ANNOTATIONS AND ADDITIONS. 201 



( 34 ) -p. 29. " How interesting and instructive to the 

 landscape painter would be a work which should 

 present to the eye the leading forms of vegetation!" 

 In order to define somewhat more distinctly what is here 

 only briefly alluded to, I permit myself to introduce some 

 considerations taken from a sketch of the history of land- 

 scape painting, and of a graphical representation of the 

 physiognomy of plants, which I have given in the second 

 volume of Kosmos (Bd. ii. S. 88-90 ; English edit. vol. ii. 

 p. 86-87). 



" All that belongs to the expression of human emotion 

 and to the beauty of the human form, has attained perhaps 

 its highest perfection in the northern temperate zone, under 

 the skies of Italy and Greece. By the combined exercise 

 of imitative art and of creative imagination, the artist has 

 derived the types of historical painting at once from the 

 depths of his own mind, and from the contemplation of 

 other beings of his own race. Landscape painting, though 

 no merely imitative art, has, it may be said, a more material 

 substratum and a more terrestrial domain : it requires a 

 greater mass and variety of distinct impressions, which the 

 mind must receive within itself, fertilize by its own powers, 

 and reproduce visibly as a free work of art. Hence landscape 

 painting must be a result at once of a deep and compre- 

 hensive reception of the visible spectacle of external nature, 

 and of this inward process of the mind." 



" Nature, in every region of the earth, is indeed a reflex 

 of the whole ; the forms of organised beings are repeated 



