TREES IN MODERN PAINTING 283 



bole with indifference, after looking at the 

 magnificent one against which the weary wan- 

 derers are resting in ** Rosalind and Celia"? 

 And who that has seen the ''Ophelia" ever 

 sees a willow athwart a stream without quick- 

 ened observation and feeling ? So one might go 

 on, through picture after picture, ever remem- 

 bering that Millais painted trees not merely 

 because of their beauty or their strength, but 

 because they were living things, and that his 

 feeling of kinship with them filled him with 

 kindness to them. 



At the beginning of this chapter I ruled out, 

 as being beyond the limits of available space, 

 all reference to the work of foreign painters 

 among the trees. But a brief note about the 

 work of some of the French impressionist pain- 

 ters should, perhaps, be made ; and it will serve 

 as an occasion for drawing attention to certain 

 incidents of tree-life and appearance not hitherto 

 mentioned, the many changes, that is, through 

 which they daily pass. I n some ways they share 

 these changes with all other objects upon which 

 the light and the darkness fall, but not in all 

 respects ; and such a book as this would hardly 

 be complete without mention of them, even if 



