Art Out-of-Doors 
I came here.” And he seemed to think that 
the panorama of the morning and evening and 
midnight heavens was as admirable as any 
terrestrial panorama which could be unrolled. 
Again, in our crude and often maltreated 
land, grandeur in the distance often means a 
forlorn raggedness iji the foregrounds, and a 
sensitive eye thinks the foreground of a pict- 
ure as important as its background. Where 
forests have ruthlessly been cut away, and 
where there is not a rich soil to encourage 
neat and careful methods of cultivation, 
primeval beauty has largely vanished and 
the beauty of civilization has not taken its 
place. The true lover of Nature will feel 
this painfully, and all the magnificence of 
the mountains beyond may not compensate 
him for the lack of that harmonious repose 
in general effect which comes when all parts 
of a picture are in keeping. 
I do not say that the true lover of Nature 
cares nothing for grand scenery— only that 
he does not actually need it. Great things 
impress him, but small ones content him, and 
he gathers pleasure from the roadside grass 
as well as from the giant oak or the sky-line 
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