Art Out-of-Doors 
merely one, and perpetual variation in each 
of the many. His aim is, in general, the 
same as that of the landscape-painter, who 
knows that the most potent factors in Nat- 
ure’s beauty are light and atmosphere. No 
things in the world, not even the color and 
texture of the human skin, are so difficult to 
simulate, so impossible to imitate in paint as 
these. But to the landscape-gardener’s pict- 
ures Nature freely supplies them, and not 
only in the one phase for which a painter 
strives, but in a thousand, changing them 
with each day of the year and each hour of 
the day. And with the passing days and 
seasons she changes also his terrestrial ef- 
fects, so that no part of his work is twice the 
same although, if rightly wrought, it is al- 
ways beautiful. 
But does not this partnership with Nature 
deprive the artist of the chance for self-ex- 
pression ? Art, after all, is not imitation 
but interpretation ; and interpretation im- 
plies the exercise of choice and inventive- 
ness, the revelation of personal thought. No 
artist can copy Nature, and if he could his 
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