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 hues produced by the
interference of rays of light as seen in the colors of stars. Gorgeous
as are these phenomena, they are also as transitory; and although the
scene is repeated, it is with such subtile and such great changes as to
remove it from the grasp of the painter who wishes to study his work
wholly from Nature. The eye must be quick and the brush obedient, to
catch the fleeting glories of those Alban sunsets. Even the imperial
hand of Turner could give us only reminiscences.