The Artist 
flowery May will be beautiful in green July, 
and not discordant in harlequin October. 
With form the labor is just as complicated. 
If a landscape-painter’s scene composes well 
from one point of view it is good, for no 
other point of view exists. But the land- 
scape-gardener’s scene is like a sculptor’s 
figure in the round : it must be beautiful 
from as many points of view as encircling 
footsteps may reveal. 
Nor, while thinking chiefly of his general 
effects, can the landscape-gardener ever sacri- 
fice his details to them, as a painter most 
laudably may. His public cannot be kept 
at a given distance. He cannot generalize 
his foreground and compel the eye to take 
chief account of what lies beyond it ; or, on 
the other hand, make his foreground impor- 
tant by elaboration, generalize his middle 
distance, and think that layers of atmos- 
phere will forever veil his background. 
What is the background of a picture seen 
from this point will be the foreground of a 
picture seen from another point. Nothing, 
large or small, can anywhere be slurred. 
He must paint as with the brush of a Velas - 
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