TREES IN MODERN PAINTING 287 



scape ; but there are assuredly many, other 

 than those who have set themselves the task of 

 depicting it, who are often tempted to spend 

 more time than they ought to do in the mere 

 sensuous enjoyment of its beauty. Our land- 

 scape painters have painted largely in vain if 

 this be not so. 



This all applies, of course, to trees, and 

 to individual trees, not merely to groups or 

 masses of them in the nearer or farther distance. 

 What a marvellous change there is when the 

 sun breaks out, and every colour is heightened, 

 and the shade becomes almost black by con- 

 trast, and shadows are cast on the ground 

 beneath — and, also, and with what beautiful 

 effect, on the stems of the trees! We have 

 concerts for the people at popular prices. We 

 have music in parks paid for out of the rates. 

 I have no wish to make vain comparison 

 between art and nature; but assuredly we do 

 not all adequately realise what exquisite music 

 is part of our birthright in this world, alienable 

 only by our own neglect or folly. 



I was wrong in saying that the many changes 

 of the trees were in appearance only. They 

 are often actual changes of mood. We easily 



