The life, letters and work of Frederic Leighton . icturesque object; either thepeasants, as they stroll along in their divers costumes, or themany-coloured, richly piled fruit stalls that every now and thenfill the arches, or, through an open door, the endless depthof vaulted passages and fantastic staircases and irregular in-ward courts and yards, offering to the artists eye a play oflights and shades and mysterious, dreamy half-tints that mightshame even a Rembrandt or an Ostade. As the exterior of allthe houses is (with the exception, of course, of the ornaments)scrupulously white, the stre
The life, letters and work of Frederic Leighton . icturesque object; either thepeasants, as they stroll along in their divers costumes, or themany-coloured, richly piled fruit stalls that every now and thenfill the arches, or, through an open door, the endless depthof vaulted passages and fantastic staircases and irregular in-ward courts and yards, offering to the artists eye a play oflights and shades and mysterious, dreamy half-tints that mightshame even a Rembrandt or an Ostade. As the exterior of allthe houses is (with the exception, of course, of the ornaments)scrupulously white, the streets, narrow as they are, reflecting,by the luminous nature of their local tint, the light of dayinto the remotest corner, have a most cheerful aspect. Of the Tyrolese themselves, three qualities seem to me tocharacterise them, qualities which go well hand in hand with,and, I think it is not fanciful to say, are in great measure akey to, their well-known frankness and open-hearted mean Piety, which shines out amongst them in many little. \< ?^tr-rTT ^rsTTT Tn T-7-i, A <;t«t i. TTr-. VrTTTT:? STUDY OF A BRANCH OF FIG TREE. 1856Leighton House Collection STUDY OF BRAMBLE, 1856Leighton House Collection ANTECEDENTS AND SCHOOL DAYS 69 things, a love for the art, which with them is, in fact, anoutward manifestation of piety, and which is sufficiently dis-played by the numberless scriptural subjects, painted or inrelief, which adorn the cottages of the poorest peasants, and,last not least, a love for flowers (in other words, for nature),which is written in the lovely clusters of flowers which standin many-hued array on the window-sills of every works of all the really great artists display that lovefor flowers. Raphael did not consider it niggling, assome of our broad-handling moderns would call it, to grouphumble daisies round the feet of his divine representation ofthe Mother of Christ. I notice that two plants, especially,produce a beautiful effect, b
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