Sir Thomas Browne called Nature the art of God. Viewed in this light we get a new conception of Nature, the artistic conception. We do not ask: Is it good or bad, for us or against us? we are intent on its symbolical or ideal character. Through it God expresses himself as the artist does, be he painter, poet, or musician, through his work, blending the various elements--the light and shade, the good and the bad, the positive and the negative--into a vital, harmonious whole. Creation becomes a picture, or a drama, or a symphony, in which all life plays its part, in which all scenes and conditions, all elemental processes and displays, play their part and unite to make a vast artistic whole. The contradictions in life, the high lights, the deep shadows, the imperfections, the neutral spaces, are but the devices of the artist to enhance the total effect of his work. In ethics and religion we ask of a thing: “Is it good?” In philosophy: “Is it true?” In science: “Is it a fact, and verifiable?” But in art we ask: “Is it beautiful?” or “Is it a real creation?” “Is it one with the vital and flowing currents of the world?” The artist alone is the creator among men; he is disinterested; he has no purpose but to rival Nature; he subordinates the parts to the whole; he illustrates the divine law of indirections. The bald, literal truth is not for him, but the illusive, the suggestive, the ideal truth. He does not ask what life or Nature are for, or are they good or bad, but he interprets them in terms of the relation of their parts, he reads them in the light of his own soul. He knows there is no picture without shadows, no music without discords, no growth without decay. The artist has “no axe to grind”; to him all is right with the world, however out of joint it may be in our self-seeking lives. Art is synthetic, and puts a soul under the ribs of Death. Science is a straight line, but Art is symbolized by the curve. To regard Nature, therefore, as the art of God, is to see it complete in itself; all the disharmonies vanish, all our perplexing problems are solved. The earth and the heavens are not for our private good alone, but for all other things. Opposites are blended. Good and bad are relative; heaven and hell are light and shade in the same picture. Our happiness or our misery are secondary; they are the pigments on the painter’s palette. The beauty of Nature is its harmony with our constitution; its terror emphasizes our weakness. Where does the great artist get his laws of art but from his insight into the spirit and method of Nature? They are reflected in his own heart; the act of creation repeats itself in his own handiwork. The true artist has no secondary aims--not to teach or to preach, nor to praise nor condemn; but to portray, and to show us, through the particular, the road to the universal.