Piccolomini delighted in wild places for no mere pleasure of the
chase, but for the joy he took in communing with nature. How S.
Francis found God in the sun and the air, the water and the stars, we
know by his celebrated hymn; and of Dante's acute observation, every
canto of the 'Divine Comedy' is witness.

Leo Alberti was touched in spirit by even a deeper and a stranger
pathos than any of these men: 'In the early spring, when he beheld the
meadows and hills covered with flowers, and saw the trees and plants
of all kinds bearing promise of fruit, his heart became exceeding
sorrowful; and when in autumn he looked on fields heavy with harvest
and orchards apple-laden, he felt such grief that many even saw him
weep for the sadness of his soul.' It would seem that he scarcely
understood the source of this sweet trouble: for at such times he
compared the sloth and inutility of men with the industry and
fertility of nature; as though this were the secret of his melancholy.
A poet of our century has noted the same stirring of the spirit, and
has striven to account for it:--

Tears from the depth of some divine despair
Rise in the heart, and gather to the eyes,
In looking on the happy autumn fields,
And thinking of the days that are no more.

Both Alberti and Tennyson have connected the _mal du pays_ of the
human soul for that ancient country of its birth, the mild Saturnian
earth from which we sprang, with a sense of loss. It is the waste of
human energy that affects Alberti; the waste of human life touches the
modern poet. Yet both perhaps have scarcely interpreted their own
spirit; for is not the true source of tears deeper and more secret?