The most significant element in the Western garden-art is thus the _point de vue_ of the great Rococo park, upon which all its avenues and clipped-hedge walks open and from which vision may travel out to lose itself in the distances. This element is wanting even in the Chinese garden-art. But it is exactly matched by some of the silver-bright distance-pictures of the pastoral music of that age (in Couperin for example). It is the _point de vue_ that gives us the key to a real understanding of this remarkable mode of making nature itself speak the form-language of a human symbolism. It is in principle akin to the dissolution of finite number-pictures into infinite series in our mathematic: as the remainder-expression[308] reveals the ultimate meaning of the series, so the glimpse into the boundless is what, in the garden, reveals to a Faustian soul the meaning of Nature. It was _we_ and not the Hellenes or the men of the high Renaissance that prized and sought out high mountain tops for the sake of the limitless range of vision that they afford. This is a Faustian craving—to be _alone_ with endless space. The great achievement of Le Nôtre and the landscape- gardeners of Northern France, beginning with Fouquet’s epoch-making creation of Vaux-le-Vicomte, was that they were able to render this symbol with such high emphasis. Compare the Renaissance park of the Medicean age—capable of being taken in, gay, cosy, well-rounded—with these parks in which all the water-works, statue-rows, hedges and labyrinths are instinct with the suggestion of long range. It is the Destiny of Western oil-painting told over again in a bit of garden- history.