. Trees in nature, myth and art; . erhaps,the most beautiful background ever painted bymy brother is to be found in his picture of TheWoodmans Daughter — a copse of youngoaks standing in a tangle of bracken and un-trodden underwood, every plant graceful inits virgin splendour. Notice the exquisitelytender greys in the bark of the young oak inthe foreground, against which the brilliantlyclothed lordling is leaning. Every touch inthe fretwork tracery all about it has beencaressed by a true lover of his art, for in these,his glorious early days, one can see that notan iota was slurred over, but t
. Trees in nature, myth and art; . erhaps,the most beautiful background ever painted bymy brother is to be found in his picture of TheWoodmans Daughter — a copse of youngoaks standing in a tangle of bracken and un-trodden underwood, every plant graceful inits virgin splendour. Notice the exquisitelytender greys in the bark of the young oak inthe foreground, against which the brilliantlyclothed lordling is leaning. Every touch inthe fretwork tracery all about it has beencaressed by a true lover of his art, for in these,his glorious early days, one can see that notan iota was slurred over, but that every beautyin nature met with its due appreciation at hishands. Eye cannot follow the mysterious in-terlacing of all the wonderful green things thatspring up all about, where every kind of wood-growth seems to be striving to get the upperhand and to reach the sunlight first, whereevery leaf and tendril stands out in bold is characteristic of all Millais landscapepainting in the days of his TREES IN MODERN PAINTING 269 It was thus, also, that Holman Hunt paintedthe landscape and trees in his Two Gentle-men of Verona, The Hireling Shepherd,The Strayed Sheep, and the Light of theWorld. His account of the painting of themoonlit orchard in the last-named picture isas follows: It was late in the autumn, but Ihad matured my preparations for The Lightof the World enough to work in the oldorchard before the leaves and fruit had al-together disappeared. To paint the picturelife-size, as I should have desired, would haveforbidden any hope of sale. For my protec-tion from the cold, as far as it could be found,I had a little sentry-box built of hurdles, andI sat with my feet in a sack of straw. A lamp,which I at first tried, proved to be too strongand blinding to allow me to distinguish thesubtleties of hue of the moonlit scene, and Ihad to be satisfied with the illumination from acommon candle. I went out to my work about9 , and remained until
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