and in one point, of
ramification in general, namely, the division of the tree into two
masses, each branching outwards, not across each other. Whenever a tree
divides at first into two or three nearly equal main branches, the
secondary branches always spring from the outside of the divided ones,
just as, when a tree grows under a rock or wall, it shoots away from it,
never towards it. The beautiful results of this arrangement we shall
trace in the next volume; meantime, in the next Plate (28) I have drawn
the main[35] ramifications of a real aspen, growing freely, but in a
sheltered place, as far as may be necessary to illustrate the point in
question.

Sec. 18. This example, Fig. 2 in Plate 27 is sufficiently characteristic of
the purist mediaeval landscape, though there is somewhat more leaning to
naturalism than is usual at the period. The next example, Fig. 3, is
from Turner's vignette of St. Anne's Hill (Rogers's Poems, p. 214).
Turner almost always groups his trees, so that I have had difficulty in
finding one on a small scale and isolated, which would be characteristic
of him; nor is this one completely so, for I had no access to the
original vignette, it being, I believe, among the drawings that have
been kept from the public, now these four years, because the Chancery
lawyers do not choose to determine the meaning of Turner's perfectly
intelligible, though informal, will; and Mr. Goodall's engraving, which
I have copied, though right in many respects, is not representative of
the dotted touch by which Turner expressed the aspen foliage. I have
not, however, ventured to alter it, except only by adding the
extremities where they were hidden in the vignette by the trelliswork
above.

The principal difference between the Turnerian aspen and the purist
aspen is, it will be seen, in the expression of lightness and confusion
of foliage, and roundness of the tree as a mass; while the purist tree,
like the thirteenth century one, is still flat. All attempt at the
expression of individual leaves is now gone, the tree being too far off
to justify their delineation; but the direction of the light, and its
gradations, are carefully studied.

Sec. 19. Fig. 6 is a tolerable facsimile[36] of a little chalk sketch of
Harding's; quite inimitable in the quantity of life and truth obtained
by about a quarter of a minute's work; but beginning to show the faulty
vagueness and carelessness of modernism. The stems, though beautifu