TREES IN PAINTING 211 



relative size, and so gives us the impression of 

 the great height of the larger trees in relation 

 to our own height. A lofty and widespreading 

 tree has an impressiveness, when we think of it 

 as having grown from seed, drawn its nourish- 

 ment from earth and air, and as now sustaining 

 itself against the force of gravitation and the 

 might of the tempest, that is certainly not less 

 than the impressiveness of the inert mountain 

 mass. This effect of the tree upon us is never 

 so much as suggested in early art. Then 

 there is the marvellous intricacy of the branches, 

 and the innumerable company of the leaves ; the 

 individual leaves being indistinguishable, and 

 the painter being obliged, if he is correctly to 

 represent the tree's appearance, to paint not 

 leaves, but leafiness — leaf- masses. Then, he 

 finds trees growing singly, or in small groups, 

 or in large numbers forming woods or forests. 

 The different kinds of trees vary in form and 

 colour. Some are delicately beautiful, some 

 mingle grace with strength, in others strength 

 is the chief obvious quality. Again there are 

 the differences between youth, maturity and 

 age ; and a tree may be well-nigh perfect in 

 form, or it may have suffered through adverse 



