If Ulysses had not been so much of a gardener

§ 19. If Ulysses had not been so much of a gardener, it might have been received as a sign of considerable feeling for landscape beauty, that, intending to pay the very highest possible compliment to the Princess Nausicaa (and having indeed, the moment before, gravely asked her whether she was a goddess or not), he says that he feels, at seeing her, exactly as he did when he saw the young palm-tree growing at Apollo's shrine at Delos. But I think the taste for trim hedges and upright trunks has its usual influence over him here also, and that he merely means to tell the princess that she is delightfully tall and straight. oil paintings for sale
§ 20. The princess is, however, pleased by his address, and tells him to wait outside the town, till she can speak to her father about him. The spot to which she directs him is another ideal piece of landscape, composed of a "beautiful grove of aspen poplars, a fountain, and a meadow," near the road-side; in fact, as nearly as possible such a scene as meets the eye of the traveller every instant on the much-despised lines of road through lowland France; for instance, on the railway between Arras and Amiens;—scenes, to my mind, quite exquisite in the various grouping and grace of their innumerable poplar avenues, casting sweet, tremulous shadows over their level meadows and labyrinthine streams. We know that the princess means aspen poplars, because soon afterwards we find her fifty maid-servants at the palace, all spinning, and in perpetual motion,decorative paintings,  compared to the "leaves of the tall poplar;" and it is with exquisite feeling that it is made afterwards the chief tree in the groves of Proserpine; its light and quivering leafage having exactly the melancholy expression of fragility, faintness, and inconstancy which the ancients attributed to the disembodied spirit.The likeness to the poplars by the streams of Amiens is more marked still in the Iliad, where the young Simois, struck by Ajax, falls to the earth "like an aspen that has grown in an irrigated meadow, smooth-trunked, the soft shoots springing from its top, which some coach-making man has cut down with his keen iron, that he may fit a wheel of it to a fair chariot, and it lies parching by the side of the stream." It is sufficiently notable that Homer, living in mountainous and rocky countries, dwells thus delightedly on all the flat bits; and so I think invariably the inhabitants of mountain countries do,original oil paintings, but the inhabitants of the plains do not, in any similar way, dwell delightedly on mountains. The Dutch painters are perfectly contented with their flat fields and pollards: Rubens, though he had seen the Alps, usually composes his landscapes of a hayfield or two, plenty of pollards and willows, a distant spire, a Dutch house with a moat about it, a windmill, and a ditch. The Flemish sacred painters are the only ones who introduce mountains in the distance, as we shall see presently; but rather in a formal way than with any appearance of enjoyment. So Shakspere never speaks of mountains with the slightest joy, but only of lowland flowers, flat fields, and Warwickshire streams. And if we talk to the mountaineer, he will usually characterize his own country to us as a "pays affreux," or in some equivalent, perhaps even more violent,art oil paintings for sale, German term: but the lowland peasant does not think his country frightful; he either will have no ideas beyond it, or about it; or will think it a very perfect country, and be apt to regard any deviation from its general principle of flatness with extreme disfavor; as the Lincolnshire farmer in Alton Locke: "I'll shaw 'ee some'at like a field o' beans, I wool—none o' this here darned ups and downs o' hills, to shake a body's victuals out of his inwards—all so vlat as a barn door, for vorty mile on end—there's the country to live in!"
I do not say whether this be altogether right (though certainly not wholly wrong), but it seems to me that there must be in the simple freshness and fruitfulness of level land, in its pale upright trees, and gentle lapse of silent streams, enough for the satisfaction of the human mind in general; and I so far agree with Homer, that if I had to educate an artist to the full perception of the meaning of the word "gracefulness" in landscape, I should send him neither to Italy nor to Greece, but simply to those poplar groves between Arras and Amiens. art oil paintings online

§ 21. But to return more definitely to our Homeric landscape. When it is perfect, we have, as in the above instances, the foliage and meadows together; when imperfect, it is always either the foliage or the meadow; preëminently the meadow, or arable field. Thus, meadows of asphodel are prepared for the happier dead; and even Orion, a hunter among the mountains in his lifetime, pursues the ghosts of beasts in these asphodel meadows after death.So the sirens sing in a meadow; and throughout the Odyssey there is a general tendency to the depreciation of poor Ithaca, because it is rocky, and only fit for goats, and has "no meadows;" for which reason Telemachus refuses Atrides's present of horses, congratulating the Spartan king at the same time on ruling over a plain which has "plenty of lotus in it, and rushes," with corn and barley. Note this constant dwelling on the marsh plants, or, at least, those which grow in flat and well-irrigated land, or beside streams: when Scamander, for instance, is restrained by Vulcan, Homer says, very sorrowfully, that "all his lotus, and reeds, and rushes were burnt;" and thus Ulysses, after being shipwrecked and nearly drowned, and beaten about the sea for many days and nights, on raft and mast, at last getting ashore at the mouth of a large river, casts himself down first upon itsrushes, and then, in thankfulness, kisses the "corn-giving land," as most opposed, in his heart, to the fruitless and devouring sea. abstract oil paintings