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of a wild sea, are drowned one by one in the glory of its burning; watch the white glaciers blaze in their winding paths about the mountains, like mighty serpents, with scales of fire; watch the columnar peaks of solitary snow, kindling downwards, chasm by chasm, each in itself a new morning; their long avalanches cast down in keen streams brighter than the lightning, sending each his tribute of driven snow, like altar-smoke, up to the heaven; the rose-light of their silent domes flushing that heaven about them and above them, piercing with purer light through its purple lines of lifted cloud, casting a new glory on every wreath as it passes by, until the whole heaven—one scarlet canopy—is interwoven with a roof of waving flame, and tossing, vault beyond vault, as with the drifted wings of many companies of angels; and then, when you can look no more for gladness, and when you are bowed down with fear and love of the Maker and Doer of this, tell me who has best delivered this His message unto men |

RAIN CLOUDS.

The clouds which I wish to consider as characteristic of the lower, or rainy region, differ not so much in their real nature from those of the central and uppermost regions, as in appearance, owing to their greater nearness. For the central clouds, and perhaps even the high cirri, deposit moisture, if not dis. tinctly rain, as is sufficiently proved by the existence of snow on the highest peaks of the Himaleh; and when, on any such mountains, we are brought into close contact with the central clouds, we find them little differing from the ordinary rain cloud of the plains, except by being slightly le &" and dark. But the apparent differences, dependent on proximity . . are most marked and important. *In the first place, the clouds of the central region have, as has been before observed, pure and aerial grays for their dark sides, owing to their necessary distance from the observer and as this distance permits a multitude of local phenomena capable of influencing color, such as accidental sunbeams, refractions, transparencies, or local mists and showers, to be collected into a space apparently small, the colors of these clouds are always changeful and palpitating; and whatever degree of gray or of gloom may be mixed with them is invariably pure and aerial. But the nearness of the rain-cloud rendering it impossible for a number of phenomena to be at once visible, makes its hue of gray monotonous, and (by losing the blue of distance) warm and brown compared to that of the upper clouds. This is especially remarkable on any part of it which may happen to be illumined, which is of a brown, bricky, ochreous tone, never bright, always coming in dark outline on the lights of the central clouds. But it is seldom that this takes place, and when it does, never over large spaces, little being usually seen of the rain-cloud but its under and dark side. This, when the cloud above is dense, becomes of an inky and cold gray, and sulphureous and lurid if there be thunder in the air. To the region of the rain-cloud belong also all those phenomena of drifted smoke, heat-haze, local mists in the morning or evening; in valleys, or over water, mirage, white steaming vapor rising in evaporation from moist and open surfaces, and every thing which visibly affects the condition of the atmo. sphere without actually assuming the form of cloud. These phenomena are as perpetual in all countries as they are beautiful, and afford by far the most effective and valuable means

which the painter possesses, for modification of the forms of fixed objects. The upper clouds are distinct and compara tively opaque, they do not modify, but conceal; but through the rain-cloud, and its accessory phenomena, all that is beau. tiful may be made manifest, and all that is hurtful concealed; what is paltry may be made to look vast, and what is ponderous, aerial; mystery may be obtained without obscurity, and decoration without disguise. And, accordingly, nature herself uses it constantly, as one of her chief means of most perfect effect; not in one country, nor another, but everywhere —everywhere, at least, where there is anything worth calling landscape. I cannot answer for the desert of the Sahara, but I know that there can be no greater mistake, than supposing that delicate and variable effects of mist and raincloud are peculiar to northern climates. I have never seen in any place or country effects of mist more perfect than in the Campagna of Rome, and among the hills of Sorrento. We never can see the azure so intense as when the greater part of this vapor has just fallen in rain. Then, and then only, pure blue sky becomes visible in the first openings, distinguished especially by the manner in which the clouds melt into it; their edges passing off in faint white threads and fringes, through which the blue shines more and more intensely, till the last trace of vapor is lost in its perfect color. It is only the upper white clouds, however, which do this, or the last fragments of rain-clouds, becoming white as they disappear, so that the blue is never corrupted by the cloud, but only paled and broken with pure white, the purest white which the sky ever shows. Thus we have a melting and palpitating color, never the same for two inches together, deepening and broadening here and there into intensity of perfect azure, then drifted and dying away through every tone of pure pale sky, into the snow white of the filmy cloud. Over this roll the determined edges of the rain-clouds, throwing it all far back, as a retired scene, into the upper sky. Not long ago I was slowly descending the first turn after you leave Albano. It had been wild weather when I left Rome, and all across the Campagna the clouds were sweeping in sulphurous blue, with a clap of thunder or two, and breaking gleams of sun along the Claudian aqueduct, lighting up the infinity of its arches like the bridge of chaos. But as I climbed the long slope of the Alban mount, the storm swept finally to the north, and the noble outlines of the domes of Albano, and graceful darkness of its ilex groves, rose against pure streaks of alternate blue and amber; the upper sky gradually flash ing through the last fragments of rain-cloud in deep palpitating azure, half ether and half dew. The noon-day sun came slanting down the rocky slopes of La Riccia, and its masses of entangled and tall foliage, whose autumnal tints were mixed with the wet verdure of a thousand evergreens, were penetrated with it as with rain. I cannot call it color, it was conflagration; purple, and crimson, and scarlet, like the curtains of God's tabernacle. The rejoicing trees sank into the valley in showers of light, every separate leaf quivering with buoyant and burning life; each, as it turned to reflect or to transmit the sunbeam, first a torch and then an emerald. Far up into the recesses of the valley, the green vistas, arched like the hollows of mighty waves of some crystalline sea, with the arbutus flowers clasped along their flanks for foam, and silver flakes of orange-flower-like spray tossed into the air, around them, breaking over the grey walls of rock, into a thousand separate stars, fading and kindling alternately as the weak wind lifted and let them fall. Every glade of grass burned like the golden floor of heaven, opening in sudden gleams as the foliage broke and closed above it, as sheet lightning opens in a cloud at sunset. The motionless masses of dark rock— dark, though flushed with scarlet lichen—casting their quiet shadows across its restless radiance, the fountain underneath them filling its marble hollow with blue mist and fitful sound, and over all the multitudinous bars of umber and rose, the sacred clouds that have no darkness, and only exist to illumine, were seen in fathomless intervals between the solemn and orbed repose of the stone pines, passing to lose themselves in the last white blinding lustre of the measureless line, where the Campagna melted into the blaze of the sea.

The woods and waters which were peopled by the Greek with typical life were not different from those which now wave and murmur by the ruins of his shrines. With their visible and actual forms was his imagination filled, and the beauty of its incarnate creatures can only be understood among the pure realities which originally modelled their conception. If divinity be stamped upon the features, or apparent in the form of the spiritual creature, the mind will not be shocked by its appearing to ride upon the whirlwind, and trample on the storm; but if mortality, no violation of the characters of earth will forge one single link to bind it to heaven.

Though Nature is constantly beautiful, she does not exhibit her highest powers of beauty constantly, for then they would satiate us and pall upon the senses. It is necessary to their appreciation that they should be rarely shown. Her finest touches are things which must be watched for; her most perfect passages of beauty are the most evanescent. She is constantly doing something beautiful for us, but it is something which she has not done before and will not do again;—some exhibition of her general powers in particular circumstances, which if we do not catch at the instant it is passing, will not

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