TREES IN MODERN PAINTING 271 



this one. Even M. de la Sizeranne, in whose 

 judgment the Pre-Raphaelite movement con- 

 tained much artistic heresy, can say : '' Per- 

 haps the Pre-Raphaelites may not have gained 

 the battle they fought, but they gained another. 

 Perhaps they may not have proved that nature 

 is the final expression of art, but they have 

 proved that it is the foundation of it, and that 

 the efforts of a Pleiad of men of talent and reso- 

 lution are never lost, whatever may have been 

 their object." 



Redgrave, in whose judgment the principles 

 of the Pre- Raphaelites were heretical — by omis- 

 sion at least — says: "We are also willing to 

 admit that the principles themselves have a 

 great value, if not observed to the exclusion of 

 others, in enforcing constant reference to nature 

 and greater imitative truth". There is much 

 dispute, however, as to the extent to which the 

 Pre-Raphaelite paintings are true to nature, 

 true to nature, that is, as the human eye sees 

 it. Even this point we need not discuss. The 

 green shadows that Holman Hunt paints along 

 the green grass in "The Strayed Sheep" may, 

 as some say, be true to fact, but not to the fact 

 as it appears to the human eye taking in the 



