AUTUMNAL TINTS. 



17 



Such is the general view presented by our sylvan trees and 

 shrubs in late autumn. Particular scenes may affect the 

 beholder in a different manner. One view may be vast and 

 impressive, as the clouds of gold presented by the Elms in 

 Windsor Great Park and elsewhere, or the lovely russet-brown 

 shown by masses of Beech ; or, again, the rich, almost amber 

 gold of the Horse-chestnut, the one following closely on the 

 other in the time of its change of colour. Another view may be 

 diversified as the contrast of the golden foliage of the Larch 

 with the deep green of the Silver Fir so frequently to be seen 

 in coniferous plantations. All are equally to be admired. Nor 

 would our admiration be less excited if we look more closely 

 at the objects around and examine a little in detail some of the 

 changes that are taking place in the foliage of trees before it 

 falls. Thus if we fix our attention for a moment on the leaves 

 of some of our largest trees, as the Elm, the Beech, or the Lime, 

 as they begin to change, we cannot fail to be struck with the 

 surprising variety of their coloration. No two leaves are 

 exactly alike in this respect ; all are blotched, splashed, and 

 suffused in every possible way with many shades of green, 

 yellow, or russet-brown, and so on, till the final stage of 

 uniformity is reached. Then, again, if we turn to the smaller 

 trees and shrubs that line the hedges, almost infinite variety 

 everywhere meets the eye ; the leaves of the Hawthorn are 

 tinted with red, brown, and yellow, the common Dogwood glows 

 with purple, the Spindle-tree is recognised by its orange and 

 brown tints, the Wayfaring- tree [Viburnum Lantana) changes 

 to crimson and yellow. 



Nor unnoticed pass 

 The sycamore, capricious in attire ; 

 Now green, now tawny, and ere autumn yet 

 Hath changed the woods, in scarlet honours bright. — Cowpee. 



The phenomenon I have attempted to portray with the aid of 

 a little poetic license is viewed in various aspects according as it 

 affects each in his own sphere. To the artist its impression is 

 purely aesthetic, an impression he transfers to the canvas for 

 the gratification of the admirers of his art. The forester, on the 

 contrary, generally regards the change from a practical point 

 of view, as indicating the season for certain kinds of work to be 

 done. To the agriculturist it is a sure sign of the near approach 



