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