Art Out-of-Doors 



pupil, in others she treats him more parsi- 

 moniously than the rest. She gives him a 

 superabundance of models by the study of 

 which he may make himself an artist ; but 

 when, as an artist, he is actually at w^ork, 

 she will never give him one pattern which, 

 part by part, can guide his efforts. When 

 w^e read of painters, we marvel most, not at 

 the modern realist" working inch by 

 inch from the living form, but at Michael 

 Angelo on his lonely scaffold, filling his 

 ceiling with forms more powerful and superb 

 than Nature's — no guides at hand but his 

 memory of the very different forms he had 

 studied from life, and his own creative 

 thought. Yet something like this is what 

 the landscape-gardener must do every time 

 he starts a piece of work. Certainly not 

 each of his tasks is as difficult as a Sistine 

 ceiling, but each, whether small or great, 

 must be approached from an imaginative 

 standpoint. 



There is another point to be noted. 

 When we speak of the artist as taught and 

 inspired by natural" scenes, we are apt 

 i8 



