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I

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 favorite 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 Personality 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.

There was nothing else in the wide world that he could paint; flowers and landscapes he only muddled away into a smudge; with people he was helpless and hopeless; also with animals. Skies he could sometimes manage, or effects of wind in foliage, but as a rule he left these all severely alone. He kept to trees, wisely following an instinct that was guided by love. It was quite arresting, this way he had of making a tree look almost like a being—alive. It approached the uncanny. 3