We had a lovely afternoon journey from Hyères to Cannes; passing numerous little bays and creeks where the blue waters lay in deep repose, or fringed with tiny wavelets that but kissed the shingly shore, and died in a gleam of light. As you looked down on them from the railway‐carriage, you felt you might have seen a mermaid combing her sea‐green hair, or a cupid astride a dolphin, as quite an expected vision. The intense blue sky and deeper blue sea, the various‐tinted rocks, and perhaps a solitary pine hanging over, and near by a group of the same, with their dense crowns of ever‐murmuring boughs, through which the evening air sings like the hum of winged insects, were each so full of harmonious and yet gorgeous color that they leave on the mind the impression of a Greek idyl, full of serene beauty—mere beauty, it may be—but intense, placid, and eternal. There are scenes in nature that are like the forms in Greek art. They are one; and they are typical. No wide view, albeit glorious, can produce this effect, however much it may appeal to the imagination. But a rock‐bound cove on the Mediterranean, with its sparse vegetation and its depth of color, is as suggestive of thoughts beyond itself as is the pure grace of a Greek statue. It belongs to another world than ours, and to a region of thought rarely lighted on in these times, and then by a few only. When I question myself of the “why,” I am at a loss to answer. Perhaps it lies in the fact that, to produce this abstract effect on the mind, the objects in nature must be few, simple, and perfectly beautiful of their kind. Then they recall Greek art, in which there is no multiplicity, no overlaying, but which represents as absolutely a pure idea as it is possible for art to do. It is without subtlety, as it is without crowding. It can be felt better than described, for the feeling is too deep for words. Nothing in English scenery, no accidental combination of beauty, has ever brought the Greek _geist_ before my mind. Never for a second, amid the birchen groves and flower‐fringed lanes of my own land, had I thought of old Greece and the old Greek feeling. Pantheism would not be the natural religion of our northern skies. Never had I so strongly felt the tie between nature and art, and, as a necessary sequence, between nature and Grecian thought, till I had wandered on the pale sands by the calm blue waters of the tideless sea. It is like a floating essence, too intangible for words. If I could express it, the expression would perforce be brief and veiled. I would sing my idyl to a three‐stringed lute, or paint my white nymph against a whiter sky.