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.
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