There was, through the classical period, abundant delight, in a general way, in meadows bursting into bloom, and in bright blossoms in the garden. The use of the words “flowery,” “adorned,” “decked,” “enameled,” etc., usually had reference to fields of flowers thought of in a vague, pleasant way. The changes that come during the transition poetry are a resolving of the general into the specific, a concentration of attention on English flowers, and a greatly increased knowledge of individual flowers. The rose and the lily often give place to homelier blooms as those of peas and beans, the bramble rose, butter flowers, clover, heath-bells, crowfoot, the tangled vetch, the mandrake, the thistle. The increased minuteness of observation shows itself in such garden studies as we find in Thomson and Cowper. A feeling of personal relationship toward flowers finds its highest and sweetest expression in Burns’ “Daisy.” In the classical poetry trees in general are an important part of the stock-in-trade. The new feeling shows itself in a growing tendency to think of trees as individuals. In a landscape trees are mentioned by name. The thin leav’d ash, whispering poplars, the glossy rind’d beech, venerable oaks tossing giant arms, waving elms, quivering aspens, murmuring pines, hoary willows, sycamores green, tawny, or scarlet, according to the season, white-blossomed hawthorn, deep green hollies, elders with silver blossoms, stand out from the mass and are known for their own qualities. Minute observation is indicated by the descriptive phrases used. The color of the trunk, the spread of the branches, the changing hue of the leaves, the kind of blossoms, are severally noted. Two special studies of trees are by Lady Winchilsea and Dr. Dalton, and are of early date. Dyer and Cowper give the best studies of trees seen in a mass, and yet individually noted. While there is not a touch of the deep forest in this poetry, there are many lines describing woodland effects. Thomson, Potter, and Cowper find especial pleasure in the lovely interplay of light and shade in a pathway overhung by woven branches. The brown shadows and the softened light in a deeply wooded nook are observed. Gentle streams sing happily under a cooling covert of green boughs. The quiet of the woods is broken only by the plash of waters, the rustle of boughs, the whisper of leaves, the hum of insects, the song of birds, sounds from distant flocks and herds, or the stroke of the woodman’s axe. Trees also form an important part of every general landscape. But no poet has given so much of the real forest feeling as Mrs. Radcliffe. Of travelers Young has most to say about trees but his observations are largely scientific and utilitarian. On the whole we may say that trees are given abundant and discriminating attention, but that this attention seldom penetrates beyond external, artistic qualities. Personal friendship for trees such