This comes from Joachim Gasquet's recollections (for a fuller quotation see the Webmuseum). Cézanne was clear that there was a difference between a motif like this and a 'beautiful view'. Richard Verdi, in his book on the artist, illustrates the difference by comparing early scenic views of the Gulf of Marseilles (painted in 1879-82) with later landscapes where trees frame a tighter composition. But the great example of a motif is of course Mont Sainte-Victoire, and the example way tree and mountain combine to structure the view in the painting below recalls the metaphor of the interlocking hands that Gasquet quoted.
Paul Cézanne, Mont Sainte-Victoire, 1885-87
Source: Wikimedia Commons