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Everyone can see the difference between the austerity of the rock-bound coast 4of Maine, the quiet beauty of a Massachusetts intervale, and the sleepy luxuriance of the Pennsylvania pastoral country, but slight variations between these may often pass unnoticed; it is only in trying to copy the expression of a landscape, or rather to fit in with its character, that it is possible to realize how infinite and yet how minute these variations are.

The painter has yet another advantage hard to overestimate, in that his palette is really in great measure the creation of his personal artistic temperament, expressed with more or less variation in all that he does, while the landscape architect must take the elements given him by nature as the basis of his composition in each separate piece of work; this means that he cannot use the color, form, and texture suited to one place in another possibly only a few miles away. The painter also usually follows his own bent and seldom varies from marines to portraits, or from still life to landscape, and although some have run the whole gamut, the personality of the artist unconsciously translates his subjects into his own individual language.