In spite of these variations in date there seems to be in each art the same general order of development. First there is a dim period of tentative, unconscious, or apologetic indications of a new spirit. Then some original mind seizes upon the new idea and gives it consistency and at least partially adequate expression. After this there follows a period of less vigorous but widespread and varied efforts to find a statement for some portions of the new thought. Then a master mind seems to feel all these diffused, struggling, half-expressed conceptions and sums them up in the final perfect form. In the poetry of Nature these stages are clearly marked in the work before Thomson, in Thomson, in the period from Thomson to Wordsworth, and in Wordsworth. In painting are Wilson and Gainsborough on the one hand and Turner on the other. In gardening, travels, and fiction we find the periods marked respectively by Kent and Repton, Brown and Gilpin, Amory and Mrs. Radcliffe. In these three art-forms, especially in the last two, we do not find the period of development ending in the work of consummate genius. We go rather from a meager statement to a statement that is full, manysided, enthusiastic. The progress is in the love of Nature rather than in the power of adequate, final expression. The development in gardening is more in the nature of a series of experiments open to wide discussion, and the final outcome takes the form given it by the man whose study of past failures and successes has led him to the surest comprehension of the artistic and mechanical laws involved. A glance at the accompanying table will make the general statement clear, the main point being that in at least five of the ways in which men express their ideas it is possible to trace the growth of a complete change of attitude toward Nature. The poets who helped to bring about this change have already been studied in detail, but some further general statements may not be out of place here. [Illustration]