Understand me. This activity is entirely distinct from muscular action, locomotion, motion of any kind or any of the coarser sorts of energy flagrantly depicted. The portrait of a corpse may be full of it, the picture of a bounding horse altogether destitute. Everything in nature—every single object, every group, every landscape, has a visible expression, as a face has. This can generally be denoted in terms of human emotion. We all know what is meant by an “angry” sky or a “threatening” billow, for we have observed what follows. But we are not all equally sensitive to the joyous aspect of a tree, the sulking of a rock, the menace or the benediction that may speak from a hillside, the reticence of one building and the garrulity of another, the pathos of a blank window, the tendernesses and the terrors that smile and glower everywhere about us. These are no fancies. True, they are but the outward and visible signs of an inner mood; but the objects that bear them beget the mood. No true artist but feels it, and all feel it nearly alike. To discern, to feel, to seize upon this dominant expression and make it predominant in his picture—this, as Taine rightly says, is the painter’s function. I stood once upon the slope of a deep gulch; with me a friend, the quick certainty of whose artistic insight was always to me a source of surprise and delight. Across the gulch, a quarter-mile away, stood two trees, a giant oak, whose great roots corded the rocks like the tentacles of a devil-fish, and a slender pine, springing from clear ground nearby. The oak reached out a long, muscular arm toward the other tree, which, leaning sharply away from the contact, had all its branches on the opposite side. I studied the group for some minutes while my friend had her eyes and thoughts elsewhere. I was endeavoring to interpret the sentiment, which finally I succeeded in doing to my satisfaction; it remained only to test the validity of my conclusion. I said to myself: “Menace and terror”; to my companion: “What is the matter over yonder?” She glanced at the group and replied, without an instant’s hesitation, in the first words that came to call: “The little tree is trying to get away from the old scoundrel among the rocks.” II