In Brett's 'Val d'Aosta,' another Pre-Raphaelite landscape, we look
from a hill upon a great expanse of valley with mountains rising behind.
Every field of corn and every grassy meadow is outlined as clearly
as it would be upon a map. Every stick can be counted in the fences
between the fields and every tree in the hedge-rows. When we look at
the picture we involuntarily wander over the face of the country. There
is no taking in the view at a glance; we must walk through every field
and along every path.
After seeing these Pre-Raphaelite landscapes, let us imagine ourselves
straightway turning to one of the numerous scenes by Whistler of the
Thames at twilight, with its glimmering lights and ghostly shapes of
bridges and hulks of steamers. Nothing is outlined, nothing is clearly
defined, but the mystery of London's river is caught and pictured for
ever. Let us look, too, at his 'Valparaiso,' bathed in a brilliant
South American sunshine, where all is pearly and radiant with southern
light. Even here the impression is not given by the power of the sun
revealing every detail.
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