174 SALMON FISHING IN THE TWEED 



the same fate, and even the vivid verdure is pro- 

 duced by artificial means. Still it is right for the 

 view-taker to copy everything before him just as 

 it really presents itself. This may be desirable as 

 a remembrance, or an exact illustration of the 

 scenery of a country, and indeed occasionally, by 

 some happy accident, as a work of art ; it may also 

 have great interest as representing passages in 

 rural life. But it is obvious that, in a country 

 highly cultivated, a scene very accurately delineated 

 represents the materials only, and not the composi- 

 tion of nature, strictly so called. 



" On the other hand, the landscape painter 

 should aim much higher ; he should get all his 

 materials from the most striking and characteristic 

 specimens in nature, and study such forms and 

 combinations as may make an interesting impression 

 on the mind. Trees, rocks, water, mountains, — all 

 his materials he should arrange upon the same 

 principle that an historical painter observes in 

 composing from living models. He should address 

 the imagination rather than the eye, and endeavour 

 to convey to his work some prevailing character, 

 which may awaken a corresponding sympathy and 

 interest in the contemplative beholder. 



"As to colour and effect, every tinge of light 

 that is beautiful and striking, every varied appear- 

 ance that the change of the hour and the seasons 

 may bring forth, should be marked down and 

 coloured on the spot. This should be the un- 

 remitting practice of the artist, that his works may 

 bear the impress and truth of nature. 



" Taking care to lay his emphasis upon those 



