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 THE PROPRIETY AND IMPORTANCE OF CHARACTERISTIC EXPRESSION IN 
 THIS BRANCH OF ART, AND THE MEANS OF PRODUCING IT: 
 
 WITH 
 
 PLM S. 
 
 BY THE LATE 
 
 EDWARD KENNION, F. S. A. 
 
 LONDON: 
 
 PRiyiTU BY T. UENSLEY, BOLT COVRT, FLEET STREET, 
 
 FOR C. J. KENNION; 
 
 AND SOLD BY 5IESSRS. BOYDELL AND CO. CHEAPSIDE ; JOHN MURRAY, ALBEMARLE STREET J 
 AND JA.MES NEWMAN, COLOURMAN, SOHO SQUARE. 
 
 1815 . 
 
 
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PREFACE BY THE EDITOR, 
 
 INCLUDING 
 
 A MEMOIR OF THE AUTHOR’S LIFE. 
 
 It is pretty well known that the late Mr. Edward Kennion had long projected the 
 publication of a work on Landscape Painting, of the general nature of which he 
 had informed the Public in a Prospectus printed in the Year 1803; about which 
 time he took the names of some Subscribers, and he expected to have been able to 
 bring out the First Volume soon afterwards. But as he proceeded with the under¬ 
 taking he experienced some unforeseen difficulties, which necessarily delayed the 
 work; and he was induced by the wish and hope of making it more worthy of 
 public acceptance not to regret a delay which afforded him the opportunity of 
 more extensive study and experience. On this head, however, let him speak for 
 himself. 
 
 “ I have been often advised to publish something at any rate, and although it 
 might not be equal to my own wishes and intentions, have been told it would sell, 
 and the public would be satisfied. Though this advice may have been founded on 
 a correct knowledge of the state of general perception on this subject, and on the 
 experience of what others do, and of what has been already received and approved; 
 yet as I write for a permament and not a temporary purpose, I could not follow 
 it."* 
 
 In fact, he seems to have been unwilling to publish while he found himself 
 improving in his art; and he certainly did improve considerably after he had 
 announced his intention to publish. The desire to make the work as perfect as pos¬ 
 sible, will be acknowledged by every one to be laudable, though it should be thought 
 that his leading the public to expect its appearance so many years ago was prema¬ 
 ture. 
 
 He had at length made an arrangement which would certainly have enabled him 
 to bring out the First Volume in the course of the Year 1809; and he had begun 
 to prepare it for publication, when he was suddenly arrested by the hand of death. 
 
 * M.S. Papers. 
 Ji 
 
 ‘9 
 
On looking into Mr. Kennion’s papers after this melancholy event, a very large 
 mass of materials was found, which he himself, no doubt, would have been able to 
 di<^est into a connected treatise. But, though classed under general heads, they 
 were not in a form fitted to meet the public eye. They were found to consist in 
 general of detached observations, written at different times, as ideas occurred to his 
 mind, with little method or connexion. So that to execute all that he intended soon 
 appeared a hopeless task. Moreover examples were wanting, except on the subject 
 of Trees, and this circumstance alone would have been sufficient to preclude the 
 publication of a general treatise, had the written matter been more methodized; for 
 the examples could not have proceeded from any other hand than his own. 
 
 Fortunately, however, examples of Trees had been, in a great measure, prepared; 
 and as this was that branch of the art in which Mr. Kennion more particularly 
 excelled, and in which his instructions are likely to be the most useful to others, it 
 was determined by his friends to reduce what he had written on this subject into the 
 form of an Essay on Trees. This attempt is now submitted to the candour of the 
 public. That it bears those marks of imperfection which might be expected from 
 the circumstances here related, the Editor is sensible; nevertheless it is hoped 
 that what may appear imperfect will be excused. No circumstances indeed can be 
 an apology for obtruding on the world a worthless publication. But that this will 
 be esteemed such he has no fear; on the contrary, he entertains a firm persuasion 
 that the work will be found valuable and useful to students in a difficult branch of 
 the art, which hitherto has not been attended to in proportion to its importance. 
 
 In regard to the examples, it is hoped they will be found tolerably complete; 
 whatever ivas wanting having been supplied by the industry and ability of Mr. 
 Charles Kennion, who having been educated in his lather s principles, and having 
 imbibed his taste, has qualified himself to engrave in aquatinta those examples ot 
 which Plates had not been prepared, and to finish others which had been left imper¬ 
 fect. The Oak, Elm, and Ash, are very fully exhibited in twenty Plates, and 
 thirty more Plates are devoted to the other tenants of our forests and plantations, 
 the whole comprising twenty-four Species and Varieties, and including all the prin¬ 
 cipal Forest Trees which are found in Great Britain. 
 
 The Editor flatters himself that the following particulars of the Life of the 
 Author will be acceptable to the Public. 
 
ll] 
 
 Edwaed Kennion was born in Liverpool the 15 lh January 1743 , O. S. His 
 grandfather, who was anon-conformist minister, preached atToxeth-Park Chapel, near 
 that town. His father, James Kennion, was engaged in business in Liverpool. From 
 circumstances, into which it is not necessary to enter, the care of Edward’s education 
 devolved upon his relation, John Kennion, Escp afterwards collector of the customs 
 at that po] t, by whom, after having been for some time at school in Liverpool, under 
 the tuition of Mr. Holt, subsequently mathematical tutor at the dissenting academy 
 at Warrington, he was sent, at the age of fifteen, to Mr. Fuller’s academy in London. 
 At this seminary he made some proficiency in the Latin classics and the mathema¬ 
 tics, and probably learned the rudiments of drawing. 
 
 Under Mr. John Kennion s auspices the subject of this memoir sailed for 
 Jamaica in February 1762, and proceeded, in June, to join the expedition against the 
 Havannah under Sir George Pococke and the Earl of Albemarle, in which his kins¬ 
 man was engaged as commissary. After the capture of the place, Edward Ken- 
 nion’s health having suffered from the climate of the West Indies, he went to New 
 York lor its recovery. Ihere he spent some months, and returned from thence to 
 England in December 1763. 
 
 He again proceeded to Jamaica in October 1765, to superintend Mr. Kennion’s 
 estate, where, with the exception of a short visit to England in I767, he continued 
 till July 1769, when he finally returned to his native country. It may here be men¬ 
 tioned, that by a commission dated the 11th April 1769, he was appointed an .\ide- 
 de-Camp, with the rank of Lieutenant-Colonel, to Sir William 'J’relawney, Bart, then 
 Lieutenant-Govei nor and Commander-in-Chief of the Island; and he enjoyed that 
 rank during the remainder of his residence in the colony. 
 
 During Edward Kennion’s first visit to the West Indies, he commenced the study 
 of botany ; a pursuit to which he was always attached, and in which he made consi¬ 
 derable progress. Soon after his arrival in England, in I767, he made a tour in 
 Derbyshire, visiting Matlock and Dovedale, of which he has left a pleasing and 
 romantic description in a letter to a friend. In this tour he also visited OaLver, 
 purposely to see a painting of the Holy Family by Raphael, of which he writes in 
 these terms : “ There is no conveying a proper description of this excellent picture; 
 but it possesses all that delicate relief, affecting expression, and elegant colouring, for 
 which that admired artist is famous.” It is not improbable that during this tour he 
 felt the first decided inclination for his art; an inclination which was fostered after¬ 
 wards by his becoming acquainted, about the year 1771, with the celebrated painter, 
 George Barret, R. A. whom he accompanied, in I772 and 1773, on several profes¬ 
 sional tours, and particularly one to the Isle of Wight, in the autumn of the latter year. 
 
 b 
 
IV 
 
 To this period must be assigned the origin of that style of representation of Trees, 
 rvhich it is the object of the present work to exemplify. If Barret had the merit of 
 inventing an appropriate touch tor each of the principal hoiest kinds, Oak, Ijhu, and 
 Ash, which however is not certain, Kennion improved upon his principles, or at least 
 reduced them to regularity. But there is some reason to suppose that the Oak touch 
 tvas his invention, and Barret’s the Elm and Ash touches only. At all events, the 
 merit of a consistent application of the system belongs to Kennion ; for Barret was 
 sometimes so careless, that it is not unusual m his works to see the Oak and Ash 
 character indiscriminately used in the representation of the same tree. That Mr. 
 Kennion, before the commencement of his acquaintance with this excellent Artist, 
 had hoivever paid particular attention to the delineation of trees, appears from some 
 sketches taken in Jamaica, m which the Cocoa, Date, and Banana trees are touched 
 •with great delicacy and truth. 
 
 Though Mr. Kennion had not yet declared himself an Artist, it appears certain 
 that about this time he intended to pursue drawing as a profession ; for in one of 
 Barret’s letters to him, written in 1773, there occurs this passage; “ The drawing I 
 liave sent can be made use of in your proposed object of teaching drawing.” But 
 at this period he had other avocations; for in the year 17711 he was engaged in a 
 sugar-house in Goodman’s Fields, London, in partnership with a Mr. Constantin ; 
 a connexion which terminated unsuccessfully in 1774. 
 
 In the same year Mr. Kennion married Miss Ann Bengough, a Worcester lady, 
 with whom he acquired some property ; and afterwards, by the advice of friends, he 
 again engaged in business in London. But, not meeting with the success which he 
 expected, he retired, about the year 1782, to Rydd-Green, near Malvern in Worces¬ 
 tershire, where he resided till the year 1789, occupied in the pursuits most congenial 
 to his mind, the study of botany, the improvement of his art, and the collection of 
 materials for his intended work, the Elements of Landscape, which he seems to have 
 projected so early as the year 1779. In this year he had spent some time in the 
 Counties of Hereford and Monmouth, making drawings and plans of various remains 
 of antiquity, with a view to their publication. A Number appeared in 1784, con¬ 
 taining five Perspective Vieivs and three Ground Plans, engraved in the line manner 
 by R. Godfrey, with full local descriptions by Edward Kennion; and in tlie Intro¬ 
 duction is the following passage: “ It was not only for tlie study of antiquities that 
 I was led to contemplate the remains of Norman and Gothic architecture, but also 
 to collect materials for the Elements of Landscape, or an Introduction to the Study of 
 INaturcand Pictu7-csque Beauty, with Examples ; a work on which 1 have been occa¬ 
 sionally employed during several years.” That the publication on the Antiquities of 
 Hereford and Monmouth was not discontinued through any want of punctuality on 
 
V 
 
 the part of Mr. E. Kennion, is asserted in an aclrertiseraent dated 1 st Jidy 1789 ; in 
 which the Public was informed that its discontinuance arose from causes in which 
 Mr. Kennion had not the least concern, nor could any way prevent, his part of the 
 business having been duly and fully performed. 
 
 Mr. Kennion lost his first wife in the year 1786 ; and though she had several 
 children, none of them lived long enough to survive her. Being thus left, with no 
 companion but an aged and helpless father, whom, from a proper sense of filial 
 duty, he had lately taken into his house, he married in 1787 a second wife, whose 
 maiden name was Hill, of a family residing at that time at Upton-on-Severn, in 
 Worcestershire. The winters of 1787 and 1788 he passed in town, where he com¬ 
 menced giving lessons in drawing, and in 1789 he finally removed thither with his 
 family. Soon after this time he was admitted a member of the Society of Artists. 
 
 By the death of his uncle. Dr. Kennion of Liverpool, in the year I 791 , he 
 obtained a considerable accession of property. Still however he continued the em¬ 
 ployment of teaching, with great reputation and success, and some young persons of 
 distinction were among the number of his pupils. He was also occasionally engaged 
 in painting pictures for amateurs, some of which were sent to the Exhibition of the 
 Royal Academy. During these pursuits he never lost sight of the great work which 
 was the prime object of his life, and habitually devoted a portion of his time to the 
 increase of his stock of materials, both with the pencil and the pen. Not a summer 
 passed without an excursion to some part of the country, to make further observa¬ 
 tions on nature. Now and then his tours were extended northwards to his native 
 place, Liverpool, where he had friends and relations, with whom he had always 
 cultivated an intimacy; and in one of them he visited the lake and mountain scenery 
 of Cumberland, Westmorland, and the north of Lancashire. In these excursions 
 nothing that could be turned to account escaped his attention ; and whether his 
 walks were directed along the quay of the busy port, or through the stillness and 
 retirement of the sylvan scene, his pencil was ready to mark every interesting appear¬ 
 ance which struck his eye: nor w'as his pen less prompt to record such observations 
 as were suggested by what he saw or read. By these means he had gradually accu¬ 
 mulated an immense fund of valuable matter for a general treatise on his Art, a small 
 part of which is now destined to see the light. 
 
 So early as the year 1790 he had etched a few examples of the Oak tree: these, 
 consisting of eight Plates, were published as a specimen of the intended work. In 
 a preface he explainetl his design, concluding with the observation that it was no 
 small undertakmg, and could not be considered in prospect without some doubtful 
 apprehensions, and inviting communications from the liberal and ingenious. 
 
VI 
 
 These feelings no doubt induced him to pause before he proceeded with the 
 work : and the opportunities which his residence in the capital now gave him, of 
 observing continually what was accomplished by other Artists in different branches 
 of the Art, contributed to deter him from bringing out a performance which might 
 be considered in any respect imperfect. For a landscape-painter, it is not sufficient 
 that he should know how to give character to his trees, and richness to his fore¬ 
 grounds; that he should be familiar with the laws of perspective, and understand 
 that judicious arrangement of parts, and management of light and shade, which pro¬ 
 duce effect; he must also enliven his scenes with cattle, and people them with 
 figures, and over the whole he must throw the charm of beautiful and harmonious 
 colouring. Mr. Kennion felt that further improvement in some of these points was 
 desirable. The man who aspires to correct errors, and to teach new principles, must 
 expect opposition; and he found it necessary to be armed at all points against the 
 shafts of criticism. Several years after this period he observed to a friend, “It might 
 have been said ‘ this man knows nothing of colouring,’ or ‘ he does not understand 
 the human figure.’ I have been induced therefore to pay particular attention to 
 these subjects.” 
 
 In the year 1803 Mr. Kennion was however so far satisfied with his improve¬ 
 ments, particularly in colouring, that he conceived he might offer his First Volume to 
 the Public. A number of Plates, containing examples of Trees, had by this time 
 been prepared, of which the specimens of the Oak, before published, constituted no 
 part, he having seen occasion, on more mature consideration, to condemn them, and 
 to substitute other examples in their stead; and as the written matter wanted only 
 methodical arrangement, he ventured, in the Prospectus already mentioned, to cir¬ 
 culate Proposals for a Subscription. 'Fhe following is the explanation w'hich he then 
 gave of his general design : 
 
 “ The present design, which the Author has endeavoured to qualify himself to 
 execute, according to invariable principles, by many years of close and unremitting 
 study, cannot possibly be completed in less than three Volumes. Each Volume is 
 intended to finish a class of subjects, and to contain two distinct Parts: one to con¬ 
 sist of miscellaneous and preceptive observations; the other to be wholly practical, 
 with explanations of the modes of the execution. The First Volume, after taking a 
 general survey of the Art in a new point of view, will begin, in the second division, 
 with the class of Trees, these being more difficult and less known than any other part 
 of Landscape; and in it will be exhibited the circumstances that produce the cha¬ 
 racter of each kind, with the grounds on which the mode of expression is founded • 
 the forms, also, and habits of trees which make them fit for picture, or otherwise, 
 
vii 
 
 will be noticed: which, it is hoped, will make this part of the Art more clearly 
 understood and performed. 
 
 “ The miscellaneous division of each Volume will contain the matter which 
 might not unite well with instructions merely practical, but which the Author be¬ 
 lieves to be absolutely necessary to a just conception of the subject, as hitherto it 
 does not seem to have been considered in a way that can tend either to appreciate 
 its value, or to form a fair judgment of its uses and powers; as will be fully seen in 
 the course of the work. This part will comprise notices and criticisms on the best 
 Treatises, Essays, and Lectures on the Art, and on those occasional observations 
 which occur in periodical or other works, and which often contribute to mislead the 
 reader, and to give false impressions of the merits and purposes of landscape paint¬ 
 ing. In all studies the success of the student depends greatly on the manner in 
 which the first view of the subject is presented to his mind; it must therefore be 
 particularly necessary in one so uncertain, and which, in the execution, is at present 
 a mass of contradictory opinions and jarring tastes, that the first images the learner 
 receives, should be in some system of principles, that may be clear from their simpli¬ 
 city, and from their truth of universal application. The whole is intended to exhibit 
 a true idea of what is commonly called the grand style, and the nature of poetical 
 and general effect, with a full elucidation of the principles of the picturesque, a part 
 of the subject generally mistaken, or regarded in a manner much too confined for the 
 higher uses of painting. 
 
 “ The practical division of the Second Volume will comprehend various examples, 
 shewing the most useful circumstances to be observed in the forms and combinations 
 of Buildings, with the principles of their execution in outline, shadow, and relief 
 against other objects, from the simplest figure up to the more difficult, as circular 
 erections, and Gothic architecture. This extensive and most important part of the 
 Art will be treated with all the care and clearness of which the Author is capable; 
 because, for those who really wish to know any thing of the subject, this part must 
 contain most of those general principles on which the whole art of representation is 
 founded; the parts being definable, they are capable of being taught, and are better 
 suited to exhibit and illustrate the truth and falsehood of picture than any other 
 objects. Treatises on perspective, though numerous, and particularly applicable to 
 architecture, do very little more than teach the regular construction of an outline, or 
 rather the mathematical projection of a building in a prescribed position ; these 
 works have not therefore often been sufficiently alluring for the student in drawino-, 
 or the practical painter, to avail himself of the science they contain. In this Vohune 
 the treatment of Buildings, specifically as they relate to Picture, will necessarily 
 introduce a new view of the subject, under the title of visual or painter’s perspective. 
 
viii 
 
 considered independently of the doctrine of planes, or of an immoveable centre, yet 
 sufficiently determinable for correct practice. The connexion of Buildings with 
 Picture will lead us to examine into beauty of form, and taste in the disposition of 
 these objects, both in landscape painting, and the decoration or improvement of real 
 scenery ; which will also afford some new matter for the contemplation of those 
 whose situation and fortune allow of such gratifying and useful pursuits. In this 
 Volume likewise will be given a series of the progress of a picture from the ground- 
 tint to finishing. 
 
 “ In the Third Volume it is proposed to treat pretty much at large the subject of 
 effect; distinguishing the simple and beautiful effects of nature from those which 
 capricious taste, or affectation, produces ; and from those also which are fabricated 
 by the professor, willing to profit by the temporary influence of fashion. This vague, 
 and frequently misconceived property of Picture, has been esteemed to be a charac¬ 
 teristic of the English school; it should therefore be understood by the student so 
 far as to keep clear of egregious absurdity. The fundamental qualities of a fine 
 effect, and the p/ciHresjiie, as the grand constituent of this part of our subject, will 
 be illustrated by examples, both in form, in light, and in composition; exhibiting the 
 means by which it is created or destroyed, and the degree of its alliance with beauty 
 and the sublime in painting. The picturesque is so immediately connected with the 
 formation of beauty in natural scenery, and advantageously placing or removing 
 objects to produce the intention, that it seems impossible to avoid pointing to the 
 easy application of its rules to this purpose. A good effect depends greatly on the 
 fortunate adaptation of a fore-ground, or a back-ground, to different kinds of princi¬ 
 pal objects: but these have always been found such stumbling-blocks in the way of 
 many who wish to turn their landscape sketches, and drawings of figures, into pic¬ 
 tures, that all possible attention will be paid to them in the course of the Volume. 
 
 “ Besides the above slight account of what is proposed in this undertaking, much 
 more was intended for a Fourth Volume, to lead the student to the expression of 
 particular effects in nature, as reflections in still and agitated water, winter and fog, 
 moonlight, and several others ; with observations on the use and propriety of figures 
 and animals in landscape: hut this must be left to the public fiat.” 
 
 From this sketch of Mr. Kennion’s plan, it will appear to be sufficiently exten¬ 
 sive, and there is no doubt that it would have constituted a very valuable and useful 
 work. By the Proposals the Public were led to expect the First Volume in the 
 course of the year 1804. That it did not appear is well known, and the causes of the 
 delay have already, it is hoped, been satislactorily explained. It may however be 
 added here, that Mr. K. was always very anxious for the appearance of the work, 
 though the feeling that he could render it still more worthy of the patronage of the 
 
 
IX 
 
 Subscribers and Public, induced him to delay publishing it. However be bad, early 
 in 1809, made an agreement wilb the late Mr. Joseph Johnson in St. Paul’s Cburch- 
 Yard, to become the publisher; and he looked forward with the hope that he should 
 speedily enjoy his reward, not only from the sale of the work, but in having his pic¬ 
 tures belter understood, and more highly valued, in consequence of the principles 
 explained and enforced in his writings. But the impending stroke was nigh which 
 was destined to put an end at once to his hopes, his cares, and his labours. On the 
 14th April he left his house in his usual health. Probably feeling some indisposition, 
 he was on his return, and had got near home, when he suddenly fell in the street. 
 He was carried into a neighbouring house, and his family were informed of the acci¬ 
 dent in a few minutes ; medical assistance was of course soon procured, but in vain ; 
 life had tied for ever I A widow and four children, three of them of lender asje, were 
 left to mourn his irreparable loss! 
 
 As an Artist Mr. Kennion's chief merit undoubtedly was a close observation and 
 exact imitation of Nature. In Trees this work will suffice to shew how carefully he 
 had studied and how faithfully he had copied her. But it is not merely in Trees that 
 this is observable ; all his works evince the same characteristic. It was his leading 
 principle, that Nature, and Nature only, was to be exhibited—not meaning, certainly, 
 that she was not to be improved, and set off to advantage, by selection and arrange¬ 
 ment, and her charms heightened by effect; but that truth of representation was never 
 to be violated for the sake of effect. He entirely condemned those Artists who, if 
 they can but produce something that will strike the eye, are careless whether the 
 appearance is such as may exist in nature or not. He always maintained that effect 
 might he produced consistently with true representation; and it is apprehended that 
 he established the correctness of this opinion by his own practice. Oil painting he 
 seldom attempted, and in the earlier part of his professional career, as has been already 
 noticed, he did not pay much attention to colour, aiming rather to produce a true 
 effect independently of colour; and many excellent specimens exist in Indian ink and 
 black lead, to shew the perfection which he had attained in these modes of represen¬ 
 tation. The decided taste of the Public for beautiful colouring, and the example of 
 some living Artists who excel in this department, united with the considerations 
 before mentioned, at length compelled him to attend to it more particularly; and 
 his later productions shew that here also he was eminently successful. Though exe¬ 
 cuted in water colours, they have the force of oil paintings. It is to be regretted that 
 he has not left a greater number of these his best pictures. 
 
 It only remains to say a few words of him as a man. Ilis disposition was benevo¬ 
 lent and friendly. In his domestic relations he was amiable. He was fond of children 
 and of young persons, especially those in whom he discovered any latent talent 
 
X 
 
 for his favourite pursuit; and he knew how to attach them to him as an instructor 
 and a friend. His conversation in general society was agreeable, and mixed with 
 lively sallies, which promoted cheerfulness and good humour, occasionally checked 
 perhaps, but not overcome, by a sincerity bordering on bluntness, and by some 
 singularities of manner, the offspring of negligence and simplicity. To his other 
 qualifications was added a turn for Poetry, which was shewn in his earlier years, in 
 the production of some small pieces for the amusement of his friends; but it is not 
 knowm that any of his verses were ever printed. He had also cultivated a taste for 
 music. In his estimate of his own powers he may have leaned a little too much 
 (to use an expression of his own) towards the side of self-approbation; and in his 
 criticisms on the works of other Artists, he may have been rather dogmatical, and his 
 censures too general and indiscriminate; for if they violated the fundamental rules 
 which he deemed essential, he would scarcely allow them any merit, however well 
 executed they might be in other respects. On the other hand, he was liberal of 
 praise where he thought it was deserved. His habits were simple and frugal. He 
 was not deficient in application; but it may be doubted whether he possessed that 
 disposition to an undeviating pursuit of his object, and that prudence in propor¬ 
 tioning ends to means, which are absolutely necessary to success in every worldly 
 undertaking. Perhaps some of his disappointments in life, may have arisen from 
 failings of this nature. A frame which, though small, was muscular and active, and 
 habits of general temperance and sobriety, might have led to the expectation that his 
 life would liave been prolonged to a good old age. But Providence ordered it other¬ 
 wise : and however we may lament that he was prematurely taken away from his 
 family, and that much of his long labours is lost, there is consolation in the hope that 
 such part of them as is herewith presented to the world, will prove a monument to 
 his name, and a source of comfort to his widow and children. 
 
AN 
 
 ESSAY ON TREES IN LANDSCAPE, 
 
 &c. 
 
 SECTION I. 
 
 INTRODUCTORY OBSERVATIONS. 
 
 A TREE is generally thought to be an object so fully delivered over 
 to the will of the Artist, and so little depending on any determinable 
 character of lines or forms, that it may be represented in any 
 manner, run out in any direction, or patched and mended in 
 any way that may seem convenient. This may indeed be true of 
 the common splotches which go by that name ; but of Trees on the 
 principles of nature it will be found that the reverse in every parti¬ 
 cular is the truth; and that no objects whatever require so much 
 vigour, decision, and swiftness of execution, or can so little bear re¬ 
 touching, ragged and smeary daubing, or any thing that shall 
 muddle or injure the rich transparency and lightness for which the 
 foliage of Trees is so peculiarly remarkable. 
 
 Nor are Trees more difficult of execution than they are important 
 in the composition of Landscape. Other objects require accompa¬ 
 niments, Trees can stand alone. A lake, for instance, without wood 
 
 B 2 
 
2 
 
 or any great objects to give it character and variety, would appear 
 uninteresting; l)ut where the hanks are hold, rocky, and mountain¬ 
 ous, or clothed with wood, and the surface not very extended, the 
 water becomes beautiful, both from its transparency and the happy 
 contrast a reflecting horizontal surface makes with the elevated 
 landscape. Water, in itself, is hut little pleasing, recpiiring accom¬ 
 paniments to give it beauty. Rocks and mountains in like manner 
 both give and receive beauty by their junction with attendant ob¬ 
 jects, and especially with wood. Mountain scenery may indeed he 
 grand and sublime, hut can scarcely be beautiful when deprived of 
 this accompaniment; and how tame and poor does a flat country 
 appear without it! Trees only are rich and beautiful independently 
 of foreign assistance. 
 
 Yet important as trees are in the composition of landscape, there 
 is nothing in the representation of which .Artists more frecjuently fail. 
 Trees are, in fact, the general stumbling-block. We may often see, in 
 drawings, every thing tolerably done hut them. In the best prints, 
 when foreground trees fall against the sky, we usually see the 
 upper and lower edges of the foliage of the projecting branches ex¬ 
 hibit the same touch; the tufts of one standing formally upward, the 
 other reversed or downward; both marked with equal strength, and 
 both at the same distance from the eye. Even the best jximfers of 
 landscape have not generally given horizontal hi'eadth to the masses 
 and branches of their trees, but have made the upper and under parts 
 equally distant, like a fan or a feather. Sometimes we may observe 
 the leafing of trees at different distances, with regular partings be¬ 
 tween them, as if cut with shears, and made to answer each other 
 like the teeth of a cockle shell, instead of the nearer passing natu¬ 
 rally over the more distant. This tasteless and ignorant practice is 
 
3 
 
 not uncommon even in Claude, anti appears in every landscape I 
 have seen by Titian. The difFerent distances being of the same 
 force and finishing, the trees would not be distinguished from each 
 other without this curious contrivance. 
 
 Those who chiefly wish to catch the eye by effect, generally avoid 
 trees as much as possible, especially as principal features, Imt choose 
 large objects, as masses of building, rocks, mountains, &c. which, 
 besides the advantage of requiring less knowledge, and far less 
 previous labour in the Artist, are also, for the same reasons, more 
 generally understood and noticed by others. Trees, however ex¬ 
 cellently and beautifully performed, if they have not siiperadded 
 the beauty of effect, will attract no notice from observers of this 
 class; and with such, if some striking effect is contrived to be given, 
 it is no matter how execrable may be the execution of objects them¬ 
 selves. When trees are introduced to aid the effect, they are usually 
 lumpish and massive—character and lightness would injure the in¬ 
 tention. But trees very well executed and rich, are capable of be¬ 
 coming line principal objects, with beautiful effects. 
 
 When we hear people talk of and commend what they call the 
 broad style of trees, which usually means great round lumps or 
 masses of one colour, it imports no more than the approval of what 
 is within their own powers and capacities ; this broad or lumpish 
 style is a constant subterfuge for complete, and sometimes conscious, 
 ignorance and insufficiency; and serves as a convenient cover to 
 these defects. It is in fact no style or character, because no like¬ 
 ness of any thing existing; but it is always pleasing to those who 
 love to talk about picture, yet who really feel and know nothing of 
 it. An example of more total deadness to nature, beauty, and the 
 poetic, probably could not be given. It happens most favourably 
 
4 
 
 for tills bold pretence that any one is equal to it; for it is a manner 
 which may be easily acquired without knowledge or abilities of any 
 kind whatever. Such a recommendation as this could not be over¬ 
 looked, nor fail of procuring numerous partizans, who wisely give 
 consequence to Avhat so well suits their purpose, under the grand 
 title of the broad style, though as far distant from the true broad, 
 as it is from the natural. As a further aid to the same design, these 
 amateurs attack every attempt at the rich expression of natural 
 foliage by the appellation of Minute. One can only wonder that a 
 trick so barefaced should ever become a deception; the general 
 ignorance alone explains it! 
 
 The estimation in which trees are held, has, however, induced 
 many daubers, for effect, to endeavour to attain to something like a 
 tolerable execution of them; hut as it cannot he got without great 
 labour, these attempts must generally end in nothing; and the disap¬ 
 pointment will produce endeavours to lessen their value, and to sub¬ 
 stitute vague notions in the place of expression. This explains the 
 ready acceptation which any mechanical device meets with for the 
 general expression of a tree, as it promises something without pains; 
 hut the application of any mechanical device, which brings with it 
 no regular principle, and must be made all in the dark, only serves, 
 in truth, to make absurdity and incapacity more conspicuous to taste 
 and knowledge. 
 
 Of the several methods in use to manufacture trees, that of repre¬ 
 senting them by a multitude of dots is the worst, and shews the 
 most entire ignorance of nature. This practice arises from imagin¬ 
 ing nature instead of studying it. The Artist knows that a tree is 
 composed of an indefinable number of small parts or leaves, and 
 therefore concludes that a crowd of dots or minute touches will pro- 
 
duce the like appearance. But success can only be obtained by 
 thinking of and understanding the nature of general expression, by 
 means apparently unlike the lines and parts of the original.* 
 
 A well executed drawing of a tree cannot be exactly copied even 
 by its author, because it will seem to consist of almost evanescent 
 imagery, and to contain hardly any palpable or determined parts 
 to lay hold of; and in contemplating them they will seem to evade 
 the attention. No possible means can be found, therefore, for copy¬ 
 ing these objects, so far as to learn their characters and the nature 
 of their parts, but by reducing their smaller masses into a describ- 
 able, and therefore teachable form, which gives the attention some¬ 
 thing to fasten on; and from which, as a germ in a suitable soil, 
 the idea will grow into a favourable whole. The necessity of some 
 such process has suggested itself to Artists at different periods ; and 
 many attempts have been offered to the public under the title of 
 “ Characters of Trees,” from which, if any thing practical can be 
 learned, must be determined by those who have made the trial. But 
 whatever may be the value of the publications in cjuestion, it is con¬ 
 ceived that what is here offered is not precluded by any thing that 
 has yet appeared on the subject. 
 
 The difficulties of acquiring a just and masterly execution in this 
 branch of representation, are great; but the labour of practice and 
 attention necessary to produce beautiful trees, in their natural cha¬ 
 racters, has, however, this prospect held out as a reward, that no 
 line of art is so new and unbeaten, nor is there any that can afford 
 so much of that appropriate excellence which may be considered as 
 
 Trees are sometimes seen built like a house in several stories, with a few strokes between each for 
 boughs. This, like dotting, shews the absence of all ability. 
 
6 
 
 shared with very few persons. To produce the lightness and airy 
 play of foliage, according to the character of the tree, without 
 dotting, or flutter, and at the same time, the masses of tufting with¬ 
 out heaviness, is what has never yet been taught in draw'ing, and 
 has very seldom been performed by the pencil in any way. If trees 
 were capable of being comprehended within any determinate line, 
 as a figure, or a house, they would, doubtless, be as well understood in 
 practice as those objects; but as trees, to which we may add bushes 
 and rough grounds, do not come within any of the established rules 
 of drawing, but are executed by means entirely different from all 
 linear objects, and of very difficult attainment, they are of course but 
 little known in picture. 
 
 SECTION II. 
 
 GENERAL OBSERVATIONS ON THE CHARACTERS OF TREES. 
 
 Every species of tree has a character of its own, which is clearly 
 preserved through all the infinite variety of forms to which the in¬ 
 dividuals are subject. This distinct character also exhibits a very 
 remarkable variety in itself, according to the several stages of 
 gi'owth; the vigour of a full grown tree displays a general cast and 
 appearance very diffei'ent from that of its youth, and the decline of 
 old age has a fashion of its own, greatly varying from them both. 
 Further varieties are observable arising from situation ; such as in 
 woods, clumps, or standing single, either in exposed or sheltered 
 
7 
 
 places ; from the Elements and Seasons ; from lopping also, and 
 other accidents to which trees are liable ; yet, under all these cir¬ 
 cumstances, there is still, on every tree, the stamp of its kind, by 
 which it is instantly known from all other kinds whatever. Hence 
 arises indescribable beauty. Yet in the numerous productions of the 
 pencil presented to the public, we see hut little attention to character 
 in this particular. Frequently we find a stem, with some crooked 
 waving poles stuck in it for branches, on which are placed the like¬ 
 nesses of fox tails, feathers, mops, brooms, or cauliflowers, of several 
 figures and sizes, by way of leaves, intended to represent a tree. 
 Even in works of superior merit it is hut seldom that we see more 
 than a representation of trees in general, without the pleasure of 
 being able to name the particular kind of each ; and many instances 
 might he pointed out, in the works of the highest artists, wherein 
 a tolerable likeness of parts of several trees appears joined in one, 
 as the trunk of one species, the branches and leafing of another, and 
 perhaps the general figure of a third : nay it is very common with 
 those who pretend to be masters, to make one side of a tree a con¬ 
 tradiction to the other. These absurdities pass as right, and are 
 taken for true descriptions of nature, because the general taste 
 is formed from pictures rather than from the originals in nature. 
 Every one can tell what a tree is when it stands before him, hut 
 the number is comparatively small who examine inlo that which 
 constitutes the respective appearances of each kind. 
 
 Whence proceeds the unwillingness we observe in Artists to ex¬ 
 press the characters of trees, and the desire they discover to depre¬ 
 ciate in the public mind the value and importance of the object, 
 or to condemn it altogether, as a practice not to he found in, and 
 therefore not belonging to, the grand style? The difficulty of the 
 
 c 
 
8 
 
 expression, though confessedly great, hoth from the defect of taste 
 for this branch of art, and the want of means by which it may be 
 learned, Avould not deter them from the attemptj but it is because 
 they can dispose of their splotches without any consideration of 
 beauty, expression, or truth ; and the historic, or grand style, is the 
 bait thrown out to catch the dilettante gudgeon. 
 
 We think it necessary in painting to make the clearest distinction 
 between a Cow and a Horse, while an Ash and an Elm are depicted 
 under the same general scrawl called a tree, though the characters 
 are as different and as obvious as in animals. And why are not the 
 characters of trees as necessary to be observed as the characters of 
 animals, or of men? In a landscape they are of more importance than 
 either of those classes of objects. The question has often been asked 
 without receiving any answer more satisfactory than this, “ that it was 
 not done by any of the principal old painters. A better argument 
 could not be adduced to prove the advantage and necessity of afford¬ 
 ing to landscape this vast improvement, of diffusing over the work 
 the true impression and character of each species of tree, as well as 
 of every other object in nature. But the Artist well knows that this 
 most difficult study and execution may be dispensed with, since any 
 sign of a tree will just as well satisfy thepublic as a correct delineation. 
 It is certain however that he who gives not the distinguishing charac¬ 
 ters to the great productions of nature^ can have no right to the title of 
 a landscape painter. Trees are the first features of landscape, because 
 the most necessary in it, and they are among nature’s noblest objects. 
 It must therefore he as important to give every tree in the nearer 
 oTound its own distino uishins; character, as it can be to discriminate 
 
 O O O 
 
 between any two objects whatever. When further removed they are 
 blended into masses, which also have their characters. 
 
9 
 
 To attempt the representation of forest scenery without distin¬ 
 guishing trees, or giving the sort intended a decided description, is 
 a pretence without power; and seems such an imperfection as the 
 comedian would exhibit who should only speak his part without 
 an imitation of the character he personates. In all other subjects 
 the painter thinks the nicest discrimination necessary; this alone has 
 been generally neglected, though attempted by a few Artists. But 
 the reasons are clearly the difficulty of the undertaking, the want 
 of a guide to it, and the public ignorance of this particular branch 
 of art. 
 
 Of the works published as characters of trees it becomes not me 
 to speak. The sale of them is at least a proof that the public is in¬ 
 terested in the subject, and desirous to get information on it. Several 
 of the imitators of Barret have acquired a general smattering in these 
 characters, but, as it must necessarily he the case with all who imitate 
 without the solid ground of principles, the dead letter only is the 
 object of attention, and the worst parts are brought forward into 
 chief notice. 
 
 The late George Barret, R. A. was the first artist, whose works 
 we are acquainted with, who ever truly felt the characters of trees, 
 or who arrived at even moderate success in the expression of them. 
 Yet his productions, though abounding with rich and just concep¬ 
 tions, do not afford that species of trutlj whicli offers a clear guide 
 to the copier. They have too much of the spirit, and too little of 
 the letter, for that purpose. For this reason, his imitators have 
 never appeared to go beyond a loose smattering in this part of art, 
 since the mere dead letter only of his works is capable of imitation; 
 and this contains many errors as well as excellencies. To have gone 
 further, the mind and feeling of this original Artist, must have been 
 
 c ■ 2 
 
10 
 
 o-iven to the follower who chose him as a model. The Artist who can 
 
 ft 
 
 profit by good hints, and distinguish between them and falsehood, 
 mav reap much advantage from the works of Barret j hut to con¬ 
 sider them further than as valuable matter to select for occasional 
 use, would only be to propagate error. He was extremely unequal 
 in his productions, and his best often abound with absurd and con¬ 
 tradictory appearances and combinations; but these were generally 
 tempered by his taste and fancy in a manner that will not he ac¬ 
 quired a copier. 
 
 The playful charm of character in trees may be felt, and afterwards 
 acquired ; but not without the Artist first becoming master of the 
 principles on which character is founded. These have hitherto I 
 believe been unknown, or have not been published; and their use 
 is similar to that of all language, to enable those who enter fully into 
 the subject easily to express the ideas they draw from nature, and 
 to translate the true meaning of the inimitable original. 
 
 To attempt to teacb the representation of the characters of trees 
 by a few indefinable flourishes or scrawls commonly called huiidhiig, 
 can be considered in efl'ect as no other than an imposition on the pub¬ 
 lic. For if these scrawls should chance to possess some remote allu¬ 
 sion to the subject intended, they are nevertheless not reducible 
 to any descriptive form or manner capable of conveying instruction, 
 or of enabling others to execute a similar subject: and if they 
 could be imitated, the acquirement would be of no use, because it 
 could furnish no clue, or ground to ])roceed on, towards the study 
 and knowledge of nature. The playful and undefinable touch of a 
 master, although it should possess the strongest stamp of character, 
 is totally unfit to afford information to a learner, or in the least degree 
 offer a practicable subject of imitation. Ts othing can ever become 
 
11 
 
 a good lesson, that is not some how reduced into determined or de- 
 scrihable forms, for over other subjects imitation can liave no possi¬ 
 ble power; and for this reason, I have endeavoured to give, as much 
 as could he without losing character, to the examples herewith of¬ 
 fered, a portion of that practicable determination, which alone ever 
 was or can be copied ; and on this account it is that 1 have en¬ 
 deavoured to deduce the subject from first principles, for a study 
 that has clearly eluded the art of every practitioner down to the 
 present age, needs every help that can possibly be furnished. 
 
 Trees are among those objects of which the whole world could 
 not teach the execution, except the pupil were enabled by his nature 
 to receive and to nourish that class of impressions, (that is except 
 the soil were fitted for the seed); but in all cases he may he made to 
 understand them, to conceive of what excellence in them consists, 
 to distinguish their characters; and, though he do not produce them, 
 to receive by this instruction several essential improvements both to 
 his taste and understanding. 
 
 No person can he equal to suggest a just representation of trees, 
 hut one who possesses from natui'e the power of receiving very strong 
 vivid and characteristic impressions on memory, to he executed after 
 departing from the actual view of the objects. For no artist ever 
 did produce this happy representation by the actual imitation of 
 what he sees in nature, nor is it possible that he ever can. d hrough- 
 out my extensive experience I have not seen an instance of one 
 who went immediately and headlong into the imitation of nature, 
 without having learned to execute, that did not contract a mean and 
 trifling manner, because the attention had been directed to parts in¬ 
 stead of character. A strong and active genius, possessing due sen¬ 
 sibility, will indeed rise out of the error, from the impossiljility that 
 
12 
 
 such a mind can stop and be satisfied with it, but with i-espect to 
 the bulk of practitioners the chance is certainly much against them. 
 
 In passing a tree swiftly, as in a carriage, we get a better idea of 
 general tendency or character than when standing before it for 
 several hours. The first imjjression, which in such a circumstance 
 is the only onethatcan be given, is that on which we must chiefly rely 
 in a representation. Every other object consists of known and defin¬ 
 able parts, capable of clear and decided imitation, but trees, shrubs, 
 and aggregates of vegetables, offer not this advantage, and an at¬ 
 tempt with these to imitate or copy, would effectually destroy the 
 intention. Of trees the infinity perplexes, and the variety eludes 
 distinct and specific selection ; therefore nothing can be accom¬ 
 plished successfully in these subjects but from impressions, which 
 necessarily imply a capacity to receive them, and by innumerable 
 trials, which as clearly recjuire patience, and an unextinguishable 
 love for the subject itself. No other disposition ever acquired 
 the expression of trees, and as we often find industry and a general 
 love of the art, but very seldom the capacity for receiving the neces¬ 
 sary impressions, few of course ever did or ever will attain facility 
 and feeling in this department of painting. I have been able to 
 teach some persons to copy a tree already drawn, but such is the 
 nature of this species of representation, that very few have been 
 able to produce one tolerably of themselves, because there is so 
 much in trees wholly indescribable. The mere mechanical form of 
 the touch may be caught without any great ability ; but the appli¬ 
 cation of it to a good original production I have found to be so very 
 rare, as scarcely to be expected in any but those whose minds nature 
 has peculiarly fitted for this kind of conception. 
 
 lo judge of the character of a tree as awhole, the object must not 
 
13 
 
 be very near; because the small parts are then too visible, and the 
 eye is engaged with their peculiarities, which form a distinct cha¬ 
 racter, generally very difl'erent from the other, and producing flutter. 
 But the eye must he so fiir removed as that the smaller parts are 
 seen together, in the first division of masses called tufts, and these 
 again contrilmting together to produce the next large divisions, of 
 projecting branches, &c.—by which means the whole object comes 
 within the picture.—Or, as a French writer has recommended,* in 
 studying trees, to get the first idea of character and tendency, let 
 the spectator stand so near a tree as to distinguish its leaves; then, 
 going backwards till the small parts are invisible, mark the general 
 tendency of those parts which are distinct, that is, the tufting, &c.; 
 by going further back till these are lost, the character of the greater 
 parts should be observed, and so on to the whole.'j' Thus if a tree 
 has any distinguishing characteristic, it will admit of a clear and 
 decided expression with the pencil. On the foreground the painter 
 is to express the smaller parts or tufting, more removed, the next 
 parts or masses, which are aggregates of the tufts; further distant, 
 he is to express only the whole. 
 
 Trees when agitated by storms of wind are driven into a new 
 character, and so clearly marked, that many painters who never 
 could have executed any tree in its quiescent state, have been able 
 to succeed tolerably with some of them in this situation. 
 
 ^ Principes du dessin dans le genre du paysage, par le Prince. 
 
 t It will be perceived that the examples accompanying this work have been formed on this idea. 
 
14 
 
 SECTION III. 
 
 PRACTICAL OBSERVATIONS AND DIRECTIONS. 
 
 Trees are difficult to teach, because it is impossible to convey any 
 idea of them by linear rules. Whoever obtains a correct know¬ 
 ledge in the representation of trees, must receive it from feeling the 
 habit and character of the kind meant to be exhibited, totally in¬ 
 dependent of particular forms or systems of lines. A specific touch 
 arising from this mental picture will always produce truth, and with 
 a picturesque fancy will grow into beauty. 
 
 To express character the things to be known in each kind of tree are, 
 first, the style of its stem and branching, next, of its tufting, and lastly, 
 of its general form. The branching and general figure, though in¬ 
 finitely varied in each kind, nevertheless preserve the same charac¬ 
 ter throughout. The shape of the leaves has nothing to do with 
 character. 
 
 The branching, in its true quantity and character, is one of the 
 chief beauties of trees, and should be the first object of study in 
 each kind before the foliage is attempted. It is not necessary to 
 determine every minute spray, but only so many as may serve to 
 give a general idea of the species. This is a thing not sufficiently 
 attended to ; most painters when they have got one style of branch¬ 
 ing apply it equally to all trees; but the branching of the different 
 kinds is essentially different, and no circumstance is more charac- 
 
15 
 
 teristic than this is, so that he who has only one style of branching 
 for every tree must fail in delineating character. Care must also he 
 taken to make the branching of each particular tree consistent with 
 itself. Branches for instance, that have a general upright tendency, 
 making small angles with the stem, would be absurdly contradicted 
 by others suddenly breaking out horizontally, especially near the 
 top. 
 
 Nothing in the representation of trees is more common than an 
 extreme shyness of branching, the subject being almost generally 
 unknown ; so that we often see great heads and masses without any 
 support. Branches seen give lightness to trees, and prevent a heavy 
 massiveness, which they have when entirely clothed with leaves. A 
 tree with leaves feathering to the ground, and hiding all its branches, 
 cannot be picturesque, except from very happy forms in the masses 
 or from contrast. A tall elm, oak, or other tree whose branches 
 are not pendent, standing near the eye, shews the under sides of 
 all the bold projecting parts that are above the horizontal line; all 
 the ramifications are discovered meandering under the leaves very 
 beautifully. This effect, though universal in trees on the nearest 
 ground, is scarcely ever attempted in pictures or prints, but the pro¬ 
 jecting parts are generally expressed as if beneath tlie eye, their 
 lower edges trimmed round like the flounce of a garment. 
 
 Trunks of trees are often well executed in prints, particularly of 
 old or full-grown trees, which have the strongest character. This 
 part of the subject is capable of some determination, being included 
 within lines tolerably well defined, and having parts clearly distin¬ 
 guishable by their forms, which has made it of easier attainment; 
 but I have not observed the kinds discriminated by their trunks, and 
 the character of the smaller branching is universally mistaken. 
 
 u 
 
16 
 
 Trees in their trunks, and also in their branches, do not diminish 
 as the carrot does by visilde tapering, Init by parting or division ; 
 the trunks into arms or boughs, these into branches, &c. the dimi¬ 
 nution is very little before the division takes place * 
 
 There are particulars in trees that frequently occur, which, though 
 they may not he uncharacteristic of the kind, yet ought to be care¬ 
 fully rejected in picture, as exhibiting only deformity; such are all 
 perpendicular shoots tending either upwards or downwards. Every 
 part of a tree should speak the same language, for the branches and 
 leaves in each part have the same general tendency, and are not in 
 opposite directions, as if one place was ruffled by the wind, and 
 another quite calm. 
 
 The examples of trees without leaves given m this work, are in¬ 
 tended to shew the student the different character of branching 
 which each kind assumes. After attending to these, he may with 
 advantage, and doubtless will, pursue the study for himself in 
 nature. 
 
 The tufting is the next object of study. “ A tuft is a little bundle 
 or aggregate of leaves growing together on one general stalk, and 
 thus making a distinct part. In oak and ash these are surrounding 
 the termination of the stalk ; in elm, along its whole length.” Here 
 it will be necessary to observe the prevailing tendency of the leaves, 
 particularly when they are gathered in large parcels or masses, when 
 they will he found to favour some certain configuration, in every 
 tree according to its kind, from which it never departs; and there is 
 a form of touch that will accord with each of them, and express its 
 character in a surprizing degree, and no other form will reach the 
 intention. This happy touch therefore is the painter’s object of at- 
 
 * Some of the pine tribe are an exception. 
 
17 
 
 tention, and, should his own feelings have the necessary sensibility, 
 he will have the truest information whether or not it is obtained. 
 But It must derive from exercise that readiness and variety by which 
 the drawing will ajiproach perfection. 
 
 Mr. Conyngham, of Ireland, celebrates an artist who, in order to 
 be exact in the representation of trees, drew the first by a leaf, and 
 so upward to the whole tree, by measurement! Any person who 
 ever felt or conceived even the most imperfect notion of this subject 
 would think such an attempt impossible. All minute attention to 
 the leafing of trees and drawing the shapes of leaves in the tufts is 
 a capital error. These shapes are lost in appearance at a very little 
 distance, though the form of the tuftings continues to be distin¬ 
 guished, and these forms it is the painter’s business to study. The 
 outward edges of the tree exhibit tbe tufts very clearly if a stron» 
 contrast of light or shadow comes beyond it. The lights in the 
 inner parts, when left on the paper, are of a somewhat different cha¬ 
 racter from the extremities, particularly in ash; the reason of which 
 IS that these lights are the aggregates of many tufts fore-shortened 
 into one mass, particularly near the centre: at the extremities, 
 against sky, &c. the tufts are seen singly. 
 
 To copy the lines and parts which we see in a tree would produce 
 an image entirely unlike the original, or which would impress dis¬ 
 similar ideas ; so that seeing nature is very far from furnishing the 
 means of imitation: but, on the contrary, unless we previously learn 
 to execute by general expression, our efforts to copy nature will 
 prevent, ratber than facilitate, this desirable power of art, and pro¬ 
 mote all tbe trifling minutiae, and labour after parts, so common in 
 tbe productions of subordinate artists. On the scale of a drawino- 
 reduced so much below the size of the original, the lesser parts and 
 
 u 2 
 
18 
 
 shapes In trees become wholly invisible, or do not reach the thick¬ 
 ness of a pencil line. An attempt therefore at particular imitation 
 would produce a confused and disgusting- scrawl, devoid of that 
 expressive unity, or general intelligence, which alone can give value 
 to representation. Thus it appears that the smaller we make our 
 drawing or picture, the more must the expression be thrown into 
 general hints; which operation will he found to require the greatest 
 judgment and experience. 
 
 As the specific touch of trees, or the character of the tufting, is, 
 as I have before observed, more distinctly seen in the terminations 
 of the branches, and therefore seems to call for the learner’s more 
 particular notice, this circumstance commonly occasions a solicitude 
 for the exact expression of these parts; and of consequence produces 
 a stiff harshness, in a starry or horny form, and makes the termina¬ 
 tion darker and more rigidly marked than the connecting masses 
 which join them to the body. This error requires long practice to 
 surmount, for the termination being only the natural ending of the 
 tint or mass, must be executed with great ease, to preserve its proper 
 place and colour. 
 
 It is common for artists to make the edges of their trees, in co¬ 
 lours, lying against the sky, faint and transparent, when the centre 
 parts of the same tree are dark and strong, to fit them to the fore¬ 
 ground. This practice gives the idea of the different parts belong¬ 
 ing to different objects, as such an effect could not subsist in the 
 same object. The intention is evidently to produce the appearance 
 of roundness by bringing the centre nearer to the eye, and throw¬ 
 ing the extremities further off; but the end is entirely defeated by 
 the means; for roundness requires an union of parts to one purpose, 
 while a total separation is the effect of this practice. Another idea 
 
19 
 
 meant to be conveyed by it is that described by the undefined term 
 of “ melting into sky, or into distance,” a notion founded in mis¬ 
 conception; and wholly contrary to all the habits and appearances 
 of nature. 
 
 The execution of the touch for expressing trees, depending mate¬ 
 rially on the dexterity of the hand, must be learned from such prac¬ 
 tice as shall produce the utmost facility of performance, before the 
 conceptions of the mind can be embodied into picture. Every tree 
 (as well as every other subject) must first grow in the imagination 
 before it can possibly grow from the pencil; but the mind would be 
 disturbed, and utterly disabled from producing a beautiful object, 
 if the attention were tube engrossed by the operations of the hand. 
 If, when a thought is conceived, we were occupied by a search into 
 the means of expressing it, no writer or speaker could hope to afford 
 pleasure, or move any kind of affection in others. So the hand ought 
 instantly to perform whatever is determined by the mind, as if me¬ 
 chanically, free from the least doubt or embarrassment. In every 
 part of the art this is a necessary requisite to a masterly perform¬ 
 ance ; but particularly in trees, which above all things require a 
 prompt execution, and are in their nature incapable of a slow or 
 constrained performance; for no degree of knowledge or judgment 
 can produce a good tree without this manual dexterity. 
 
 The habits and characters of trees, for picture, must be confined 
 to the general expression, that is, the expression which alludes to, 
 rather than particularizes, the idea; and this, if it be not perfoimed 
 at once, in all probability, will never be accomplished by repetition. 
 The pupil, therefore, should first attend to the touch, or character¬ 
 istic manner, until it can be performed with ease ; not at the same 
 time noticing the general form, or the beauty of figure, which being 
 
20 
 
 an object of taste, and entirely abstracted from manual operations, 
 cannot become a subject of study along with them. Trees, in com¬ 
 mon with water, cannot bear repetition, or retouching, because they 
 both have motion; but the lightness and peculiar character of foliage 
 are entirely destroyed by it. 
 
 Two dilferent manners, or modes of touch, can no more express 
 the same tree, than two different countenances can the same person, 
 and the different degrees of excellence in the expression of any tree 
 will be as that manner which belongs to it is ably or meanly per¬ 
 formed. No artist can become a mannerist by the observation of 
 this particular, unless we might ecpially accuse him of this defect 
 who should carefully observe anatomy in \\\s. figures and animals-, 
 and though artists and others, who have long practised their own 
 particular modes of expression, may possibly decry, and endeavour 
 by all their means to prevent the reception of an idea which must 
 so greatly lessen the value of their own labours, yet there is no 
 doubt that increasing knowledge will confirm and advance a prac¬ 
 tice which has its principles rightly founded. But it is very certain 
 that the public acquiescence in this notion, that each master may 
 properly, and, in fact, ought to adopt a manner in landscape pecu¬ 
 liar to himself, is the most convenient to professors that could have 
 been imagined, and particularly to the emoluments of the teacher. 
 It brings the lowest attainments to a level with the higher produc¬ 
 tions of art; it makes every man’s base metal pass for sterling; for, 
 while a few unmeaning flourishes and daubs answer every desired 
 end, it seems worth no person s pains to aim at any thing superior. 
 Few persons comparatively are qualified either to study or to ex¬ 
 press nature, but almost any artist may invent some peculiar mode 
 of representation; and, however unnatural and absurd, if he has 
 
21 
 
 taste enough to exhibit it in a good style, or, as connoisseurs express 
 themselves, with a good effect, it is received as an excellence, and 
 called “ such a ones manner.” But this seems directly contrary to 
 the very design of landscape painting, and to the only circumstance 
 that can render it at all valuable as an art, which is to exhibit the 
 truth of nature in her best appearances, though not always the fact, 
 which has a constant tendency to a stiff and dry execution. If there 
 be an excellence that is not natural, it must he entirely imaginary, 
 and altogether without use (except the laws of effect), since there 
 is nothing to which it can be referred, or by which it can he judged. 
 When the characters of nature are once known, all besides is de¬ 
 rived from the mind of the artist. If he possess an elevated capa¬ 
 city, he will paint in a sublime style, and an air of superiority will 
 appear in his objects; but still they will be nature, and the truth 
 observable in them must be the foundation of all rational pleasure. 
 
 Whoever has successfully imitated nature must himself in some 
 degree be imitated by others, or they cannot arrive at an execution 
 equally successful, except by the imitation of something as near or 
 still nearer the truth. The conceptions of form, combination, and 
 effect, must be your own; all that is poetical in the art must be 
 original, or it cannot fail of sinking into littleness of manner. A 
 bold manner; a feeble, a correct, a negligent manner; a delicate, a 
 hard, a minute, or trifling manner; all necessarily arise out of the 
 character of the artist, though each may have learned the same mode 
 of execution, as far as concerns habit. The artist who designs but 
 one kind of tree is more a mannerist than he who gives each its own 
 character. 
 
 Throughout one tree the character of the touch for tufting must 
 be as much preserved in size as in form. The size is to be in pro- 
 
portion to the tree; and there should be a due proportion also be¬ 
 tween the leafing and the branches that are to support it. A variety 
 in the touch is to be attended to between the extremities and the 
 inner parts of the same tree, because the Iprmer are in general against 
 a light, and the latter form masses of light."* The forms or tuftings 
 of light are to slope, as the general stroke for masses of shadow 
 slopes, to produce agreement of parts. To produce lightness, the 
 tuftings should be made to rest on narrow bases; that is, the top 
 spreading out further than the base. The touch in trees of any kind 
 (except the pine tribe) ouglit never to point, several strokes toge¬ 
 ther, directly upwards, or perpendicularly downwards. 
 
 If the parts of a tree be made too big for the whole, that tree will 
 be proportionably diminished in size. The true idea of the size of 
 trees is preserved solely hy the two principles of proportion and 
 due keeping according to their places in the picture. If leaves he 
 drawn, and their size marked, the tree in which they appear must 
 seem to be a small one, even on the nearest ground. A leaf bears 
 so small a proportion to a full grown oak or elm, that no common 
 sized drawing is large enough to contain such a tree when leaves are 
 distinctly represented. Moreover it is a very few leaves only that 
 are ever seen with a flat surface full to the eye; the most of them 
 are presented edgewise, and in numerous other directions. 
 
 I proceed now to make some observations on the general form of 
 trees. 
 
 Shape and connexion are in forms what orthography and con¬ 
 struction are in language; therefore false shape in any object, or 
 false positions in objects respecting each other, is in picture what 
 false spelling and bad grammar are in writing. 
 
 See page 17. See elementary Specimens, Plates III. VIIL and IX. 
 
23 
 
 Every kind of tree has its prevailing shape, and though these 
 may be infinitely varied in position, yet tendency and characteristic 
 shape can never be violated without offence to either taste or truth. 
 But how is the theoretic talker to become accpiainted with them, 
 who has thought of the subject only casually; whose technical 
 phrases are uttered by rote, and who can have no other pretence to 
 judgment than the faculty of sight, in common with the rest of 
 mankind? 
 
 It has been observed that the outward edges of the tree exhibit 
 the tufts of the leaves very clearly at some distance, especially if a 
 strong contrast of light or shadow come beyond it; hut at a further 
 distance the tufts are lost in the greater parts, or branches, which 
 also have their characteristic shapes. If therefore this general ap¬ 
 pearance is put on in the greater scale, how much ought it to he 
 preserved in the reduced size of a picture or drawing, wherein even 
 parts that are very visible in nature will be lost, if the drawing he 
 reduced in proportion? and no success can be hoped for in this bu¬ 
 siness if proportion he neglected. It is the general shape in the 
 representation of trees that discovers the genius of the artist, and 
 he may here give way to the luxuriance of his fancy in the elegant 
 freedom and looseness of the tufts and branching. It is this outline 
 or shape that at a certain distance chiefly distinguishes the kind of 
 tree, and, in the case of the opposite light, all else than this shape 
 is totally lost, the whole tree being a mass of even shadow without 
 variation of colour. 
 
 Independently of all considerations of character, which however 
 are never to be negleeted, the beauty of general form in trees is an 
 indispensable object to a good landscape painter, and distinguishes 
 real and natural taste from the affected, which cares only for the 
 
 E 
 
24 
 
 appearance llie whole picture makes at a distance from the eye. 
 But the greatest evidence of taste in trees is in the shapes of the lights : 
 these should be characteristic, without being still' and formal. It is 
 well to execute tbe larger masses first, whether of light or shadow, 
 and afterwards, the small light playful parts between them, and 
 along the branches. The expression of parts in the lights ought to 
 be more particularly characteristic, as they are more seen, and if erro¬ 
 neous more offensive, breaking the lights into disagreeable forms, 
 and distracting the eye by contradiction. But in the woiks of many 
 artists, if we ever find them with a light and airy appeai’ance, then 
 they are all alike, with broom or foxtail shapes; and when we do 
 not, whicb is the more general manner, then they are mere lumps 
 of wool or cotton, or sometimes even of stone. Heavy extended 
 shadows opposed to lights in trees, destroy lightness, and give the 
 appearance of solidity ; darks should be only recesses. 
 
 In the best engraved trees which I have seen, every part of the 
 leafing both above and below is equally finished, and therefore 
 equidistant from the eye. Trees in prints prove their Authors to 
 have been conversant, onlyin artificial nature, tame and regular, and 
 have greatly contributed to vitiate the public taste. 
 
 A portrait of a tree should always have general qualities, and 
 exhibit its particular or specific ones, only in the great branches 
 and style of the whole together, because, whatever its lesser parts 
 may be one year, they will probably be altogetber different ano¬ 
 ther. According to the seasons they will vary in degrees of luxuri¬ 
 ance, at one time appearing very full of leaf with large masses, at 
 another thin and open, shewing much more of the sky through 
 them, and double the number of branches. This latter state is 
 often a beautiful season for the exhibition of a tree, as vast masses 
 
25 
 
 of luxuriant foliage, hiding every part of their supporters, will 
 appear lumpish at a distance, without very masterly management, 
 and a very favourable general form. 
 
 In drawing a portrait of a Tree, the artist ought to stand at such 
 a distance, as, that he may see the whole without straining his eye 
 upwards, at a very wide angle from his natural horizon; for the 
 expression of projections towards the spectator, in that case, will 
 recjuire a curved surface instead of a flat one, as in down-hill, &c. or a 
 new horizon. But if the exact particulars of the stem he required 
 in the portrait, and the view be taken for a foi'eground object, the 
 top of the tree should be out of the picture. 
 
 In the portraiture of Trees, the branches are to he considered 
 as the principal object of the artist’s attention ; in composing a tree 
 to suit a landscape, it is a good way to draw the general shape and 
 mass of leafing, and to insert the branches afterwards. If a tree be 
 deformed in one point of view, it may be beautiful in another, and 
 that view should be taken, if a portrait be desired, which may best 
 set off the picture, although not seen from the station the artist 
 chooses for his sketch, A tree may have, and indeed commonly 
 has, projections and masses of disagreeable forms and inelegant com¬ 
 binations ; these it is the business of taste to improve, which will 
 mend the picture, without injuring the likeness of the scene. 
 
 A tree with a circular head cannot be beautiful. The circle is an 
 artificial figure, which, though capable of beauty in its place, is far 
 removed from it, when applied to natural objects in landscape. 
 This form may he often seen among pollard Oaks, and other trees, 
 where the axe has been exercised ; but nature of herself seldom pro¬ 
 duces any tendency to it. 
 
 In trees beyond the foreground it may he often right to begin 
 
 E 2 
 
26 
 
 with the head, and from the form, that offers, draw the branches 
 and stem, because, at a distance, the sky-line and general form, are 
 of more consequence than the parts which support them, and these 
 of course become incidental. 
 
 If two trees grow on the foreground with their trunks having the 
 same bend, or any way parallel, it would be highly injudicious to 
 copy them so, because these circumstances are no material part of 
 the portrait of a place ; bul they should be drawn according to the 
 rules of contrast, in order to produce beauty in that narrow and 
 confined spot, called the picture; and well-managed they will pro¬ 
 duce it. In fact, a tree standing singly, must have something 
 very happy in its form, if it is as beautiful as two or three standing 
 together, especially as two sometimes grow, with their butts close 
 together at the ground. 
 
 In the examples given herewith, the lights of the trees are treated 
 as they would be, when copying the subjects themselves, that is, 
 left on the paper, by means of a suitably adapted touch, and after¬ 
 wards working round them with shadow. A somewhat different 
 effect is produced by laying on light as in painting. In the first 
 mode, a proper distinction of character can be preserved, only when 
 the differences are very striking, as in Elm and Oak; but in paint¬ 
 ing, very slight differences may be immediately distinguished. 
 
 It is a mark of a great artist, that nothing in his work shall 
 appear superfluous. If any matter or touches of the pencil stand 
 singly in the piece, not aiding in any thing towards the general 
 expression or meaning, such matter is, in representation, equivalent 
 to redundant words, or bad construction in language. When the 
 ideas which the painter possesses are expressed, the piece is finished. 
 The least application of the pencil afterwards, tends to weaken and 
 
27 
 
 spoil the expression.—It also distinctly marks a want of clear¬ 
 ness in the conceptions of the artist, and evident confusion and defect 
 of judgment. If any set of lines or touches give a clear and deci¬ 
 sive idea, it proves there is a proper and natural connexion between 
 the parts, as of words in a sentence; and the want of this idea 
 shews the absence of happy and characteristic connection, although 
 the lines may join. Nothing in art shews the grandeur or the mean¬ 
 ness of the genius, the rich truth or barrenness of the taste, so fully 
 as the use and management of parts in painting. The selection and 
 display of these at once and unequivocally, fixes the character of the 
 artist, both in his poetic capacity and in his knowledge. Any line 
 or touch of the pencil, executed as an expression, without an idea 
 clearly conceived, will produce the same kind of nonsense, that the 
 use of random words would do, when there should be no thought 
 or conception of any kind to utter. 
 
 SECTION IV. 
 
 PARTICULAR OBSERVATIONS ON THE CHARACTERS OF THE 
 DIFFERENT SPECIES. 
 
 WERE examples of trees ever so well drawn for the use of the stu¬ 
 dent, they could lie of hut little advantage without a clear verbal 
 description of the principles, on which the manner of the expression 
 is founded. Many instances have occurred, where the hand by 
 
28 
 
 means of the eye alone, could produce nothing like a copy of a 
 tree or its parts; hut as soon as the principle was made known, 
 the power of imitation hecame immediate. In the more indescriha- 
 hle parts of art, as trees, an example without the principle, on 
 which it is executed, is as defective of information, as to write on 
 forms in painting, without any thing to which the eye can refer. 
 The following observations ai-e intended to explain this principle, 
 in regard to the dift'erent kinds of trees, of which examples are 
 given in this work. The difference between these characters, and 
 what is usually performed for trees, may perhaps, not be imme¬ 
 diately perceived by those who have not yet learnt to see; but it is 
 hoped, that the cultivated eye, which has surveyed nature with 
 attention, will acknowledge a closer resemblance to her in these 
 examples than is commonly met with in this department of art.’*' 
 
 Of the Oak. —The Elliptic Asterisk is the universal expression of 
 Oak. Almost infinitely varied, indeed, and modified, the touch 
 may he, under the direction of feeling and taste; but it must never 
 depart from that general character. But though the Oak never 
 departs from its starry character of tufting, it varies in the distinct¬ 
 ness with which this is marked. In a rich soil, and with a lai’ge 
 leaf, it is strongly impressed, and is visible at a considerable dis¬ 
 tances; but with a small leaf, and the foliage set thicker together, it 
 must be near the eye to be clearly distinguished ; but the pre¬ 
 vailing character remains the same, and the painter should know no 
 differences, hut those of kind and form, except in an individual por¬ 
 trait. Sometimes the smaller and terminating branches are bare of 
 
 * It maj- here be permitted me to mention, that several of my pupils have informed me, that without 
 having any previous knowledge of llie Asli-ixcG, thev have immediately known it, on going into the country, 
 after learning the expression of its general habit and character. 
 
29 
 
 leaves, with a close tuft at their extremities; at others the branches 
 are all richly clothed their whole length. The former circumstance 
 occurs, when the tree is not very flourishing, and is a disposition 
 unfavourable to picturesque beauty, as it makes a collection of dots 
 without that connection into masses so absolutely necessary, to pro¬ 
 duce harmony and effect. In this, and some other trees, considera¬ 
 ble varieties occur, in figure and disposition as a whole, from local 
 causes, as well as in the quantity and different degrees of size of the 
 leaves. But in all cases when the tree is seen near enough, the 
 character is found invariable, and this character or tendency the 
 artist ought most carefully to preserve. Sometimes, indeed, from 
 great luxuriance, the starry form appears round, so far differing 
 from its general elliptic character, to which this is the only excep¬ 
 tion. 
 
 The mere touch of Oak may be, and often is, mechanically 
 obtained; but what to do with it afterwards, in practical applica¬ 
 tion, has been, and must always be a difficulty, because it is unteach- 
 able, depending solely on intellectual perception or feeling, com¬ 
 monly known by the name of taste, which nature only can give; and 
 which, though it may be greatly improved, was never yet wholly 
 created or acquired. 
 
 The starry touch of this tree is practised by several masters, but 
 always in the mere imitation of leafing; and in no examples thatl have 
 seen, is there that indescribable play of art, which happily conveys 
 the peculiar habit, without any attempt at the tame expression of 
 parts, except in some of the works of the late Mr. George Barret. 
 
 The touch of Oak is applicable generally to bushes, and under¬ 
 wood of maple, and some others, but more slightly marked than 
 is taught for the Oak, particularly about the extremities, the form 
 
30 
 
 of growth being sufficient for any specific description these may 
 require. 
 
 Of the Elm. —In Oak, it has already been observed, the leaves 
 surround the termination of the stalk, in Elm they run along its 
 whole length. This difference gives a corresponding difference 
 to the touch. A wavy line will be found to express with great truth 
 the character of Elm, and of other trees, which like it, have their 
 foliage growing alternate along the sprays, terminated by a single 
 leaf. Young Elms, and the shoots from the trunks of old ones, run 
 out into pointed forms, and have a distinct character from the luxu¬ 
 riant unviolated head of the full-grown tree, which forms rounded 
 masses, tufts, and projections. But the wavy line may be adapted 
 to the expression of both, and in the full-grown tree must be turned 
 to form the masses, which should be of an oval shape, rather flatted 
 at the top. The larger oval masses, which lie against the sky, 
 or those which coming forward lie against darker parts of 
 the tree, may be broken and varied by small segments of similar 
 shape. The upper line of a full-grown Elm, has indeed its small 
 parts, all pointing upwards, but they are so near together, that in 
 the reduced size of a drawing they disappear, and should only be 
 binted at, as an exact imitation of them would contradict the ten¬ 
 dency of the other parts, and spoil the character. 
 
 Trees, in unnatural and artificial situations, often alter their 
 appearance and usual healthy character, and contradict their natu¬ 
 ral tendencies. The Elm more than any other deviates from unifor¬ 
 mity of character, according to its situation and soil. When the 
 heads of old elms are thin of leaves, they appear differing in cha¬ 
 racter from full-grown heads when very luxuriant; in the first case, 
 they are broken into small detached parts, in the latter the masses are 
 
31 
 
 large, round and compact. This tree, from age, or when stunted, 
 and unluxuriant from poverty of soil, forms its leaves near together 
 in close tufts at the extremities of the small ramifications, and from 
 this circumstance puts on somewhat of the character of Oak; the same 
 effect may sometimes be produced by blight, insects, lopping, or other 
 accidents, which by making it thin and ragged, give it a little of 
 the starry character, especially when the extremities are seen against 
 the sky. And Oak, when lopped and stripped up the stem like 
 Elm, may be sometimes, at a little distance, mistaken for it. These 
 accidents are a strong argument in favour of the painter s adhering 
 to uniformity of character, because it never can be proper to copy 
 imperfections, which would defeat his own purpose. 
 
 The trees commonly used by painters and engravers, are nearest 
 to the character of Elm ; this manner seems to be generally adopted 
 for all trees, one reason of which may be, that the Elm is most in 
 view of artists in the capital. 
 
 The wych Elm differs considerably from the common species. 
 Its large leaves being dispersed over the tree at a distance from each 
 other, the whole has a thin and slight appearance, not forming com¬ 
 pacted masses. 
 
 Of the Ash. —Ash bears its leaves chiefly at the extremities of 
 the branches; of course it is tufted, but in a manner very different 
 from the oak. 
 
 Those persons who have been accustomed to consider objects 
 minutely in all their separate parts, are the least likely to judge of 
 an art that attends to appearances in gross, and which aims only to 
 give a striking impression of general ideas. Thus in the Ash, the 
 leaf of which is pinnated or composed of several smaller leaves, all 
 standing on one midrib (as in plate xv.) the naturalist who has con- 
 
 F 
 
32 
 
 siderecl this structure, would not think a single touch or stroke could 
 produce the least likeness of all these parts together; yet any at¬ 
 tempt further, on a small scale, would destroy the intention. 
 
 To describe the touch which gives the true idea of Ash is not 
 easy, and to acc[uire it in practice will he found more diflicull than 
 those of Oak and Elm. Imagine the two curves formed by a trans¬ 
 verse section of the circumference of an elliptic figure, crossing each 
 other near the middle somewhat obliquely, with their points tend¬ 
 ing the same way. So placed they will form four curves, to which 
 add at the place of intersection a fifth, similar to the rest, and some¬ 
 what diverging from them. You will then have a figure consisting 
 of five curved lines united at one point, and having a resemblance 
 to a spider’s legs; an ugly form it may be thought, hut which will 
 be found to express the character of the most graceful of trees. 
 No one will imagine from the formality of this description, which 
 seemed necessary to give a determinate idea of the touch, that ma¬ 
 thematical exactness is to be aimed at in the practical application of 
 it. Ibis touch, as has been observed of that for Oak, is capable of 
 almost infinite variety, care only being taken to give the whole a 
 round and tuft-like form. 
 
 J here is no object in which the inexperienced artist is more in 
 danger of doing too much than in the Ash : its multitude of delicate 
 parts, which make so rich an appearance on a foreground, con¬ 
 tinually offer temptations to a full and specific imitation, of which 
 nothing within the compass of a picture can admit. 
 
 The Ash not being so compacted in its parts as the Oak or Elm, 
 allows not of shadows so strongly marked as they do. Its shadows, 
 bke the tree itself, are loose and transparent, but at the same time 
 connected. To connect the parts of trees without lumping them 
 
33 
 
 into heavy masses, and to produce the airy lightness of foliage with¬ 
 out degenerating into scrawl, I have found a principal difficulty in 
 teaching others. Ash is less or more twisted in its branches, accord¬ 
 ing to the soil; a dry rocky or sterile one generally producing many 
 knotty angles and writhings. This tree, when growing in a rich 
 sod, or in the neighbourhood of water, partakes hi some de<rree of 
 the starry character of the Oak. 
 
 Of other trees.—When the three great leading characters of Oak, 
 Elm and Ash are well understood, and can be executed with faci¬ 
 lity, the greater number of the other species being only modifica¬ 
 tions of the foregoing, will be found easy of acquirement. A few 
 biief remarks on each may therefore suffice. 
 
 The Walnut has a pinnated leaf like the Ash, and re¬ 
 sembles it pretty closely in its character; but the tufting is not so 
 flexile, and in the execution requires a heavier touch. The branch¬ 
 ing IS very difterent from the Ash, and perhaps bolder than that of 
 any other tree. 
 
 Sjjctrmh Chesmit .—The Spanish Chesnut branches like the Oak; 
 but the smaller extremities, that bear the leaves, are like the Ash^ 
 longer, and not so twisted. Its foliage has somewhat of the ash-like 
 character, particularly at the e.xtremities, but in the central parts 
 partaking in some degree of the stronger contrasts, and starry cha¬ 
 racter of oak, though its tuftings are more pendent, flexible, and 
 pointed. Like the Oak, the Chesnut branches in a fine style; the 
 stem is very bold, and its bark very beautifully marked. 
 
 Sycamore. 1 he Sycamore is characterized by the touch of oak 
 reversed, or the points of the oval turned downwards for the lights. 
 The large leaves of this tree do not form so light and airy against 
 the sky, nor exhibit so much of the asterisk. The masses o'f this 
 
 F 2 
 
34 
 
 tree, when in vigorous growth, are close and heavy; but, as it ad¬ 
 vances in age, they separate more, and it acquires greater lightness 
 
 and beauty. . v n 
 
 The wavy line, varied according to the subject, is applicable to 
 
 the Lime, Beech, Birch, Poplar, Willow, and some others. 
 
 —I'he Lime in its foliage has somewhat of the character of 
 the Elm, but is more pendent. The head in general is round and 
 bushy, and the lower tuftings run out frequently into the spiky 
 character of the Beech. The leaves are much larger than those of 
 the common Elm, and of a lighter colour; the reliefs are conse¬ 
 quently not so decided as in the latter trees. 
 
 Beech .—Beech is remarkable for the fantastic form and turns 
 it frequently exhibits in its stem, and is often highly suitable for 
 foreground^ Its branching in general makes small angles with the 
 stem in the higher parts of the tree, while its lower branches are at 
 right angles, and they run out at the extremities into long and small 
 shoots, which, clothed with leaves, give it that spiky character by 
 which it is distinguished. In this respect it is certainly very different 
 from full grown Elm, yet artists do not always perceive the differ¬ 
 ence, obvious as it must be to the attentive observer of nature.* 
 Beech trees are also remarkable for throwing out their roots above 
 the surface of the earth—a circumstance which the poet Gray had 
 observed. 
 
 “ There at the foot of yonder nodding Beech, 
 
 Which wreathes its old fantastic roots so high,” 
 
 * Of Ihis the following is a proof. In the Exhibition of 1794 was a landscape winch was mnch talked 
 of and admired. The trees appeared good representations of Beech, and they had been pratsed as a happy 
 essay at that expression. The painter however intended them for Elms, and was much affronted at having 
 them called Beeches. Of Elm they had not the least character. 
 
35 
 
 The leaves of this tree are oval and waved, and set in alternate 
 clusters of several together, on each side of its long and flexde 
 branches, which in the foreground gives them a rich and elegant 
 appearance. It would conduce nothing towards understanding the 
 general expression of this tree to shew the particulars of its leaves: 
 any one may apply the expression as it is here given generally. 
 
 The Birch .—Birch has a small leaf, and a light and featheiy o- 
 liage; and the touch should be proportionably small and light. 
 There are two varieties of this tree, one pendent, the other not so. 
 Its light smooth and shining bark, varied with touches of a darker 
 hue, is very characteristic. 
 
 Of Poplars there are several species. The Lombardy differs con¬ 
 siderably from the rest in the manner of its growth, and in some 
 measure in its foliage, which terminates in a small tuft-like form, 
 occasioned by its leaves, which have long fool-stalks, spreading out 
 at the tops of the small upright branches. The common Poplar 
 grows to a great height. It has generally a long and rather naked 
 stem, with a bushy rather than a spreading head. Its foliage is 
 
 light, and does not form decided masses.* 
 
 Willow.—Oi Willow also there are several species, of which the 
 pendent or weeping is the' most striking variety, and ha^i a beautiful 
 Let on the banks of streams or pieces of water. The common 
 Willow (Salix Alba), from the delicacy of its parts, and the lig 
 ness of its colour, has much weaker contrast and fainter shadows 
 than our other trees, even than the Salix Bahylonica, or Weeping 
 
 Horse Chesnut.—^he Horse Chesnut is less flexile than the Spa- 
 „iA Chesnut, but paetakes, like that tree, of the Ash eh.racter; the 
 . Th. .t .k. a.p.- W"! •“«» •• 'k- •' -k- 
 
 to introduce an example of it. 
 
36 
 
 touch is l, 0 ^yeve^ broader. The upper folding over the under tufts, 
 have a rich efiect, and, aided by their sombre hue, produce fine 
 deep recesses in the masses. This tree is only beautiful in parts; 
 the whole is always lumpish; it is seen to most advantage in 
 groups. 
 
 7/ioni.—The application of the starry touch of the Oak con¬ 
 tinued into the masses by the wavy line of the young Elm slightly 
 pendent, expresses the Thorn ciiaracter. The stems are very fan¬ 
 tastic in their forms; several of them are often seen .springing from 
 
 one root, and in their growth uniting and intermi.xing with each 
 other. 
 
 Jcacia.~The leaves of the Acacia being set along the branches. 
 It has a distinct touch, which is formed by several small curves; the 
 second springing from the middle of the first, and running out in 
 the extremities to some distance. The foliage is feathery and pen¬ 
 dent, and in the central masses the lights are somewhat like those 
 of the Birch. This tree is most frequently met with in plantations, 
 where it grows to a considerable size. 
 
 P/a„e.—The character proper for this tree approaches nearly to 
 that of the Sycamore, but exhibits still less of the asterisk; nor is 
 It a general rule with this tree that the points of the oval’should 
 turn down for the lights, though it often partakes of that character. 
 Ihe masses should be particularly broad, with few parts shewn; the 
 branching small, and sparingly seen, giving the tree an appearance 
 of want of support. This latter circumstance is directly contrary to 
 the Oak or Ash; those trees requiring the size and quantity of the 
 branches to be in proportion to the foliage. Owing to the lightness 
 of its colour, the reliefs are faint. It is seen to most advantage in 
 company with other trees of a darker hue, and may be introduced 
 
37 
 
 with propriety in woodland scenery, where a light or half tint is 
 required. The occidental and oriental planes, though distinct in 
 kind, are yet so much alike in representation, as to make it unne¬ 
 cessary to shew any distinction hy an example; the same character 
 is applicable to both. 
 
 Jlder.—The simple touch of the Alder is nearly the same as the 
 spd<y touch of the Beech; but in making the wavy line, it should 
 rather consist of a connected collection of little curves, beginning 
 small at the top and growing larger downwards. The extremitiet 
 run out into long shoots clothed with leaves, and it preserves, in 
 other respects, much of the appearance of the Beech. The colour 
 of the foliage is dark. In wet situations, the hark of the Alder 
 becomes cracked and rough very early; in drier spots not so soon. 
 Ihe general habit and foliage in this latter state is greatly that of 
 the orchard Pear tree. 
 
 Cedar.—The Cedar is remarkable for the horizontal extent of its 
 foliage, taking no precise form, but running out in all directions. 
 It IS therefore difficult to describe its character, which is expressed 
 by a curved line pointing any way for the upper edge, with curves 
 of unequal lengths springing from it. The shadows underneath 
 the lights must be marked vigorously, distinctly to shew the pro¬ 
 jections. The branches are sometimes at right angles, and often 
 run parallel to ihe main stem. 
 
 Fetj;.—'I'he Yew character is slightly tufted, and is formed by 
 three curved lines meeting in a point or centre for the extreme tuft, 
 and carried into the masses by other curves. The lio-l,ts have 
 somewhat of the Ash character. The specimen given in Biis Avork 
 
 IS a remarkably fine example, the circumference being twenty-seven 
 feet. 
 
38 
 
 The HoUij. _Holly requires a touch somewhat similar to that of 
 
 Oak, but sharper, and not disposed into the flat ellipsis. The masses 
 also are differently shaped, very small, and much broken. In 
 painting it may be clearly distinguished by the bright reflected 
 spots of light on the polished surface of the leaves, which give the 
 masses a dotted and fluttery appearance. 
 
 Scotch Fir.—It has been observed of trees, in general, that the 
 touch must never point several strokes together perpendicularly up¬ 
 wards, or directly downwards; but in the Scotch Fir this perpen¬ 
 dicular touch will be found to give the character; which is formed 
 by a collection of strokes rather curved, meeting in a point at the 
 base. The form of the tree when growing singly, is conical, and the 
 stem straight, continuing upwards without deviation. 
 
 Spruce Fir.—The character of the Spruce Fir consists of aggre- 
 o-ates of curves hanging from branches, which first bend downwards, 
 and at their extremities return upwards. The foliage of this tree 
 is flowing and pendent. 
 
 Larch .—The Larch exceeds all other trees in the delicacy of its 
 foliage. It is so far connected with the Fir tribe, as to exhibit a 
 straight perpendicular stem and conical shape, but in other respects 
 it is different; the lateral branches are also curved like the Spruce 
 Fir, with clusters of long pensile foliage, the touch for which is a 
 very small wavy line. 
 
39 
 
 SECTION V. 
 
 CONCLUSION. 
 
 Some miscellaneous observations, and a few hints on the use of the 
 black-lead pencil, will close this essay. 
 
 Holly frequently grows out at the root of the Oak, seeming, as 
 it w'ere, one with it, and is often close to, and entirely under the 
 branches of the Yew, the hark very smooth, and of a light ash grey 
 colour, sometimes of a reddish ash colour, or with reddish spots. 
 
 Woolmer Forest, some years since, abounded with uncommonly 
 large and magnificent Hollies that had grown there for ages, and 
 had become impenetrable cover for the shelter of animals. It is 
 much to be regretted that these trees, not being considered by ,Go¬ 
 vernment as timber, were suffered to he cut down and totally de¬ 
 stroyed by the Ranger of the Forest. In Holt Forest the Yew and 
 Holly both grow with and adjoining the Oak, very flourishing, and 
 intermixing their branches in the most intimate manner. The Yew- 
 tree, in particular, seems to love the shade of the Oak; and when 
 growing near one appears most vigorous, and drives out the longest 
 arms on the side towards it. In the church-yard of Kemys Com¬ 
 mander, nearUsk, is a hollow Yew-tree, fifteen feet in girth, within 
 which grows an Oak not less than seven feet m circumference; 
 its branches shadow the projecting trunk, forming a singular com¬ 
 bination of foliage.* 
 
 * The dead leaves of Yew are a bright brown red; the colour of dead Ivy is also a very rich red. Distant 
 wood is blueish in the shadow under the trees next the earth, when the upper parts give the hue of green. 
 
 G 
 
40 
 
 “ The form of the Horse Chesnut,” says J. J. Rousseau, “ is 
 o-rand, tlie pyramids of flowers beautiful, and making, with the 
 laro-e digitate leaves, a fine whole.”* This observation is suitable 
 enough to a botanist, and is a remarkable instance of the difference 
 between the two kinds of taste; the minute attention to parts by 
 the botanist, and the study of objects in the aggregate, which is 
 that of the painter. The Horse Chesnut is only beautiful in parts, 
 the whole is always lumpish, as has been already observed; the 
 manner in which the spikes of flowers are set on is still and formal, 
 and extremely unpicturesque. Ihe study of natural history, as before 
 observed, is particularly unfavourable to picture; and the above 
 instance may serve to shew, that the person who could the most 
 happily describe the parts and properties of a tree, would be the 
 worst fitted of all others to represent it to the eye. 
 
 Every tree, or other vegetable production, that excites the idea 
 of any mathematical figure, and consequently of art, should be 
 carefully excluded from that happy spot where it is intended to make 
 beauty flourish; unless indeed it may be thought meet to retain a 
 few such trees for the purpose of contrast and variety. The Fir 
 that feathers from the ground to a sharp point at the top, is a meie 
 green cone placed on its base among the grass, and imitates the 
 most tasteless works of art. Clumps and woods of Firs or Pines 
 are a collection of little points, all similar, putting on together the 
 meanest figure and stiffest appearance that can be. At a distance 
 always a regular shape and plain surface, with the addition of a 
 dismal colour. They are only admired from fashion, and because 
 they are something different from what is usual and natural to this 
 
 * See the Nineteenth Letter on Botany, translated by Martin. 
 
41 
 
 country. The Lombardy Poplar may not oftend singly, but when 
 several are set out in rows, its mean and precise form becomes 
 striking, and operates greatly against beauty. 
 
 If woods, or plantations, have their trees so small and equal in 
 size as to produce, at a little distance, an apparently even surface, 
 they lose the chief part of their beauty. With bold and round pro¬ 
 jections and deep recesses they are in perfection; but this always 
 requires large trees, sufficiently distant from each other, though not 
 uniformly so. Coppice woods are but little pleasing; indeed few 
 objects are less so. When grown to their best state, they only ex¬ 
 hibit a tame unvaried surface, and hide the natural inequalities of 
 the ground, which, uncovered, might have been pleasing. A cab¬ 
 bage-headed tree with a short straight stem can never, in any in¬ 
 stance, be a beautiful object. A tree, the head of which is exceed¬ 
 ingly thick and close, so as to shew nothing but leaves, can never 
 be so beautiful as when, besides a handsome portion of the trunk, 
 some of the greater limbs and smaller branches are visible, except 
 it should be in contrast, or the general figure be uncommonly pleas¬ 
 ing. Nature highly polished ought to be sometimes relieved by 
 ruder scenes, or it will be in danger of growing tiresome to a true 
 picturesque taste. Hence the charms of contrast; as decaying and 
 stag-headed trees with young and luxuriant foliage; rough and ferny 
 banks with shaven lawns, &c. 
 
 Trees in hedge-rows are often beautiful, especially if the hedges 
 do not run in straight lines, which indeed they seldom do. The trees 
 should not be at equal distances, or of equal size. The changes of 
 situation in the eye, while passing along, throw them frequently 
 into fine groups, besides producing beautiful openings between 
 
 G 2 
 
42 
 
 lliem ; and they occasion great relief from the Ijaklness of an open 
 country. In distances they have the happiest effect, by producing 
 the appearance of continued wood. Some of the finest parts of 
 England owe much of their beauty to the “ hedge-row Elms,” with 
 which they have been adorned by the planter’s hand; notwithstand¬ 
 ing the occasional deformity caused by the common practice ot 
 stripping the trees of their side shoots, and thus leaving a long- 
 straight naked pole with a small bush at the top. 
 
 Ill France there are few hedges; and trees, when they occur out 
 of woods, stand cither in lines on each side of the roads, or singly 
 in the arable land. Such is the power of novelty, that persons 
 o-oin" from Eno-land can admire this disposition in preference to 
 ours. 
 
 In Pennsylvania, according to a late traveller, it is the custom to 
 plant one large tree in the nnddle ot each inclosure; and he ob¬ 
 serves, “ these many dotted trees give a very picturesque effect to 
 the cultivated parts of the state, and in some degree make amends 
 for the w^ant of hedges.” * A more striking example of the un- 
 picturesque could not be given ; such is the abuse ol this word. 
 
 The black lead pencil will he found very useful in the delineation 
 of trees. It is particularly advantageous in producing that doubt¬ 
 fulness of edge, so characteristic of thin and open foliage, without 
 any raggedness, or the least indetermination of form ; and which no 
 other material has yet accomplished in an equal degree. The swift¬ 
 ness, precision, and facility of this instrument, when once thoroughly 
 learned, together with the ease with which lights are cut out and 
 altered, and the clear definition of forms of which it admits, even in 
 
 Monthly Magazine, N® So, Aug. 1798, p. 104. 
 
43 
 
 objects lying upon each other, make it particularly agreeable and 
 convenient for the powers of invention, as well as the imitation and 
 expression of nature. 
 
 Black lead alone is ecpial to all representations not depending 
 solely on colour, and is far superior to chalk, from the variety of 
 gradations of which it is capable. But to finish with it, singly, re- 
 ((uires time, and great care; therefore the assistance of a licpiid 
 tint, of ink and indigo, may he applied to it with astonishing effect, 
 adding sweetness to richness and delicacy. 
 
 In architecture, black lead must, for transparency, and cpiickness 
 of performance, give way to the brush ; hut for natural objects, a 
 tint cannot reach the appropriate expression of the pencil, in foliage 
 near the eye, and the wild hut clear confusion of rich foregrounds. 
 The black lead pencil, indeed, requires greater dexterity of hand 
 than any other material, added to a fine execution, and the highest 
 degree of taste in the application; or it will produce disgusting 
 scrawl, instead of the most beautiful species of expression. 
 
 Many have thought that the use of black lead was to labour up 
 a smooth mass of fine strokes so close as not to he distinguished, 
 which can he wrought into great force and beauty of colour; hut, 
 besides the slowness and heaviness of this operation, it would be 
 the worst possible mode of expression. Except the late Mr. George 
 Barret, who was eminent in this way, I have scarcely seen the Avorks 
 of a single artist who seems to have understood it. By the com¬ 
 plete union of this rich and mellow stroke of the pencil witli the 
 li([uid wash, it is brought to as much perfection as it seems capable 
 of; and, in determining the character and circumstances of natiu-al 
 scenery, particularly foliage, it is as expeditious as any kind of re- 
 
44 
 
 presentation, and more expressive. It is peculiarly fitted for those 
 who would secure correct ideas of the scenes they visit in their 
 travels; requiring no trouble or parade, and producing the most 
 just and striking expression. He who possesses a black lead pen¬ 
 cil, and the knowledge how to use it, has therein the means of 
 writing the universal language, which cannot be done by any al¬ 
 phabet whatever. 
 
EXPLANATION OF THE PLATES. 
 
 OF THE OAK. 
 
 PLATE I. Is the nearest view, shewing the form of the leaves. 
 
 II. A degree further distant, in which the leaves are still apparent, but exhibited more 
 in the aggregate. 
 
 III. Still more distant. No. 3 in this Plate shews the principle of the touch of oak, that 
 
 is, radii leading to a common point or centre. No. 1, 2, 4, shew the mode of 
 proceeding with a tree, from the lights or principal masses to the extremities. 
 No. 1, it will be observed, is the same subject as that given in Plate II. The 
 forms of the leaves are here lost in tufting or massing. No. 3 is somewhat 
 farther distant than No. 4. No. 1 in this Plate, it will be observed, is the same 
 subject as that given in Plate II. The forms of the leaves are here lost in the 
 tufting or massing. 
 
 IV. Represents a couple of young trees. No. 6 in this Plate exhibits the lights more in 
 
 the aggregate than the examples in Plate III. 
 
 V. The ramification of an old tree. 
 
 VI. Is the same tree as in Plate V. with the addition of foliage. 
 
 VII. A group of trees. 
 
 OF THE ELM. 
 
 VIII. Shews the leaves, and the tufting of them, as seen at various distances. No. 7 and 
 8 are the young. No. 9 and 10 the old leaves. No. 11 and 12 shew the general 
 touch for the extremities and lights of the old tree. 
 
4G 
 
 IX. Contains elementary specimens. No. 13 exhibits the stroke to produce masses of 
 shadow with the black-lead pencil, and it is applicable not only to trees, but 
 otlier objects ; No. 14 aud 15 shew how this general stroke is to be managed 
 to produce the expression of foliage, particularly of elm ; No. 16 exhibits the 
 spiky character of the young tree, both in the extremities and the central light; 
 No. 17, 18, 19, shew the full-grown tree in different stages of progress, and in 
 18 may be observed the proper mode of sketching the outline, in wliich only 
 the general form of the masses is to he marked, and the touch laid on after¬ 
 wards. 
 
 X. Exhibits the pair of trees shewn in Plate IX. further finished. 
 
 XI. Shews the ramification of a full-grown tree. 
 
 XII. Is a single tree in full foliage. 
 
 XIII. Is a view of a group of elms in Hyde Park. 
 
 XIV. Exhibits the contrast of the young and the old rtee. 
 
 OE THE ASH. 
 
 XV. Represents the leaves at two di.stances; No. 20 and 21, one very near, and the 
 other somewhat further removed. 
 
 XVI. The foliage at a greater distance, when the forms of the leaves are less distinct: 
 
 and the character of the tufting begins to appear in No. 22, which, it will be 
 perceived, is the same subject as No. 20 in the preceding Plate. 
 
 XVII. Exhibits the ramification of the species. 
 
 XVIII. The same trees in fuU foliage. 
 
 XIX. The ash growing luxuriantly, under which circumstance this tree puts on somewhat 
 of the character of oak. 
 
 XX. Shews the contrast between the oak and the ash. 
 
 OF THE WALNUT. 
 
 XXI. No. 25, 26, and 27 , shew the leaves at different distances. 
 
 X.XII. A tree full-leaved and luxuriant; and hence having somewhat of the character of 
 elm in form. 
 
 XXIII. Is a tree thinly leaved, and an old stem. 
 
47 
 
 OF THE SPANISH CHESNET, 
 
 XXIV. No. 28 is a bunch of leaves in a near view, and the Plate exhibits the trunk and 
 character of the bark, and of the leafing, in a more distant view. 
 
 XXV. Is a full-grown tree standing single, clothed with foliage. 
 
 OF THE SYCAMORE, 
 
 XXVI. No. 29 and 30 shew the leaves at different distances, and No. 31 e.\hibits stems of 
 this tree. 
 
 XXVII. Ai'e a couple of the trees in full fobage. 
 
 OF THE TIME, BEECH, AND BIRCH. 
 
 XXVIII. Contains elementary specimens of several trees. No. 32 shews tlie leafing of tlie 
 lime at different distances ; No. 33, of the beech ; No. 34, of the birch. 
 
 XXIX. Exhibits the lime full-grown, and in complete foliage. 
 
 XXX. Represents the stems and branching of the beech full-grown. 
 
 XXXI. Younger beech stems with foliage.^ 
 
 XXXII. A group of full-grown and luxuriant beech trees. 
 
 XXXIII. Exhibits the birch stems old and young. 
 
 XXXIV. A couple of young birch trees, one of which is of the pendent variety. 
 
 OF THE POPEARS AND WIEEOWS. 
 
 XXXV. Elementary specimens. No. 35 shews the leafing of the poplar at different distances. 
 No. 36 is a somewhat near view of the common willow. 
 
 XXXVI. The common or black poplar, and a specimen of the Lombardy poplar. 
 
 XXXVH. Represents the common willow. 
 
 XXXVIII. The weeping willow. 
 
 H 
 
48 
 
 OF THE HORSE CHESNUT, THORN, ACACIA, PEANE, AND ADDER. 
 
 XXXIX. Contains elementary specimens of several trees. No. 37 shews the leafing of the 
 horse chesnut at different distances ; No. 38, of the thorn ; No. 39, of the 
 alder ; No. 40, of the acacia ; and No. 41, of the plane. 
 
 XL. A group of horse chesnuts. 
 
 XLI. Exhibits the thorn full-grown, and an old stem. 
 
 XLII. The acacia, fuU-grown, in complete foliage. 
 
 XLIII. Represents the plane tree and alder. 
 
 OF THE CEDAR, YEW, AND HOLLY. 
 
 XLIV. Elementary specimens. No. 42 .shews the leafing of the cedar at different distances; 
 No. 43, of the yew; and No. 44, of the holly. 
 
 XLV. Exhibits the cedar tree. 
 
 XLVI. The yew, full-grown, and richly in leaf. 
 
 XLVII. The holly. 
 
 OF THE SCOTCH FIR, SPRUCE FIE, AND LARCH. 
 
 XLVIII. Contains elementary specimens of the Scotch fir, spruce fir, and the larch ; No. 45 
 exhibits the Scotch fir at different distances ; No. 46, of the spruce fir; No. 47, 
 of the larch. 
 
 XLIX. A Scotch fir, in which the ramification is very apparent. 
 
 L. The spruce fir and larch. These trees being frequently mistaken for one another, 
 they are grouped together, to shew distinctly the character of each. 
 
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THE-PROPRIETY AND 
 
 THIS BRANCH OF ART, 
 
 E XA 
 
 EDWARD K 
 
 I, O N DON: 
 
 PRJXTF.D BY T. ZiZ-WSLCK. BOLT COl'RT, FLEET STREET, 
 
 rOR C. J. KENNION; 
 
 AXD SOLD BY MESSRS. BOYDIXI. AND CO. CHEAPSIDE ; JOHN MURRAY, ALBEMARLE STREET 
 AND JAMES NEWMAN, COLOURMAN, SOHO SQUARE. 
 
 1815 . 
 
AN 
 
 ESS AY 
 
 ON 
 
 Crf in Eattli0ia|ie 
 
 OR, AN ATTEMPT TO SHEW 
 
 THE PROPRIETY AND IMPORTANCE OF CHARACTERISTIC EXPRESSION IN 
 THIS BRANCH OF ART, AND THE MEANS OF PRODUCING IT: 
 
 WITH 
 
 ■EXAMPLES. 
 
 BY THE LATE 
 
 EDWARD KENNION, F. S. A. 
 
 LONDON: 
 
 PRI.VJTD BY T. BESSLEV, BOLT COURT, FLEET STREET, 
 
 rou C. J. KENNION; 
 
 AND SOLD BY JIESSRS. BOYDELL AND CO. CIIEAPSIDE ; JOHN MURRAY, ALBEMARLE STREET ; 
 AND JAMES NEU'MAN, COLOURMAN, SOHO SQUARE. 
 
 1815 .