. Art in France. dscapepainter: Do you remember thetime when in our garrets in therue Taitbout, sitting in our narrowwindows, with our feet hangingover the edge of the roof, we looked at the corners of the housesand chimney-pots, which you compared, half closing your eyes,to mountains and great trees, scattered ever a broken country ?Not being able to go to the Alps or into the gay fields, you madefor yourself a picturesque landscape from these hideous first of the men who attempted to paint the country, obscureartists, unnoticed by theircontemporaries, did not ven-ture far from
. Art in France. dscapepainter: Do you remember thetime when in our garrets in therue Taitbout, sitting in our narrowwindows, with our feet hangingover the edge of the roof, we looked at the corners of the housesand chimney-pots, which you compared, half closing your eyes,to mountains and great trees, scattered ever a broken country ?Not being able to go to the Alps or into the gay fields, you madefor yourself a picturesque landscape from these hideous first of the men who attempted to paint the country, obscureartists, unnoticed by theircontemporaries, did not ven-ture far from the city; theystopped at the first halting-place of the stage-coach, andbrought back some view ofMeudon or Vincennes; inthese Paris is always on thenext incline of the horizon;solitary and silent Nature isnot suggested as yet. Itseemed to be lifeless in atime when no one had yetpenetrated the secret soul ofinanimate things. But ro-mantic poetry taught men tosee a reflection of their ownpassions in landscape; many. ;i). n M .\ 1111. KiJllULK:.) THE . (The Louvre, Paris.) 352 THE ROMANTIC PERIOD of those who first paintedit, seem concerned torender spiritual stateswhen they representedclouds or trees. At firstthe difficulties were of atechnical order. Foliage,clouds, and distant hori-zons were novel objectsfor these painters of historyor portraits. How manyconventions had to beforCTotten, how manv new
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