I believe it is;--to draw landscape mere and solitary, however beautiful (unless it be for the sake of geographical or other science, or of historical record). But there _is_ a kind of landscape which it is not inexpedient to draw. What kind, we may probably discover by considering that which mankind has hitherto contented itself with painting. § 2. We may arrange nearly all existing landscape under the following heads:-- I. HEROIC.--Representing an imaginary world, inhabited by men not perhaps perfectly civilized, but noble, and usually subjected to severe trials, and by spiritual powers of the highest order. It is frequently without architecture; never without figure-action, or emotion. Its principal master is Titian. II. CLASSICAL.--Representing an imaginary world, inhabited by perfectly civilized men, and by spiritual powers of an inferior order. It generally assumes this condition of things to have existed among the Greek and Roman nations. It contains usually architecture of an elevated character, and always incidents of figure-action and emotion. Its principal master is Nicolo Poussin. III. PASTORAL.--Representing peasant life and its daily work, or such scenery as may naturally be suggestive of it, consisting usually of simple landscape, in part subjected to agriculture, with figures, cattle, and domestic buildings. No supernatural being is ever visibly present. It does not in ordinary cases admit architecture of an elevated character, nor exciting incident. Its principal master is Cuyp. IV. CONTEMPLATIVE.--Directed principally to the observance of the powers of Nature, and record of the historical associations connected with landscape, illustrated by, or contrasted with, existing states of human life. No supernatural being is visibly present. It admits every variety of subject, and requires, in general, figure incident, but not of an exciting character. It was not developed completely until recent times. Its principal master is Turner.[1] § 3. These are the four true orders of landscape, not of course distinctly separated from each other in all cases, but very distinctly in typical examples. Two spurious forms require separate note. (A.) PICTURESQUE.--This is indeed rather the degradation (or sometimes the undeveloped state) of the Contemplative, than a distinct class; but it may be considered generally as including pictures meant to display the skill of the artist, and his powers of composition; or to give agreeable forms and colors, irrespective of sentiment. It will include much modern art, with the street views and church interiors of the Dutch, and the works of Canaletto, Guardi, Tempesta, and the like. (B.) HYBRID.--Landscape in which the painter endeavors to unite the irreconcileable sentiment of two or more of the above-named classes. Its principal masters are Berghem and Wouvermans.