You remember how the light in Vermeer’s picture drew all the parts of the composition into a harmonious whole and gave it rhythm. So too, in these modern naturalistic landscapes the artist has ceased to depend upon line and form in making the composition. The latter is now rather an arrangement of masses of lighted color. We will talk more about this when we come to color; for the present, it is enough to remember that we must not expect to find in modern naturalistic landscapes the same handsome patterns of composition that we find in the classical. The modern have less dignity, but a more intimate charm. We do not stand apart from the scene and admire it; we rather enter in to it and enjoy it. It is something with which we are familiar in nature, but we are made to feel a greater beauty in it through the personal feeling that the artist has put into his work. The French have a term for this kind of landscape, which well expresses the artist’s motive and the feelings which his picture inspires in us. They call it the “paysage intime.”[7] Literally translated this means “intimate landscape”; but it may be rendered more freely a landscape in which we recognise how intimately the artist has studied his subject.