We miss Turner's great landscape, "Palestrina," with its airy fulness and freedom,—its heaven and earth making one imagery,—its daylight, its sunlight, its magical shadows,—that city set upon a hill, each house clinging to the rocks like swallows' nests,—its waters murmuring on for ever, and sending up their faint steam into the fragrant air, that oblique bridge, so matchlessly drawn,—those goats browsing heedless of us,—in one word, its reality, and its something more!

One day last year, while waiting for a friend, we sat down in the rooms, and were thinking of absent things; some movement made us raise our eyes, and for that instant we were in Italy. We were in the act of wondering what we should see, when we reached the other end of that cool and silent avenue; and if one of these goats had looked up and stared at us, we should have hardly been surprised. It had, while it lasted, "the freshness and the glory of a dream."

We shall never forget this picture. It gave us a new sensation, a new and a higher notion of what the mind of man can put into, and bring out of, landscape painting; how its representative and suggestive truthfulness may be perfect, forming the material elements,—the body, as it were, of the picture,—while, at the same time, there may be superadded that fine sense of the indefinable relation of the visible world to mental emotion, which is its essence and vivifying soul.

How original, how simple, its composition! That tall tree, so inveterately twisted on itself, dividing the scene into two subjects, each contrasting with and relieving the other; the open country lying under the full power of the flaming mid-day sun; and that long alley, with its witchery of gleam and shadow, its cool air, a twilight of its own, at noon!

Nothing is more wonderful about Turner than the resolute way in which he avoids all imitation, even when the objects are in the foreground and clearly defined. He gives you an oak, or a beech, or an elm, so as to be unmistakable, and yet he never thinks of giving their leaves botanically, so as that we might know the tree from a leaf. He gives us it not as we know it, but as we should see it from that distance; and he gives us all its characteristics that would carry that length, and no more. He is determined to give an idea, not a copy, of an oak. This is beautifully seen in his "Ivy Bridge,"—a picture, the magical simplicity of which grows upon every look. There is a birch there, the lady of the wood, which any nurseryman would tell you was a birch; and yet look into it, and what do you see? Turner sets down results of sight, not the causes of these results. His way is the true Æsthetic,—the other is the scientific.