water upon the pavement at his feet. Mildly has the "Thunderer" described it as the "chosen home of exquisite dullness and stilted mediocrity." The cause above assigned to the fact is at least reasonable. Every traveler, who, after passing through the fruitful but unpicturesque orchard grounds lying between La Manche and Paris, and the dull flats, with their melancholy poplar lines, between Paris and Lyons, arrives at Avignon, and observes the picturesqueness which every object, natural or artificial, begins to assume, the grace and beauty which appear even in the humblest details of scenery, must instinctively feel that he is entering the land of Art. Not of that Art which depends for development upon the efforts of a few exceptional individuals, but the living Art which the constant contemplation of a glorious nature,
"That holy Virgin of the sage's creed,"
makes part of a people’s organization and development. Art, heavenly maid, is not easily seduced to wander far from her place of birth. Born and cradled upon the all-lovely shores of that inland sea, so choicely formed by Nature’s hand to become the source and centre of mankind’s civilization, she loses health and spirits in the frigid snowy north, while in the tropical regions—Nubia and India—her mind is vitiated by the rank and luxuriant scenery around her. A "pretty bit of home scenery," with dumpy church tower—battlemented as the house of worship ought not to be—on the humble hill, red brick cottages, with straight tiled roofs and parallelogramic casements, and dwelling-houses all stiff-ruled lines and hard sharp angles, the straight road and the trimmed hedgerow—such scenery, I assert, never can make an artistic people; it can only lead, in fact, to a nation's last phase of artistic bathos—a Trafalgar Square.
The Anglo-Americans have other excuses, but not this. Their broad lands teem with varied beauties of the highest order, which it would be tedious to enumerate. They have used, for instance, the Indian corn for the acanthus in their details of architecture—why can not they try a higher flight? Man may not, we readily grant, expect to be a great poet because Niagara is a great cataract; yet the presence of such objects must quicken the imagination of the civilized as of the savage race that preceded him. It is true that in America the class that can devote itself exclusively to the cultivation and the study of refinement and art is still, comparatively speaking, small; that the care of politics, the culture of science, mechanical and theoretic, and the pursuit of cash, have at present more hold upon the national mind than what it is disposed to consider the effeminating influences of the humanizing studies; that, moreover, the efforts of youthful genius in the body corporate, as in the individual, are invariably imitative, leading through the progressive degrees of reflection and reproduction to originality. But, valid as they are, these
