The first visit to Italy, undertaken in 1825, marks an epoch in the life of Corot, as in that of many another painter. But though it widened his outlook, and taught him much that otherwise he might never have learned, it did not tempt him to any deviation from the simple principles that all through his life guided him in the practice of his art. All the inducements which Italy could offer were not sufficient to make him incline to use other eyes than his own when painting. He seems to have treated the Masters in an unusually cavalier manner. Nature in Italy interested him much more than Art in Italy: he was more concerned with sunsets than with Michael Angelo. As was his custom, Corot was always at work in Italy, "sitting down" with his usual happy knack in finding the right spot, and painting what he saw as he saw it, with careful fidelity to his own beautiful way of looking at things. Sometimes he worked from models in his room, but whether indoors or out, day after day found him painting, painting with unabated enthusiasm and ever-fresh delight. And he made friends, as always--among them d'Aligny, who was the first to take the true measure of the then somewhat awkward young man. "D'Aligny," says Mr. Everard Meynell, "was the discoverer of his genius and its advertiser; for having found Corot at work on the 'Vue du Colisée,' now hanging in the Louvre, he made a formal statement of his admiration at 'Il Lepre' (a café in Rome much frequented by painters) that night. 'Corot, who sings songs to you, and to whom you listen or call out your ribald chaff,' said he, 'might be master of you all!'" The friendship lasted until the death of d'Aligny in 1874, and Corot never forgot the generous praise that had so encouraged him during those early days in Rome. In 1827 Corot exhibited for the first time in the Salon. The two pictures which bore his name were not unnoticed, but no one was sufficiently interested to purchase them. It was indeed fortunate on the whole that he was assured of "shoes and soup" from other sources than his art, for it was not until 1840 that it brought him any monetary reward worth mentioning. But it would be beside the mark to say that he had to endure any remarkable period of neglect. It must be remembered that his career as a painter did not seriously begin until he was of an age when many artists have already secured something of a position for themselves. His work, too, was not of such a description as to make any sensational impact upon the attention of the art-loving public.