Such study and such affection made him the guide of a great multitude of people in America, teaching them of beauties and graces they had never perceived for themselves. To him thousands of men and women were under the deepest obligation, because he gave knowledge that in small areas and in close quarters one may see great beauties and far-reaching powers and forces. He taught by his art the greatness of the little, the divinity of the familiar. He revealed the wonders of the every-day world, the miracles of the commonplace. He seemed to discern, and had the power to show others, the whole of nature in her humblest parts. He was the prophet of the unnoted and the unprized; for when his appreciative pencil had drawn them, they straightway became noteworthy, brilliant, extraordinary. One feels all the power of this call of his to be the apostle of the unconsidered in a bit of rhapsody over the infinite pictures hung along any country roadside: “See how the cool gray rails are relieved against that rich dark background of dense olive juniper, how they hide among the prickly foliage! Look at that low-hanging branch which so exquisitely conceals the lowest rail as it emerges from its other side, and spreads out among the creeping briers that wreathe the ground with their shining leaves of crimson and deep bronze! Could any art more daringly concentrate a rhapsody of color than nature has here done in bringing up that gorgeous spray of scarlet sumach, whose fern-like pinnate leaves are so richly massed against that background of dark evergreens? And even in that single branch see the wondrous gradation of color, from purest green to purplish olive melting into crimson, and then to scarlet, and through orange into yellow, and all sustaining in its midst the clustered cone of berries of rich maroon! Verily, it were almost an affront to sit down before such a shrine and attempt to match it in material pigment. A passing sketch, perhaps, that shall serve to aid the memory in the retirement of the studio, but a careful copy, _never!_ until we can have a tenfold lease of life, and paint with sunbeams. But there is more still in this tantalizing ideal, for a luxuriant wild grapevine, that shuts in the fence near by, sends toward us an adventurous branch that climbs the upright rail, and festoons itself from fence to tree, and hangs its luminous canopy over the crest of the yielding juniper. Even from where we stand we can see the pendent clusters of tiny grapes clearly shadowed against the translucent golden screen. Add to all this the charm of life and motion, with trembling leaves and branches bending in the breeze, with here and there a flitting shadow playing across the half hidden rails, and where can you find another such picture, its counterpart in beauty--where? perhaps its very neighbor, for all roadside pictures are ‘hung upon the line,’ they are all by the same great Master, and it is often difficult to choose.”