Sir Joshua Reynolds questions 'whether landschape painting has a right to aspire so far as to reject what the painters call Accidents of nature'. Claude, he observes, 'seldom if ever, availed himself of those accidents' because 'either he thought that such peculiarities were contrary to that style of general nature which he professed' or that 'it would catch the attention too strongly, and destroy that quietness and repose which he thought necessary to that kind of painting' ( Reynolds, Discourses, p.70). Ruskin's view of Claude, from Modern Painters onwards, was critical of this kind of 'respose' which he believed to be false.