Art Out-of-Doors 
tor of landscapes, actually creates these 
things. Such beauties as the landscape- 
painter and the idyllic poet tell us about, 
he puts before our eyes. He owes them a 
debt for what their works may have taught 
him ; but he does not celebrate their work 
— it is for them to celebrate his. 
When we have studied his works in their 
best examples, when we understand their 
genesis as compounds of Nature and art, 
and realize the skill and imagination which 
were needed to make them seem, not arti- 
ficial compounds, but vital creations, then 
we may easily feel that nothing in the world 
is better worth celebrating. It is the right 
and property of all successful things, declares 
Emerson, to be for their moment “ the top 
of the world.” Whatever we look at, un- 
derstandingly and lovingly, seems complete 
and self-sufficient, including and assimilat- 
ing all the powers of beauty. Then, he 
says, “presently we pass to some other ob- 
ject which rounds itself into a whole as did 
the first ; for example, a well-laid garden ; 
and nothing seems worth doing but the 
laying-out of gardens.” I wish that more 
