Art Out-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 whether 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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