I watch the trees and never weary of their swaying--solemnly silent and strangely green they are in the long, rainy days, excited when a breeze is blowing; in fine weather they gossip like frivolous girls! In their tremulous decline they are more beautiful than ever, far more beautiful than flowers. Now, I am telling myself, the very subconscious soul is speaking. And with what extraordinary loveliness did the long branches hang out of the tall, stately plane trees like plumes; in the hush of sound and decline of light the droop of the deciduous foliage spoke like a memory. I seemed to have known the park for centuries; yon glade I recognised as one that Watteau had painted. But in what picture? It is difficult to say, so easily do his pictures flow one into the other, always the same melancholy, the melancholy of festival, that pain in the heart, that yearning for the beyond which all suffer whose business in life is to wear painted or embroidered dresses, and to listen or to plead, with this for sole variation, that they who listen to-day will plead to-morrow. Watteau divined the sorrow of those who sit under colonnades always playing some part, great or small, in love's comedy, listening to the murmur of the fountain, watching a gentleman and lady advancing and bowing, bowing and retiring, dancing a pavane on a richly coloured carpet. Pierrot, the white, sensual animal, the eighteenth-century modification of the satyr, of the faun, plays a guitar; the pipe of Pan has been exchanged for a guitar.