g; in
valleys, or over water, mirage, white steaming vapor rising in
evaporation from moist and open surfaces, and everything which visibly
affects the condition of the atmosphere without actually assuming the
form of cloud. These phenomena are as perpetual in all countries as they
are beautiful, and afford by far the most effective and valuable means
which the painter possesses, for modification of the forms of fixed
objects. The upper clouds are distinct and comparatively opaque, they do
not modify, but conceal; but through the rain-cloud, and its accessory
phenomena, all that is beautiful may be made manifest, and all that is
hurtful concealed; what is paltry may be made to look vast, and what is
ponderous, aerial; mystery may be obtained without obscurity, and
decoration without disguise. And, accordingly, nature herself uses it
constantly, as one of her chief means of most perfect effect; not in one
country, nor another, but everywhere--everywhere; at least, where there
is anything worth calling landscape. I cannot answer for the desert of
the Sahara, but I know that there can be no greater mistake, than
supposing that delicate and variable effects of mist and rain-cloud are
peculiar to northern climates. I have never seen in any place or country
effects of mist more perfect than in the Campagna of Rome, and among the
hills of Sorrento. It is therefore matter of no little marvel to me, and
I conceive that it can scarcely be otherwise to any reflecting person,
that throughout the whole range of ancient landscape art, there occurs
no instance of the painting of a real rain-cloud, still less of any of
the more delicate phenomena characteristic of the region. "Storms"
indeed, as the innocent public persist in calling such abuses of nature
and abortions of art as the two windy Gaspars in our National Gallery,
are common enough; massive concretions of ink and indigo, wrung and
twisted very hard, apparently in a vain effort to get some moisture out
of them; bearing up courageously and successfully against a wind, whose
effects on the trees in the foreground can be accounted for only on the
supposition that they are all of the India-rubber species. Enough of
this in all conscience, we have, and to spare; but for the legitimate
rain-cloud, with its ragged and spray-like edge, its veilly
transparency, and its columnar burden of blessing, neither it, nor
anything like it, or approaching it, occurs in any painting of the old
ma