In the first of the drawings, that of the piece of woodland through which a path winds off to where it is lost to view among the trees, carrying our imagination with it to the contemplation of scenes still farther on, we find virtues of a more uncommon type than in the others. The large nobility--the _monumental_ quality--is an aspect of nature wholly out of fashion in our day. The firm bed of earth we can feel under our feet with a sense that it is good to stand upon, and the fine pattern of trees and clouds swayed in common movement stirs one with that martial sense of activity, that vitality of impulse which recalls the memory of some high-winded, keen-aired autumn day. We have considered already the spirited and skilful drawing of the trees in this picture; but it is difficult to turn from it without again noting some of those qualities of line which are particularly well displayed in these parts of the composition. To render those long, bare, sinuous stems, growing upward with their roots unmistakably planted in the ground and not so that they have the appearance of hanging down from the clouds, is a feat of no small difficulty, to judge from the frequent instances one meets with of failure in this regard. This well established feeling of the growth from the ground upward of the trunks of the trees and the springing from the branches outward of the foliage, this complete and harmonious development of the whole structure from the seed, as it were, is the product of an exhaustive study, in all of its stages, of the life and characteristics of the tree itself. We are confronted in the second drawing with a striking contrast to the first, in that the merits of vigorous and harmoniously balanced line and form are supplanted by the more tender effects of atmosphere, and the vigorous stroke becomes gentle in its handling of the delicate trees worn by the winds and but half seen through the uncertain twilight. Here, perhaps, the man is more in evidence than the draftsman, and the sensitive and sympathetic spirit of the artist seems abstracted for a time from the more tangible qualities which are the chief glory of the former work. But like the first drawing it possesses a carefully built up unity of sentiment and notes no point in the scene not concerned with the impression of loneliness and neglect it seems intended to convey.