PROLEGOMENA 51 



It will be admitted that the garden is as much a work 

 of art, 9 or artifice, as anything that can be mentioned. 

 The energy localised in certain human bodies, directed 

 by similarly localised intellects, has produced a colloca- 

 tion of other material bodies which could not be brought 

 about in the state of nature. The same proposition is 

 true of all the works of man's hands, from a flint im- 

 plement to a cathedral or a chronometer; and it is be- 

 cause it is true, that we call these things artificial, term 

 them works of art, or artifice, by way of distinguishing 

 them from the products of the cosmic process, working 

 outside man, which we call natural, or works of nature. 

 The distinction thus drawn between the works of nature 

 and those of man, is universally recognized; and it is, 

 as I conceive, both useful and justifiable. 



in. 



No doubt, it may be properly urged that the operation 

 of human energy and intelligence, which has brought 

 into existence and maintains the garden, by what I have 

 called "the horticultural process," is, strictly speaking, 

 part and parcel of the cosmic process. And no one 

 could more readily agree to that proposition than I. 

 In fact, I do not know that any one has taken more 

 pains than I have, during the last thirty years, to in- 

 sist upon the doctrine, so much reviled in the early part 

 of that period, that man, physical, intellectual, and 



9 The sense of the term "Art" is becoming narrowed; "work 

 of Art" to most people means a picture, a statue, or a piece of 

 bijouterie; by way of compensation "artist" has included in its 

 wide embrace cooks and ballet girls, no less than painters and 

 sculptors. [T. H. H.] 



