. Trees in nature, myth and art; . e is more attentiveto the architecture of trees than is Cox, doeshe ever make us feel that the strenuous life ofthe individual tree, and the characteristics ofits growth, had any particular interest for may say, as Ruskin said about Coxs tree-drawing, that we should be sorry to have DeWints trees other than they are. We shouldnot then get his broad harmonies of richcolour, and his exhilarating prospects over vastreaches of country in which the trees, collec-tively, count for so much. It is no part of my purpose to attempt toshow, even briefly, how all
. Trees in nature, myth and art; . e is more attentiveto the architecture of trees than is Cox, doeshe ever make us feel that the strenuous life ofthe individual tree, and the characteristics ofits growth, had any particular interest for may say, as Ruskin said about Coxs tree-drawing, that we should be sorry to have DeWints trees other than they are. We shouldnot then get his broad harmonies of richcolour, and his exhilarating prospects over vastreaches of country in which the trees, collec-tively, count for so much. It is no part of my purpose to attempt toshow, even briefly, how all of even the prin-cipal English landscape painters have inter-preted tree-life. If we went conscientiouslythrough a list of the men of the early andmiddle periods of English art, we should findourselves going over much the same groundas that over which a few of our greatestpainters have already taken us. We shouldlink W. J. Muller with Constable, find re-semblances between Patrick and AlexanderNasmyth and the Norwich School, and so. Q ;~ •s TREES IN MODERN PAINTING 267 forth ; but we should hardly get deeper intothe subject of trees in art. We can hardlymake an exception in the case of the Linnells,whom we should place in the company of thegeneral admirers of trees. It is dangerous tomake exceptions, but the landscapes of SamuelPalmer and George Mason, romantic in dif-ferent ways, and in which trees are individuallyinterpreted, cannot be passed without delighted in the luxuriant trees offertile country. Mason showed a markedaffection for the dwarfed, straggling treesthat grow by the edge of commons and onthe stony uplands. I hesitate to let thisbrief reference to one or two artists it shall do so. It will serve to suggesthow much more there is to be studied thanwe can study here. The Pre-Raphaelitism of Holman Hunt andMillais was a new departure in many a return to nature it involved an ex-tremely realistic treatment of landscape, andof all for
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