HE painted trees as by some special divining instinct of their essential qualities. He understood them. He knew why in an oak forest, for instance, each individual was utterly distinct from its fellows, and why no two beeches in the whole world were alike. People asked him down to paint a favourite lime or silver birch, for he caught the individuality of a tree as some catch the individuality of a horse. How he managed it was something of a puzzle, for he never had painting lessons, his drawing was often wildly inaccurate, and, while his perception of a Tree Person ality was true and vivid, his rendering of it might almost approach the ludicrous. Yet the character and personality of that particular tree stood there alive beneath his brush — shining, frowning, dreaming, as the case might be, friendly or hostile, good or evil. It emerged.
