TREES IN MODERN PAINTING 267 



forth ; but we should hardly get deeper into 

 the subject of trees in art. We can hardly 

 make an exception in the case of the Linnells, 

 whom we should place in the company of the 

 general admirers of trees. It is dangerous to 

 make exceptions, but the landscapes of Samuel 

 Palmer and George Mason, romantic in dif- 

 ferent ways, and in which trees are individually 

 interpreted, cannot be passed without mention. 

 Palmer delighted in the luxuriant trees of 

 fertile country. Mason showed a marked 

 affection for the dwarfed, straggling trees 

 that grow by the edge of commons and on 

 the stony uplands. I hesitate to let this 

 brief reference to one or two artists stand. 

 But it shall do so. It will serve to suggest 

 how much more there is to be studied than 

 we can study here. 



The Pre-Raphaelitism of Holman Hunt and 

 Millais was a new departure in many ways. 

 As ''a return to nature" it involved an ex- 

 tremely realistic treatment of landscape, and 

 of all forms of vegetation that had to be in- 

 troduced into a picture. Trees were repre- 

 sented with as close an approximation to 

 botanical accuracy as the patient copying of 



