Sec. 8. But if a painter has inventive power he is to treat his subject in a totally different way; giving not the actual facts of it, but the impression it made on his mind. And now, once for all, let it be clearly understood that an "impression on the mind" does not mean a piece of manufacture. The way in which most artists proceed to "invent," as they call it, a picture, is this: they choose their subject, for the most part, well, with a sufficient quantity of towers, mountains, ruined cottages, and other materials, to be generally interesting; then they fix on some object for a principal light; behind this they put a dark cloud, or, in front of it, a dark piece of foreground; then they repeat this light somewhere else in a less degree, and connect the two lights together by some intermediate ones. If they find any part of the foreground uninteresting they put a group of figures into it; if any part of the distance, they put something there from some other sketch; and proceed to inferior detail in the same manner, taking care always to put white stones near black ones, and purple colors near yellow ones, and angular forms near round ones;--all being as simply a matter of recipe and practice as cookery; like that, not by any means a thing easily done well, but still having no reference whatever to "impressions on the mind." Sec. 9. But the artist who has real invention sets to work in a totally different way. First, he receives a true impression from the place itself, and takes care to keep hold of that as his chief good; indeed, he needs no care in the matter, for the distinction of his mind from that of others consists in his instantly receiving such sensations strongly, and being unable to lose them; and then he sets himself as far as possible to reproduce that impression on the mind of the spectator of his picture.