ake such great pains
in this line. In fact, I think that the word 'landscape,' as generally
employed, has but an indifferent application to your productions; I
should prefer to call them historical representations in the highest
sense of the word. If we fancy that this or the other rock or this or
the other tree is gazing at us like a gigantic being with thoughtful
earnest eyes, so again, on the other hand, this or the other group of
fantastically attired men resembles some remarkable stone which has
been endowed with life; all Nature, breathing and moving in harmonious
unity, lends accents to the sublime thought which leapt into existence
in your mind. This is the spirit in which I have studied your pictures,
and so in this way it is, my grand and noble master, that I owe to you
my truer perceptions in matters of art. But pray don't imagine that I
have fallen into childish imitation. However much I would like to
possess the free bold pencil that you possess, I do not attempt to
conceal the fact that Nature's colours appear to me different from what
I see them in your pictures. Although it is useful, I think, for the
sake of acquiring technique, for the pupil to imitate the style of this
or that master, yet, so soon as he comes to stand in any sense on his
own feet, he ought to aim at representing Nature as he himself sees
her. Nothing but this true method of perception, this unity with
oneself, can give rise to character and truth. Guido shared these
sentiments; and that fiery man Preti,[2.3] who, as you are aware, is
called _Il Calabrese_--a painter who certainly, more than any other
man, has reflected upon his art--also warned me against all imitation.
Now you know, Salvator, why I so much respect you, without imitating
you."

Whilst the young man had been speaking, Salvator had kept his eyes
fixed unchangeably upon him; he now clasped him tumultuously to his
heart.

"Antonio," he then said, "what you have just now said are wise and
thoughtful words. Young as you are, you are nevertheless, so far as the
true perception of art is concerned, a long way ahead of many of our
old and much vaunted masters, who have a good deal of stupid foolish
twaddle about their painting, but never get at the true root of the
matter. Body alive, man! When you were talking about my pictures, I
then began to understand myself for the first time, I believe; and
because you do not imitate my style,--do not, like a good many others,
take a