Have you ever studied the effect of localities on the mind--on your own mind? That which we are is due in great part to the accident of our surroundings, which act upon us in one or two quite opposite ways. Either we feel in harmony with them, in which case they produce a positive effect upon us, or else we are out of harmony, and then they drive us into the strangest reactions. A great ugly English town, like Manchester, for instance, makes some men such thorough townsmen that they cannot live without smoky chimneys; or it fills the souls of others with such a passionate longing for beautiful scenery and rustic retirement, that they find it absolutely necessary to bury themselves from time to time in the recesses of picturesque mountains. The development of modern landscape-painting has not been due to habits of rural existence, but to the growth of very big and hideous modern cities, which made men long for shady forests, and pure streams, and magnificent spectacles of sunset, and dawn, and moonlight. It is by this time a trite observation that people who have always lived in beautiful scenery do not, and cannot, appreciate it; that too much natural magnificence positively crushes the activity of the intellect and that its best effect is simply that of refreshment for people who have not access to it every day. It happens too, in a converse way, that rustics and mountaineers have the strongest appreciation of the advantages of great cities, and thrive in them often more happily than citizens who are born in the brick streets. Those who have great facilities for changing their place of residence ought always to bear in mind that every locality is like a dyer's vat, and that the residents take its color, or some other color, from it just as the clothes do that the dyer steeps in stain. If you look back upon your past life, you will assuredly admit that every place has colored your mental habits; and that although other tints from other places have supervened, so that it may be difficult to say precisely what remains of the place you lived in many years ago, still something does remain, like the effect of the first painting on a picture, which tells on the whole work permanently, though it may have been covered over and over again by what painters call scumblings and glazings.