VIEW-TAKING. 183 



so now I will go back, and see if I can improve my 

 cow." 



This was abundantly philosophical ; but intelligible 

 enough to me, who being very much addicted to paint- 

 ing myself, know how absorbing a passion it is. 



The cow was a good cow, — drawn in a clean and de- 

 cisive manner, with a correct knowledge of the anatomy 

 of the animal. I praised accordingly, and we began 

 naturally enough to talk upon the principles of land- 

 scape painting; and as we both agreed pretty well as to 

 those principles, so we both laid down the law with as 

 much confidence as if we were the lineal descendants of 

 Zeuxis or Appelles, — a fashion, I must observe, most 

 particularly prevalent at the present day. I fear it is 

 not worthwhile to notice our remarks. I will write them 

 down, however, at a venture ; and here they follow. 



" View-taking," said the cow limner, " I consider as 

 of a distinct character from landscape painting. The 

 interest of the first, as a work of art, in all highly cul- 

 tivated countries, must in a great measure depend upon 

 accidental causes. Trees in hedge-rows, and most other 

 positions, have been planted or removed by the hand of 

 man for profit or convenience, so that they are rarely 

 found in the most natural or effective situations ; other 

 objects share the same fate, and even the vivid verdure 

 is produced by artificial means. Still it is right for the 

 view-taker to copy every thing before him just as it 

 really presents itself. This may be desirable as a remem- 

 brance, or an exact illustration of the scenery of a 

 country, and indeed occasionally, by some happy ac- 

 cident, as a work of art; it may also have great interest 



