At the same time the pictures produced in this studio were marked by qualities of great beauty. The peculiarly ethereal character of the vast bands of thin vapors made visible by the slant rays of the sun, and illuminated with tints which are exquisitely pure and prismatic, was rendered with surprising success. On examination, the tints which were used to represent the prismatic character of those of Nature were found to present surfaces of such excessive delicacy, that the evanescence of the natural phenomena was suggested, and apprehensions were indulged as to the permanency of the effects. That noble north light of a cloudless Roman sky did not extend far, hardly to Civita Vecchia, certainly not to England, Old or New; and with a less friendly hand than his own to expose his work, under sight still less kind, there might be presented a picture bereft of all but its faults. Such has been the case.
We here dismiss willingly further recollection of the works to which we have called attention. They are marked by error in theory, inasmuch as they show neglect of the specific and essential, and by feebleness of system, inasmuch as under no other light than that in which they were painted could their finer qualities be perceived. Yet it is but just to add that these were produced during a state of transition from one method of applying pigments to another of totally different character.
This period of the painter's experience was brought to a close by the better one of a summer residence at Pieve di Cadore, a village among the Friulian Alps. Thither he might have gone merely to make a pilgrimage to the birthplace of Titian; for other reason than that he stayed in Cadore. He stayed for life, truth, and correction, and he found all. No other place on the continent could have afforded Mr. Tilton the benefit that this mountain village did. Here was no ambiguity, no optical illusion, but frank; ingenuous Nature. The peaks which guarded the valley were clear and immutable. They suffered no conflicting opinions; accident had done little to disguise, their true character, but Nature held them as specimens of the essential in mountain structure. That the lesson of these peaks might not be forgotten, the student finds them copied accurately in nearly every landscape painted by Titian. The magnificent one in "The Presentation in the Temple" was his favorite. The sketches of this period show that the artist's attention was divided between the study of these hill forms and of the luxuriant vegetation of the sloping fields and pastures so characteristic of Swiss scenery. Cadore is most richly endowed in this respect. The hill-sides are burdened with flowers, many of which are large and of tropical splendor. The green of the broad fields is modified by the burden of blossoms. We have seen against the background of one of these steepest fields what seemed to be a column of delicate blue smoke wreathing up the hill-side. In reality it was a bed of wild forget-me-nots, which marked the course of a minute rill. Under such influences as these, a man born to be a painter, to whom Art is all, whose hand never fails to execute, and whose mind has risen above any erroneous combination of principles which may have checked his progress toward the greatly excellent, must find himself with new strength, a chastened imagination, and broader conceptions of his art.
The results of Mr. Tilton's labors since the summer in the Alps prove that such was the effect upon him. His pictures have of late occupied nearly every class of Landscape Art. The works now wrought in his Roman studio are indicative of great changes in feeling, and are marked by surprising improvements in execution. Yet the individuality of the artist is impressed upon every canvas. The changes to which we refer are these,—foregrounds suggested by or painted from living forms. In one view of Nemi we saw a superb black, gold, and crimson butterfly resting on a flower. Yet these foregrounds require more strength, more "body," more of that which artists achieve who achieve nothing else. We notice far more individualism in tree forms. The ideal tree, that is, the tree as it should be, and the conventional one coming against the sky on one side of the composition, the one bequeathed by Claude, have given place to Nature's homelier types. The question as to the meaning of passages no longer arises. The lines are drawn with a decision, with a sense of certainty, raising them above all doubt. In the rendering of distant mountains, Mr. Dillon evinces new knowledge of what such forms necessarily imply,—their tendency to monotone and to flatness, yet preserving all their essential surface markings, and their inevitable cutting outline against the sky,—which sharpness Mr. Tilton as yet has only hinted at, not represented. Positive edges are the true.—But we have no further space to devote to these particulars of landscape form. In these Mr. Tilton has many rivals and not a few superiors.
There is left us the pleasant privilege of alluding to an ability which we believe he shares with none, and which enables him to give his present pictures their great value. This is the power to discriminate accurately between the several classes of color,—the local, the reflected, and the prismatic. It will be found on reference to most landscapes, especially those of the English schools, that it is the understanding, already informed on the subject, which accepts as reflected the continual attempts to render this kind of color: they are regarded as indicative. But the eye, which should have been satisfied first, recognizes nothing more than local coloring. Near objects, under broad, open daylight, yield us their local coloring,—as the surfaces of stones, the trunks of trees, and the many tints of soil and vegetation,—yet even here all is modified by reflections. We remember a cliff at L'Ariccia, which, gray in morning light, became, as evening approached, a marvellous beryl green, upon which some large poppies cast wafts of purest scarlet. Farther away, both local and reflected color lose their power. The rays no longer convey information of surfaces as separate existences. Nature gathers up into masses, and these masses tide back to the foreground colors far removed in character from the near. Vast combinations of rays and atmospheric influences have wrought this change. As we have said, noon gives us the earth clean and itself; but, as the sun declines, flushes of color pass along the ground. Their character we have already described. The particles which fill the atmosphere just above the surface of the earth become illuminated and visible in radiant masses. Farther away there is floated over the mountains a miraculous bloom, a bloom like that upon virgin fruit; and still more remote, upon the far sea, there is a dream of amber mantling the sleeping blue. To render these effects, to give us the illuminated air, the soft green which the mossy sod casts upon the shaded cliff, the precious bloom upon the hills, and the tints diffused along the sea,—to achieve this so completely that there never shall be any doubt, to give us upon the canvas what shall be all this to the beholder, is great, and this Mr. Tilton has performed.
THE EXPERIENCES OF THE A. C
"Bridgeport! Change cars for the Naugatuck Railroad!" shouted the conductor of the New York and Boston Express Train, on the evening of May 27th, 1858. Indeed, he does it every night, (Sundays excepted,) for that matter; but as this story refers especially to Mr. J. Edward Johnson, who was a passenger on that train, on the aforesaid evening, I make special mention of the fact. Mr. Johnson, carpet-bag in hand, jumped upon the platform, entered the office, purchased a ticket for Waterbury, and was soon whirling in the Naugatuck train towards his destination.
On reaching Waterbury, in the soft spring twilight, Mr. Johnson walked up and down in front of the station, curiously scanning the faces of the assembled crowd. Presently he noticed a gentleman who was performing the same operation upon the faces of the alighting passengers. Throwing himself directly in the way of the latter, the two exchanged a steady gaze.
"Is your name Billings?" "Is your name Johnson?" were simultaneous questions, followed by the simultaneous exclamations,—"Ned!" "Enos!"
Then there was a crushing grasp of hands, repeated after a pause, in testimony of ancient friendship, and Mr. Billings, returning to practical life, asked,—
"Is that all your baggage? Come, I have a buggy here: Eunice has heard the whistle, and she'll be impatient to welcome you."
The impatience of Eunice (Mrs. Billings, of course) was not of long duration; for in five minutes thereafter she stood at the door of her husband's chocolate-colored villa, receiving his friend.
While these three persons are comfortably seated at