Introduction
_ There are two ways of recording and communicating to others an impression, say, of a building or a place. One way is to sit down at a definite point, and make an elaborate picture. It is thus perhaps that one grasps the artistic significance and unity of the object best； one sees it in a chosen light of noon or eve； one feels its dominant emotion, its harmony of proportion and outline. Or else one may wander about and take sketches of it from a dozen different points of view, record little delicacies of detail, tiny whims and irregularities； and thus one learns more of the variety and humours of the place, its gestures and irritabilities, its failures of purpose or design. The question is whether you like a thing idealised or realised. As to the different methods of interpretation, they can hardly be compared or subordinated. An artist does not choose his method, because his method is himself.
The book that follows is an attempt, or rather a hundred attempts, to

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