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