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 work, 
she will never give him one pattern which, 
part by part, can guide his efforts. When 
we 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 
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