Art Out-of-Doors 
what man and Nature have chanced to do 
together. When English artists became dis- 
satisfied with the formal, architectural gar- 
dening of the seventeenth century, they 
fondly fancied they were learning from Nat- 
ure how to produce those aspects of rural 
freedom, of idyllic repose, of seemingly un- 
studied grace and charm which were their 
new desire. But in reality they were learn- 
ing from the face of a country which for 
centuries had been carefully moulded, tend- 
ed, and put to use by man. In some of 
its parts the effects of man’s presence were 
comparatively inconspicuous. But of most 
parts it could be said that for ages not a 
stream or tree or blade of grass had existed 
except in answ T er to his efforts, or, at least, 
in consequence of his permission ; and it 
was these parts, and not the wilder ones, 
which gave most assistance to the landscape- 
gardener. 
Take, for example, the lawn, which is so 
essential a feature of almost every natural- 
istic gardening design. It is not true, as 
often has been said, that Nature never sug- 
gests a lawn. But it is true that she did 
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