4 ©n tbe Stuos of IBatural Scenery. 



beauty that comes within tbe province of his work, not so 

 much creation as adaptation that is essential in his design. 

 Nature in every instance must furnish the canvas which he 

 is to paint upon, and only in a superficial way can that 

 canvas be prepared to receive the colors — grass, flowers, and 

 ligneous vegetation. 



In studying nature, it is well to remember that everything 

 natural is not necessarily beautiful. In the untrodden paths 

 of the primitive forest, death, desolation, monotony, and a 

 depressing gloom are often the more characteristic features. 





FIG. 1.— MOUNTAIN RIVULET. 



It is not always the extremely picturesque and rural that is 

 desirable in landscape art — this is generally the result of 

 accident or interference of some kind. The beautiful scenes 

 spread about in the wilderness, the little effusions wherein 

 the heart of nature touches that of man, the luxury of form 

 and color on the sides of a ravine, the world of flowers in 

 the crevices of cliffs aud rocks, the tiny mountain rill 

 gurgling over a pebbly bottom — these are a few of the 

 models with which the landscape gardener can afford to be 

 content. 



It is evident that nowhere in the world a wholly natural 



