I remember the first man I ever saw sitting still by himself out-of-doors. What his name was I do not know. I never knew. He was a stranger, who came to visit in our village when I was perhaps ten years old. I had crossed a field, and gone over a low hill (not so low then as now), and there, in the shade of an apple tree, I beheld this stranger, not fishing, nor digging, nor eating an apple, nor picking berries, nor setting snares, but sitting still. It was almost like seeing a ghost. I doubt if I was ever the same boy afterward. Here was a new kind of man. I wondered if he was a poet! Even then I think I had heard that poets sometimes acted strangely, and saw things invisible to others’ ken. I should not have been surprised, I suppose, to have found a man looking at a picture, some “nice,” high-colored “chromo,” such as was a fashionable parlor ornament in our rural neighborhood, where there was more theology to the square foot (and no preacher then extant with orthodoxy strait enough to satisfy it, though some could still make the blood curdle) than there was of art or poetry to the square acre; but to be looking at Nat Shaw’s hayfield and the old unpainted house beyond--that marked the stranger at once as not belonging in the ranks of common men. If he was not a poet, he must be at least a scholar. Perhaps he was going to be a minister, for he seemed too young to be one already. A minister had to think, of course (so I thought then), else how could he preach? and perhaps this man was meditating a sermon. I fancied I should like to hear a sermon that had been studied out-of-doors. Times have changed with me. Now I sit out-of-doors myself, and by myself, and look for half an hour together at a tree, or a bunch of trees, or a lazy brook, or a stretch of green meadow. And I know that such things can be enjoyed by one who is neither a poet nor a preacher, but just a quite ordinary, uneducated mortal, who happens, by the grace of God, to have had his eyes opened to natural beauty and his heart made sensitive to the delights of solitude. I have learned that it is possible to enjoy scenery at home as well as abroad,--scenery without mountains or waterfalls; scenery that no tourist would call “fine;” a bit of green valley, an ancient apple orchard, a woodland vista, an acre of marsh, a cattle pasture. In fact, I have observed that painters choose quiet subjects like these oftener than any of the more exceptional and stupendous manifestations of nature. Perhaps it is because such subjects are easier; but I suspect not. I suspect, indeed, that they are harder, and are preferred because, to the painter’s eye, they are more permanently beautiful.