SECTION I.

GENERAL PRINCIPLES RESPECTING IDEAS OF TRUTH.

CHAPTER I.

OF IDEAS OF TRUTH IN THEIR CONNECTION WITH THOSE OF BEAUTY AND RELATION.

Sec. 1. The two great ends of landscape painting are the representation of
facts and thoughts.

It cannot but be evident from the above division of the ideas conveyable
by art, that the landscape painter must always have two great and
distinct ends; the first, to induce in the spectator's mind the faithful
conception of any natural objects whatsoever; the second, to guide the
spectator's mind to those objects most worthy of its contemplation, and
to inform him of the thoughts and feelings with which these were
regarded by the artist himself.

In attaining the first end, the painter only places the spectator where
he stands himself; he sets him before the landscape and leaves him. The
spectator is alone. He may follow out his own thoughts as he would in
the natural solitude, or he may remain untouched, unreflecting and
regardless, as his disposition may incline him. But he has nothing of
thought given to him, no new ideas, no unknown feelings, forced on his
attention or his heart. The artist is his conveyance, not his
companion,--his horse, not his friend. But in attaining the second end,
the artist not only _places_ the spectator, but _talks_ to him; makes
him a sharer in his own strong feelings and quick thoughts; hurries him
away in his own enthusiasm; guides him to all that is beautiful;
snatches him from all that is base, and leaves him more than
delighted,--ennobled and instructed, under the sense of having not only
beheld a new scene, but of having held communion with a new mind, and
having been endowed for a time with the keen perception and the
impetuous emotion of a nobler and more penetrating intelligence.

Sec. 2. They induce a different choice of material subjects.

Each of these different aims of art will necessitate a different system
of choice of objects to be represented. The first does not indeed imply
choice at all, but it is usually united with the selection of such
objects as may be naturally and constantly pleasing to all men, at all
times; and this selection, when perfect and careful, leads to the
attainment of the pure ideal. But the artist aiming at the second end,
selects his objects for their meaning and character, rather than for
their beauty; and uses them rather to throw