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Published online by Cambridge University Press: 07 September 2011
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 spector'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.
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