The hawthorn hedge that goes down the slope is more coloured than the hedges in the sheltered plain. Yonder, a low bush on the brow is a deep crimson; the hedge as it descends varies from brown to yellow, dotted with red haws, and by the gateway has another spot of crimson. The lime trees turn yellow from top to bottom, all the leaves together; the elms by one or two branches at a time. A lime tree thus entirely coloured stands side by side with an elm, their boughs intermingling; the elm is green except a line at the outer extremity of its branches. A red light as of fire plays in the beeches, so deep is their orange tint in which the sunlight is caught. An oak is dotted with buff, while yet the main body of the foliage is untouched. With these tints and sunlight, nature gives us so much more than the tree gives. A tree is nothing but a tree in itself: but with light and shadow, green leaves moving, a bird singing, another moving to and fro—in autumn with colour—the boughs are filled with imagination. There then seems so much more than the mere tree; the timber of the trunk, the mere sticks of the branches, the wooden framework is animated with a life. High above, a lark sings, not for so long as in spring—the October song is shorter—but still he sings. If you love colour, plant maple; maple bushes colour a whole hedge. Upon the bank of a pond, the brown oak-leaves which have fallen are reflected in the still deep water.
It is from the hedges that taste must be learned. A garden abuts on these fields, and being on slightly rising ground, the maple bushes, the brown and yellow and crimson hawthorn, the limes and elms, are all visible from it; yet it is surrounded by stiff, straight iron railings, unconcealed even by the grasses, which are carefully cut down with the docks and nettles, that do their best, three or four times in the summer, to hide the blank iron. Within these iron railings stands a row of arbor vitæ, upright, and stiff likewise, and among them a few other evergreens; and that is all the shelter the lawn and flower-beds have from the east wind, blowing for miles over open country, or from the glowing sun of August. This garden belongs to a gentleman who would certainly spare no moderate expense to improve it, and yet there it remains, the blankest, barest, most miserable-looking square of ground the eye can find; the only piece of ground from which the eye turns away; for even the potato-field close by, the common potato-field, had its colour in bright poppies, and there were partridges in it, and at the edges, fine growths of mallow and its mauve flowers. Wild parsley, still green in the shelter of the hazel stoles, is there now on the bank, a thousand times sweeter to the eye than bare iron and cold evergreens. Along that hedge, the white bryony wound itself in the most beautiful manner, completely covering the upper part of the thick brambles, a robe thrown over the bushes; its deep cut leaves, its countless tendrils, its flowers, and presently the berries, giving pleasure every time one passed it. Indeed, you could not pass without stopping to look at it, and wondering if any one ever so skilful, even those sure-handed Florentines Mr. Ruskin thinks so much of, could ever draw that intertangled mass of lines. Nor could you easily draw the leaves and head of the great parsley—commonest of hedge-plants—the deep indented leaves, and the shadow by which to express them. There was work enough in that short piece of hedge by the potato-field for a good pencil every day the whole summer. And when done, you would not have been satisfied with it, but only have learned how complex and how thoughtful and far reaching Nature is in the simplest of things. But with a straight-edge or ruler, any one could draw the iron railings in half an hour, and a surveyor's pupil could make them look as well as Millais himself. Stupidity to stupidity, genius to genius; any hard fist can manage iron railings; a hedge is a task for the greatest.
Those, therefore, who really wish their gardens or grounds, or any place, beautiful, must get that greatest of geniuses, Nature, to help them, and give their artist freedom to paint to fancy, for it is Nature's imagination which delights us—as I tried to explain about the tree, the imagination, and not the fact of the timber and sticks. For those white bryony leaves and slender spirals and exquisitely defined flowers are full of imagination, products of a sunny dream, and tinted so tastefully, that although they are green, and all about them is green too, yet the plant is quite distinct, and in no degree confused or lost in the mass of leaves under and by it. It stands out, and yet without violent contrast. All these beauties of form and colour surround the place, and try, as it were, to march in and take possession, but are shut out by straight iron railings. Wonderful it is that education should make folk tasteless! Such, certainly, seems to be the case in a great measure, and not in our own country only, for those who know Italy tell us that the fine old gardens there, dating back to the days of the Medici, are being despoiled of ilex and made formal and straight. Is all the world to be Versaillised?
Scarcely two hundred yards from these cold iron railings, which even nettles and docks would hide if they could, and thistles strive to conceal, but are not permitted, there is an old cottage by the roadside. The roof is of old tile, once red, now dull from weather; the walls some tone of yellow; the folk are poor. Against it there grows a vigorous plant of jessamine, a still finer rose, a vine covers the lean-to at one end, and tea-plant the corner of the wall; beside these, there is a yellow-flowering plant, the name of which I forget at the moment, also trained to the walls; and ivy. Altogether, six plants grow up the walls of the cottage; and over the wicket-gate there is a rude arch—a framework of tall sticks—from which droop thick bunches of hops. It is a very commonplace sort of cottage; nothing artistically picturesque about it, no effect of gable or timber-work; it stands by the roadside in the most commonplace way, and yet it pleases. They have called in Nature, that great genius, and let the artist have his own way. In Italy, the art-country, they cut down the ilex trees, and get the surveyor's pupil with straight-edge and ruler to put it right and square for them. Our over-educated and well-to-do people set iron railings round about their blank pleasure-grounds, which the potato-field laughs at in bright poppies; and actually one who has some fine park-grounds has lifted up on high a mast and weather-vane! a thing useful on the sea-board at coastguard stations for signalling, but oh! how repellent and straight and stupid among clumps of graceful elms!
II
The dismal pits in a disused brickfield, unsightly square holes in a waste, are full in the shallow places of an aquatic grass, Reed Canary Grass, I think, which at this time of mists stretches forth sharp-pointed tongues over the stagnant water. These sharp-pointed leaf-tongues are all on one side of the stalks, so that the most advanced project across the surface, as if the water were the canvas, and the leaves drawn on it. For water seems always to rise away from you—to slope slightly upwards; even a pool has that appearance, and therefore anything standing in it is drawn on it as you might sketch on this paper. You see the water beyond and above the top of the plant, and the smooth surface gives the leaf and stalk a sharp, clear definition. But the mass of the tall grass crowds together, every leaf painted yellow by the autumn, a thick cover at the pit-side. This tall grass always awakes my fancy, its shape partly, partly its thickness, perhaps; and yet these feelings are not to be analysed. I like to look at it; I like to stand or move among it on the bank of a brook, to feel it touch and rustle against me. A sense of wildness comes with its touch, and I feel a little as I might feel if there was a vast forest round about. As a few strokes from a loving hand will soothe a weary forehead, so the gentle pressure of the wild grass soothes and strokes away the nervous tension born of civilised life.
I could write a whole history of it; the time when the leaves were fresh and green, and the sedge-birds frequented it; the time when the moorhen's young crept after their mother through its recesses; from the singing of the cuckoo by the river, till now brown and yellow leaves strew the water. They strew, too, the dry brown grass of the land, thick tuffets, and lie even among the rushes, blown hither from the distant trees. The wind works its full will over the exposed waste, and drives through the reed-grass, scattering the stalks aside, and scarce giving them time to spring together again, when the following blast a second time divides them.
A cruder piece of ground, ruder and more dismal in its unsightly holes, could not be found; and yet, because of the reed-grass, it is made as it were full of thought. I wonder the painters, of whom there are so many nowadays, armies of amateurs, do not sometimes take these scraps of earth and render into them the idea which fills a clod with beauty. In one such dismal pit—not here—I remember there grew a great quantity of bulrushes. Another was surrounded with such masses of swamp-foliage that it reminded those who saw it of the creeks in semi-tropical countries. But somehow they do not seem to see these things, but go on the old mill-round of scenery, exhausted many a year since. They do not see them, perhaps, because most of those who have educated themselves in the technique of painting are city-bred, and can never have the feeling of the country, however fond they may be of it.
In those fields of which I was writing the other day, I found an artist at work at his easel; and a pleasant nook be had chosen. His brush did its work with a steady and sure stroke that indicated command of his materials. He could delineate whatever he selected with technical skill at all events. He had pitched his easel where two hedges formed an angle, and one of them was full of oak-trees. The hedge was singularly full of "bits"—bryony, tangles of grasses, berries, boughs half-tinted and boughs green, hung as it were with pictures like the wall of a room. Standing as near as I could without disturbing him, I found that the subject of his canvas was none of these. It was that old stale and dull device of a rustic bridge spanning a shallow stream crossing a lane. Some figure stood on the bridge—the old, old trick. He was filling up the hedge of the lane with trees from the hedge, and they were cleverly executed. But why drag them into this fusty scheme, which has appeared in every child's sketch-book for fifty years? Why not have simply painted the beautiful hedge at hand, purely and simply, a hedge hung with pictures for any one to copy? The field in which he had pitched his easel is full of fine trees and good "effects." But no; we must have the ancient and effete old story. This is not all the artist's fault, because he must in many cases paint what he can sell; and if his public will only buy effete old stories, he cannot help it. Still, I think if a painter did paint that hedge in its fulness of beauty, just simply as it stands in the mellow autumn light, it would win approval of the best people, and that ultimately, a succession of such work would pay.
The clover was dying down, and the plough would soon be among it—the earth was visible in patches. Out in one of these bare patches there was a young mouse, so chilled by the past night that his dull senses did not appear conscious of my presence. He had crept out on the bare earth evidently to feel the warmth of the sun, almost the last hour he would enjoy. He looked about for food, but found none; his short span of life was drawing to a close; even when at last he saw me, he could only run a few inches under cover of a dead clover-plant. Thousands upon thousands of mice perish like this as the winter draws on, born too late in the year to grow strong enough or clever enough to prepare a store. Other kinds of mice perish like leaves at the first blast of cold air. Though but a mouse, to me it was very wretched to see the chilled creature, so benumbed as to have almost lost its sense of danger. There is something so ghastly in birth that immediately leads to death; a sentient creature born only to wither. The earth offered it no help, nor the declining sun; all things organised seem to depend so much on circumstances. Nothing but pity can be felt for thousands upon thousands of such organisms. But thus, too, many a miserable human being has perished in the great Metropolis, dying, chilled and benumbed, of starvation, and finding the hearts of fellow-creatures as bare and cold as the earth of the clover-field.