wants. A regard to the approbation of others should extend itself no farther than the mode of the application of talent, not to its motive.
The interest of a landscape is greatly increased by the judicious introduction of one or more figures, thereby suggesting the relation they hold to each other for pleasure or for comfort. And it is to be much regretted that landscape painters do not, as a general rule, make the accurate drawing of figures an object of greater labour. Not that they attach little importance to it, or injudiciously make use of what they introduce,- but the mind necessarily experiences great difficulty in reducing itself from the luxury of a finishing touch to the dry study of anatomy and drapery. But it may be asked whether, after the necessary bits of color and the position of the figures have been ascertained, it would not be better to sketch the figure from life and so introduce it correctly drawn? It is not so much its color which gives the additional interest, as it is the association to which such an introduction gives rise. This effect would therefore be rendered much more powerful if the truthful imitation and labour displayed in natural objects, which are the secondary, were extended to man, the primary. If it be answered that color is occasionally all that is desired, and that a finished figure would be detrimental to the landscape, it may be asked again whether for the sake of colour we are justified in changing the relative position of man, and making him subservient to nature? By introducing color by means of other objects we may be even more true, and by being purer in sentiment, may convey more real pleasure and instruction. But a figure may be drawn correctly without being highly finished, and truth of character may be given even if but one tint be used for the lights and another for the shadows. The anatomy and drapery of a figure are of as much consequence as the anatomy and foliage of a tree.