In landscape, as has been said by one with a right to speak, Rousseau was truly a great artist, and you can, if you are artistic too, follow him with confidence in his wanderings; he understood that beauty does not require a great stage, and that the effect of things lies in harmony.[86] The humble heights of the Jura, and the lovely points of the valley of Chamberi, sufficed to give him all the pleasure of which he was capable.

In truth a man cannot escape from his time, and Rousseau at least belonged to the eighteenth century in being devoid of the capacity for feeling awe, and the taste for objects inspiring it.

Nature was a tender friend with softest bosom, and no sphinx with cruel enigma.

He felt neither terror, nor any sense of the littleness of man, nor of the mysteriousness of life, nor of the unseen forces which make us their sport, as he peered over the precipice and heard the water roaring at the bottom of it; he only remained for hours enjoying the physical sensation of dizziness with which it turned his brain, with a break now and again for hurling large stones, and watching them roll and leap down into the torrent, with as little reflection and as little articulate emotion as if he had been a child.[87] Just as it is convenient for purposes of classification to divide a man into body and soul, even when we believe the soul to be only a function of the body, so people talk of his intellectual side and his emotional side, his thinking quality and his feeling quality, though in fact and at the roots these qualities are not two but one, with temperament for the common substratum.

During this period of his life the whole of Rousseau's true force went into his feelings, and at all times feeling predominated over reflection, with many drawbacks and some advantages of a very critical kind for subsequent generations of men.