The landscape is another type of unfettered composition. It was of course to be expected that in pictures without action there should be little suggestion of attention or of direction of movement. But the most remarkable point is the presence of vista in practically every example. It is, of course, natural that somewhere in almost every picture there should be a break to show the horizon line, for the sake of variety, if for nothing else; but what is significant is the part played by this break in the balancing of the picture. In about two thirds of the examples the vista is inclosed by lines, or masses, and when near the centre, as being at the same time the "heaviest" part of the picture, it serves as a fulcrum or centre to bind the parts--always harder to bring together than in the other types of pictures--into a close unity. The most frequent form of this arrangement is a diagonal, which just saves itself by turning up at its far end. Thus the mass, and hence usually the special interest of the picture, is on the one side, on the other the vista and the sloping line of the diagonal. In very few cases is the vista behind an attractive or noticeable part of the picture, the fact showing that it acts in opposition to the latter, leading the eye away from it, and thus serving at once the variety and richness of the picture, and its unity. A complete diagonal would have line and vista both working at the extreme outer edge of the picture, and thus too strongly,-- unless, indeed, balanced by very striking elements near the outer edge. This function of the vista as a unifying element is of interest in connection with the theory of Hildebrand,<1> that the landscape should have a narrow foreground and wide background, since that is most in conformity with our experience. He adduces Titian's "Sacred and Profane Love" as an example. But of the general principle it may be said that not the reproduction of nature, but the production of beauty, is the aim of composition, and that this aim is best reached by focusing the eye by a narrow background, i.e. vista. No matter how much it wanders, it returns to that central spot and is held there, keeping hold on all the other elements. Of Hildebrand's example it may be said that the pyramidal composition, with the dark and tall tree in the centre, effectually accomplishes the binding together of the two figures, so that a vista is not needed. A wide background without that tree would leave them rather disjointed. <1> Op cit., p. 55. In general, it may be said that balance in landscape is effected between mass and interest on one side and vista and line on the other; and that union is given especially by the use of vista. II