Sarah Tucker here appropriates the standard descriptive vocabulary of British missionary writings on India from the 1790-1860 period, a vocabulary drawn from an aesthetic that I term the ‘missionary picturesque’. Tucker’s scenic landscape is a space of variety, as terms like ‘diversified’, ‘manifold’, ‘fullness’ and ‘wideness’ suggest. The Indian landscape, in all its ‘Providential’ variety, beauty and wild fertility, might have been threatening and unsafe at one point. But now, with the moral influence of the European, it has been made safe. The Tucker passage conflates a topographical narrative with moral and theological concerns. The colonial ‘project’ of evangelical reform, as I demonstrate in this chapter, adapts its own visual vocabulary and aesthetic ideas, specifically that of the picturesque, in order to trope Indian primitivism and colonial improvement.