing the mouth of the river between Orfordness and North Foreland. They all converge upon the Nore, the warm speck of red upon the tones of drab and gray, with the distant shores running together towards the west, low and flat, like the sides of an enormous canal. The sea-reach of the Thames is straight, and, once Sheerness is left behind, its banks seem very uninhabited, except for the cluster of houses which is Southend, or here and there a lonely wooden jetty where petroleum ships discharge their dangerous cargoes, and the oil-storage tanks, low and round with slightly-domed roofs, peep over the edge of the fore-shore, as it were a village of Central African huts imitated in iron. Bordered by the black and shining mud-flats, the level marsh extends for miles. Away in the far background the land rises, closing the view with a continuous wooded slope, forming in the distance an interminable rampart overgrown with bushes.

Then, on the slight turn of the Lower Hope Reach, clusters of factory chimneys come distinctly into view, tall and slender above the squat ranges of cement works in Grays and Greenhithe. Smoking quietly at the top against the great blaze of a magnificent sunset, they give an industrial character to the scene, speak of work, manufactures, and trade, as palm-groves on the coral strands of distant islands speak of the luxuriant grace, beauty and vigour of tropical nature. The houses of Gravesend crowd upon the shore with an effect of confusion as if they had tumbled down haphazard from the top of the hill at the back. The flatness of the Kentish shore ends there. A fleet of steam-tugs lies at anchor in front of the various piers. A conspicuous church spire, the first seen distinctly coming from the sea, has a thoughtful grace, the serenity of a fine form above the chaotic disorder of men’s houses. But on the other side, on the flat Essex side, a shapeless and desolate red edifice, a vast pile of bricks with many windows and a slate roof more inaccessible than an Alpine slope, towers over the bend in monstrous ugliness, the tallest, heaviest building for miles around, a thing like an hotel, like a mansion of flats (all to let), exiled into these fields out of a street in West Kensington. Just round the corner, as it were, on a pier defined with stone blocks and wooden piles, a white mast, slender like a stalk of straw and crossed by a yard like a knitting-needle, flying the signals of flag and balloon, watches over a set of heavy dock-gates. Mast-heads and funnel-tops of ships peep above the ranges of corrugated iron roofs. This is the entrance to Tilbury Dock, the most recent of all London docks, the nearest to the sea.

Between the crowded houses of Gravesend and the monstrous red-brick pile on the Essex shore the ship is surrendered fairly to the grasp of the river. That hint of loneliness, that soul of the sea which had accompanied her as far as the Lower Hope Reach, abandons her at the turn of the first bend above. The salt, acrid flavour is gone out of the air, together with a sense of unlimited space opening free beyond the threshold of sandbanks below the Nore. The waters of the sea rush on past Gravesend, tumbling the big mooring buoys laid along the face of the town; but the sea-freedom stops short there, surrendering the salt tide to the needs, the artifices, the contrivances of toiling men. Wharves, landing-places, dock-gates, waterside stairs, follow each other continuously r............