THE ARCHITECTURE OF TREES 171 



had been a pupil of a pupil and friend of 

 Harding's, it had considerable interest; but I 

 could not fully share our older companion's 

 enthusiasm. Landscape painting has gready 

 changed in many ways since Harding's day. 

 But to say more about this now would be to 

 anticipate the subject of a later chapter. 



One more subject finds an appropriate place 

 here. In writing of trees in art, I shall not 

 distinguish closely between their representa- 

 tion in colour and their representation in black- 

 and-white. It is perhaps obvious that the 

 latter medium is more suited to the rendering 

 of the architecture of trees than to their com- 

 plete effect. This is particularly true of etching. 

 I was walking the other day with a friend, 

 along a country-road bordered by leafless trees. 

 There was snow on the ground. He suddenly 

 stopped and said, '' How this reminds one of 

 an etching ! " Leafage, of course, can be 

 adequately represented in colour only; for 

 variety of colour, in sun and shade, and the 

 varying hues of different trees and parts of 

 trees, are of the essence of the complete beauty 

 of leafage. Then again there is the colour of 

 the stem. How, in black-and-white, is it pos- 



