all will be right yet. Come, will you go with me now?"
"Thank you," said Agostino, "I think I would be alone a little while. My head is confused, and I would fain think over matters a little quietly."
"Well, au revoir, then. I must leave you to the company of the saints.
But be sure and come early."
So saying, he threw his cloak over his shoulder and sauntered carelessly down the marble steps, humming again the gay air with which he had ascended.
Left alone, Agostino once more cast a glance on the strangely solemn and impressive scene around him. He was standing on a platform of the central tower which overlooked the whole building. The round, full moon had now risen in the horizon, displacing by her solemn brightness the glow of twilight; and her beams were reflected by the delicate frost-work of the myriad pinnacles which rose in a bewildering maze at his feet. It might seem to be some strange enchanted garden of fairy-land, where a luxuriant and freakish growth of Nature had been suddenly arrested and frozen into eternal stillness. Around in the shadows at the foot of the Cathedral the lights of the great gay city twinkled and danced and veered and fluttered like fire-flies in the damp, dewy shadows of some moist meadow in summer. The sound of clattering hoofs and rumbling wheels, of tinkling guitars and gay roundelays, rose out of that obscure distance, seeming far off and plaintive like the dream of a life that is past. The great church seemed a vast world; the long aisles of statued pinnacles with their pure floorings of white marble appeared as if they might be the corridors of heaven; and it seemed as if the crowned and sceptred saints in their white marriage-garments might come down and walk there, without ever a spot of earth on their unsullied whiteness.
In a few moments Father Antonio had glided back to the side of the young man, whom he found so lost in reverie that not till he laid his hand upon his arm did he awaken from his meditations.
"Ah!" he said, with a start, "my father, is it you?"
"Yes, my son. What of your conference? Have you learned anything?"
"Father, I have learned far more than I wished to know."
"What is it, my son? Speak it at once."
"Well, then, I fear that the letter of our holy father to the King of France has been intercepted here in Milan, and sent to the Pope."
"What makes you think so?" said the monk, with an eagerness that showed how much he felt the intelligence.
"My cousin tells me that a person of consideration in the Duke's household, who is supposed to be in a position to know, told him that it was so."
Agostino felt the light grasp which the monk had laid upon his arm gradually closing with a convulsive pressure, and that he was trembling with intense feeling.
"Even so, Father, for so it seemed good in thy sight!" he said, after a few moments of silence.
"It is discouraging," said Agostino, "to see how little these princes care for the true interests of religion and the service of God,—how little real fealty there is to our Lord Jesus."
"Yes," said the monk, "all seek their own, and not the things that are Christ's. It is well written, 'Put not your trust in princes.'"
"And what prospect, what hope do you see for him?" said Agostino. "Will Florence stand firm?"
"I could have thought so once," said the monk,—"in those days when I have seen counsellors and nobles and women of the highest degree all humbly craving to hear the word of God from his lips, and seeming to seek nothing so much as to purify their houses, their hands, and their hearts, that they might be worthy citizens of that commonwealth which has chosen the Lord Jesus for its gonfalonier. I have seen the very children thronging to kiss the hem of his robe, as he walked through the streets; but, oh, my friend, did not Jerusalem bring palms and spread its garments in the way of Christ only four days before he was crucified?"
The monk's voice here faltered. He turned away and seemed to wrestle with a tempest of suppressed sobbing. A moment more, he looked heavenward and pointed up with a smile.
"Son," he said, "you ask what hope there is. I answer, There is hope of such crowns as these wear who came out of great tribulation and now reign with Christ in glory."
OUR ARTISTS IN ITALY
LANDSCAPE ART
A representation of Nature, in order to be a true landscape, must be organic. It must not present itself as an aggregation, but as a growth. It must manifest obedience to laws which are peculiarly its own, and through the operation of which it has developed from the moment of inception to that of maturity. And, moreover, that inception must have been near a human heart, that development must have been nourished by vitality derived from human life, and that maturity must be that of the divine unity to which tend all the mysterious operations of organizing energies.
We hold this to be the first essential condition of Landscape Art, the condition without which no rendering of Nature can be Art. Other points of excellence may be unattained. Let this be evident, that the production is an offspring of humanity, and it shall be perceived also that it partakes of whatever immortality the human heart inherits. Herein is concealed the whole secret of the value of pre-Raphaelite Art, and not, as we have been assured, in the faithfulness of its followers to the exact representation of the individual details of Nature. Each wrought from the love of Nature, consciously giving what truth he possessed, unconsciously giving of his own interior life. Each picture was the child of the painter. Yet, however much the ancient artist may have failed in rendering the specific truths of the external world, we can never attribute his failure to any disregard for the true. His picture never gives the impression of falsehood; and in the most erroneous record of the external there is ever the promise of more truth, and this promise is not that of the man, but of the principle governing the character of his picture.
We think that all works of Art may be divided into two distinct classes: those which are the result of a man's whole nature, involving the affectional, religious, and intellectual, and those which are the productions of the intellect, and from the will. The first class comprises those results of Art which are vital,—which come to us through processes of growth, and impress us with a sense of organization. The second includes those works which are constructed,—which present an accumulation of objects mechanically combined, parts skilfully joined through scientific means.
Earnestness and the definite purpose which is its sign, love which drew the soul into sweetest communion with our mother Nature, giving to him who thus came revelations of the harmonies possible between her and her children, and devotion to his art mightier than ever inspired the Hindoo devotee in self-sacrifice, characterized those who have given all that pure Art which has been alluded to as the true: and such were the majority of those artists who preceded Raphael.
True, all of those who were devoted to Landscape Art, or who made it a part of their practice to introduce this element into their pictures, often failed in attaining truth; but, by some strange power with which they have invested their landscapes, an impulse is given to the perception, and the essential truth, feebly hinted at, perhaps, is recognized. But as the record comes down through the years, each new picture approximates more nearly to the character of the scene attempted, with, occasionally, (as in the works of Masaccio,) touches of truth absolutely perfect, until at last appeared that man altogether at one with Nature, who reproduced Nature in all its glory, pomp, freedom, and life, as might an archangel. Titian brought to perfection the first great class of Landscape Art, and, of course, in doing so, perfected that department which was the only one as yet developed, and which remains a distinct branch, subject to its own peculiar laws. We refer to the rendering of natural scenery,
