ITALIAN GARDENS OF THE RENAISSANCE 
“ Do well,” he said to young artists, “ and you will 
reach the hearts of the few; do better, and you will 
be understood of all.” Much of Costa’s best work 
was done during the next twenty years. He travelled 
in other parts of Italy, often accompanied by Leighton, 
and brought back sketches of those enchanted regions 
“ where earth has a garment of glories and a murmur 
of musical flowers.” He painted the silvery olives of 
Lerici and the terraced gardens of Capri, Venice 
rising from the green lagoon in the radiant freshness 
of summer morning, and the waves at the foot of the 
Faraglioni rocks dancing and sparkling in the evening 
sunlight. Umbria attracted him by its rugged moun¬ 
tain scenery and memories of St. Francis, and his 
admiration for the Saint of Assisi found its highest ex¬ 
pression in the large picture of “ Sunrise at Perugia— 
Fra Francesco and Fra Sole ”—which was exhibited at 
the Grosvenor Gallery in 1886, and became the property 
of Lord Carlisle. The opening verse of Francis’ hymn 
to all living creatures is the motto of this painting : 
“ Laudato sia Dio mio Signore 
Con tutte le sue creature; 
Specialmente Messer lo Frate Sole 
II quale giorna e illumina mii per lui. 
Et ello e bello et radiante cum grande splendore; 
Di te, Signore, porta significazione.” 
St. Francis is represented in the habit of his order, 
standing on the brow of the hill, lifting up his hands 
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