Three or four years have elapsed since the state of nature, to which I have referred, was brought to an end, so far as a small patch of the soil is concerned, by the intervention of man. The patch was cut off from the rest by a wall; within the area thus protected, the native vegetation was, as far as possible, extirpated; while a colony of strange plants was imported and set down in its place. In short, it was made into a garden. At the present time, this artificially treated area presents an aspect extraordinarily different from that of so much of the land as remains in the state of nature, outside the wall. Trees, shrubs, and herbs, many of them appertaining to the state of nature of remote parts of the globe, abound and flourish. Moreover, considerable quantities of vegetables, fruits, and flowers are produced, of kinds which neither now exist, nor have ever existed, except under conditions such as obtain in the garden; and which, therefore, are as much works of the art of man as the frames and glasshouses in which some of them are raised. That the "state of Art," thus created in the state of nature by man, is sustained by and dependent on him, would at once become

apparent, if the watchful supervision of the gardener were withdrawn, and the antagonistic influences of the general cosmic process were no longer sedulously warded off, or counteracted. The walls and gates would decay; quadrupedal and bipedal intruders would devour and tread down the useful and beautiful plants; birds, insects, blight, and mildew would work their will; the seeds of the native plants, carried by winds or other agencies, would immigrate, and in virtue of their long-earned special adaptation to the local conditions, these despised native weeds would soon choke their choice exotic rivals. A century or two hence, little beyond the foundations of the wall and of the houses and frames would be left, in evidence of the victory of the cosmic powers at work in the state of nature, over the temporary obstacles to their supremacy, set up by the art of the horticulturist.

It will be admitted that the garden is as much a work of art,* or artifice, as anything that can be mentioned. The energy localised in certain human bodies, directed by similarly localised intellects, has produced a collocation of other material bodies which could not be brought about in the state of nature. The same proposition is true of all the

works of man's hands, from a flint implement to a cathedral or a chronometer; and it is because it is true, that we call these things artificial, term them works of art, or artifice, by way of distinguishing them from the products of the cosmic process, working outside man, which we call natural, or works of nature. The distinction thus drawn between the works of nature and those of man, is universally recognized; and it is, as I conceive, both useful and justifiable.