We come now to the other arm of the Y, about which we spoke in a previous chapter. Landscape had been used as a background to the figures, until in the Seventeenth Century some artists began to make it the chief subject of their pictures. But no sooner was landscape painting practised as a separate art than it branched into two directions. We followed one of these and saw how Claude Lorrain invented the formal, or classic landscape; taking bits of nature, some from one place, some from another, and building them up into an artificial composition, which he made more grand by the addition of classic architecture. It was not unlike the way in which a handsome house is built; the materials,--stone, wood, marble, and so on--are brought together from various places, hewed to certain shapes designed by the architect, and then put together according to the rule or formula of building. The main difference is that, though the classic landscape does not represent any actual spot in nature, it still bears a resemblance to nature. But it is nature worked over by the fancy of man, and improved according to his own idea of what is beautiful. The artist did not paint nature because he loved it as it is but because it furnished him with material for making a handsome picture. And this picture-making use of landscape continued to be popular with artists and the public well on into the Nineteenth Century.