d, and insect life does the same. And here also are to be
found representative men of every clime. Similarly does the natural
scenery vary from plain to highest mountain. There are roaring
torrents and wide, placid rivers. The Sikkim Himalaya, looking
down on the plains of India on the one side and the steppes of Tibet
on the other, is the most suitable place I know for a study of Natural
Beauty.

But there are beauties in Kashmir and in the great Karakoram
Mountains behind Kashmir which are not found in Sikkim. And
there are beauties in the Desert which are not found in either Sikkim
or Kashmir. So I must take the Artist to these regions also.

And I choose Sikkim and Kashmir because these are easily
accessible regions to which men with a thirst for Beauty can return
again and again, till they are saturated with the atmosphere and have
imbibed the true spirit of the region--till they have realised how
much these natural features express sentiments which they, too, are
wanting to express--their aspirations for the highest and purest, their
longing for repose, their delight in warmth and affection, or
whatever their sentiment might be. Thousands of Englishmen,
cultured Indians, and travellers from all over the world, visit the
Himalaya every year--some for sport, some for health, some for
social enjoyment. Amongst these may be our Naturalist-Artist who
year after year, drawn to Sikkim and Kashmir by his love of Natural
Beauty, would learn to know Nature in the wonderfully varied
aspects under which she is to be seen in those favoured regions, who
would come into ever-deepening communion with her, would yearly
see more Beauty in her, and would communicate to us the
enjoyment he had felt.

But Natural Beauty includes within its scope a great deal more than
only natural scenery. It includes the beauty of all natural
objects--men and women as well as mountains, animals, and plants. So these
also the Artist will have to keep within his purview. And his love of
Nature, and consequently his capacity for seeing Natural Beauty,
will be all the surer if he uses his head as well as his heart in
forming his final conception of her--that is to say, his final for the
moment, as no man ever has or _can_ come to a literally final
conception of Nature. So the Artist will pause now and then to test
his view of Nature in the light of pure reason. For he will be well
enough aware that neither Love nor Beauty can be perfect unless it
be