is never a discrepancy, nor is unison of sentiment ever achieved by any bending of the truth. His keen sense of harmony never fails to perceive, in the infinite range of tones and expressions of Nature, just that which better than all others supports the character and action of his group. With motives so healthful, it may be less difficult to find that sympathy which Nature cheerfully gives; yet there is a tendency with artists to be enticed away from Nature's joyousness, and especially from her simplicity.
To this temptation Mr. Wild can never have been subjected. The freedom which he manifests is not that which has been won, but into which he must have been born, and with that grew the ability which transfigures labor into play. Unto such a Nature the out-world presents unasked her phases of joy and brightness, her light and life.
Does he seek Nature? No. Nature goes with him; and whether he tarry among the Lagoons, where all seems Art or Death, or in the shadow and desolation of the Campagna, in the unclean villages of the Alban Hills, or where the shadows of deserted palaces fall black, broken, and jagged on the red earth of Granada, there she companions him. She shows him, that, after all, Venice is hers, and gives him the white marble enriched with subtilest films of gold, alabaster which the processes of her incessant years have changed to Oriental amber, a city made opalescent by the magic of her sunsets. At Rome she opens vistas away from the sepulchral, out into the wine-colored light of the Campagna, into the peace gladdened by larks and the bleating of lambs; above are pines,—Italian pines,—and across the path falls the still shadow of blooming oleanders. She leads away from squalid towns, and gathers a group of her children,—peasants, costumed in scarlet and gold, under the grape-laden festoons of vines, while the now distant village glows like cliffs of Carrara. How lavish she must have been of her old ideal Spain, the while he dwelt in Granada!—the dance of the gypsies; pomegranates heavy with ripeness hanging among the quivering glossy leaves; olives gleaming with soft ashy whiteness, as the south-wind wanders across their grove up to where the towers of the Alhambra lift golden and pale lilac against the clear sky.
We have dwelt thus lengthily upon this primitive and apparently less important branch of Landscape Art for several reasons: from a conviction that its importance is, and is only apparently less; from the fact that from it have been derived all other classes of landscape; and because a comprehension of its scope and purpose aids more than any other agency in understanding those of the pure and simple Landscape Art.
We have seen Nature ever ready with moods so related to the soul that no ideal worthy of Art might be conceived beyond the range of her sympathies. Even to that event involving all the intensity of human thought and feeling, the last refinement of all spiritual emotion, and a sense of mysteries more sublime than the creation of worlds,—even to the Crucifixion,—Nature gathered herself, as the only possible sign, the only expression for men, then and forever, of the awful significance. The joyfulness of festivals, the pomp of processions, the sublimity of great martyrdoms, the sorrow of defeats, the peace of holiness, the innocence and sweetness of childhood, the hope of manhood, and the retrospection of old age, when represented upon the canvas, find in her forms and colors endless refrain of response.
This truth, that Nature is capable of such cooperation with the human, that she confines herself to no country or continent, and that her expressions are not relative, depending upon the suggestiveness of the human action to which they correspond, but are positive and under the rule of the immutable, enables the artist to evolve the first great class of simple landscape-painting.
Had Art always been real and artists ever true, this consideration must have called forth this class. It being true that natural scenery readily allies itself with representations of the human figure in order to express more perfectly than otherwise possible the ideal, it must be through affinity with that which evolves the ideal, and only by indirect relation to its sign or visible manifestation in form-language. Then why not found a school of landscape by discarding the human figure as an element of expression? A man comes who is born to the easel, yet who feels no impulse to represent the practical effect upon human faces and limbs of the various emotions, passions, and sentiments which demand utterance. His thought is to hold himself to his kindred by more subtile and far more delicate bonds. He knows that any one can look upon the "Huguenot Lovers," by Millais, and feel responsive; for it occupies a great plane, a part of which may be mistaken for passion. But he feels that the love of Thekla and Max Piccolomini will permit no effigy but that sacred bank beyond the cliffs of Libussa's Castle, whither come no footsteps nor jarring of wheels, but only the sound of the deep Moldau and of remote bells. It is the essence of the ideal which compels his imagination, not the limited and restless circumstance which chanced to occur as its revelator. Then the day uprises as if conscious of his inner life and purpose. Then she gives him breadth after breadth of color, within which is traced her no longer mystic alphabet. How significant are the forms she gives him for the foreground, sweet monosyllables! There are pansies, and rue, and violets, and rosemary. Among these and their companions children walk and learn, and to the child-man, the artist to be, she proffers these emblems. Should he accept her gifts, then all this wonderful world of Art-Nature is open to him. He inherits, possesses beyond all deeds, above all statutes,—as does Mr. Gay, who painted that great, though unassuming, picture of "The Marshes of Cohasset."
Because Art was not held to the highest, few men have known the elevation of this department of landscape-painting. Too deep or too devoted a life seems to have been required, too constant communion with Nature, or too broad a study of her phenomena. Unfortunately, we have few representatives of this class, in Italy,—Mr. Wild producing only rarely works which to the principles hinted at are precious illustrations. After the remarks we have made, we fear that allusion to the existing facts of painting may be deemed disparaging. Not so; we deprecate such a conclusion. One great and living picture marks the man. To be true to himself and Nature is the first duty, even should he be compelled to stand lifelong with his face towards the west, in order to possess his soul in Art.
One of the pleasantest styles of landscape painting is that where the artist, in a mood of deep peace, sits down in the midst of scenes endeared by long and sweet association, and records in all tenderness their spirit and beauty. Such scenery Italy affords, and the Alban Hills seem to be the centre whence radiate all phases of the lovely and beautiful in Nature. There her forms have conspired with all the highest and rarest phenomena of light to render her state unapproachably glorious.
There has also been given such an artist,—a woman altogether truthful, strong, and nobly delicate; and although several years have passed since she left Italy, her representations of scenery peculiarly Italian are too remarkable to be passed unnoticed. Indeed, this lady, Miss Sarah Jane Clark, is the only artist whose works are illustrative of a style of simple Landscape Art which unites in itself the love and conscientiousness of early Art and the precision and science of the modern. Her picture of Albano is wonderful,—not from the rendering of unusual or brilliant effects, but from a sense of genuineness. We feel that it grew. The flower and leaf forms which enrich the near ground are such as spring up on days like the one she has chosen. Another month, and new combinations would have given another key to her work and rendered the present impossible. In that real landscape had wrought the secret vitality clothing the earth in leafage and bloom. In its representation we see that a still more refined, a diviner vitality, has evolved leaf, flower, and golden grain. Another fact associated with this painting, as well as with some of its companions, is its character of restraint.
Temperance in Landscape Art is very difficult in the vicinity of Rome. In this picture the scene sweeps downward, with most gentle and undulating inclination, over vast groves of olive and luxuriant vineyards, to the Campagna with its convex waves of green and gold, on which float the wrecks of cities, out to the sea itself, not so far away as to conceal the flashing of waves upon the beach. Daily, over this groundwork, so deftly wrought for their reception, are cast fields and mighty bands of violet and rose, of amber and pale topaz, of blue, orange, and garnet, upon the sea. It is as if an aurora had fallen from Arctic skies, living, changeful, evanescent, athwart sea, plain, and mountain. Here is sore temptation for the colorist; more, perhaps, than by the wealth and combination of tints, he is affected by their celestial quality. All is prismatic, or like those
