Art Oiit-of-Doors 



rough outline which it is for you to make 

 into a picture. In many other spots I have 

 shown you scattered beauties of a thousand 

 kinds. It is for you to decide which you 

 can bring into your work, and to discover 

 how they may be fused into a whole which 

 shall look as beautiful, as right, as though 

 I had created it myself." Appropriateness 

 must be the touchstone for particular features 

 as for general effects. The artist's memory 

 may be stored with endless beauties — with 

 innumerable bits " of composition and 

 good ideas for foregrounds, middle distances, 

 and backgrounds, and with exhaustless ma- 

 terials in the way of trees and shrubs and 

 flowers. But not one of these can be used 

 until he has considered vrhether it will be 

 theoretically appropriate in this part of the 

 world, in a scheme of this special sort, and 

 whether, if it is, practical considerations will 

 permit its use. 



Indeed, the true process for landscape- 

 work is more imaginative than this. The 

 true artist will not go about with a store of 

 ready-made features and effects in his mind, 

 and strive to fit some of them into the task 

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