PREFACE. N5H4 1885 ON THE AVON AT RINGWOOD (Evening). N the preliminary chapter- The blossoming of Autumn'-the Author has fully explained the object and scope of this volume. In putting it forth as what he believes to be the first attempt ever made in Eng land to reproduce in facsimile-if that expression may be allowed-not merely the exquisite tinting but the forms and venation of the most prominent and conspicuous of the leaves whose dying splendour lights up with so much of brilliancy and beauty our autumnal hedges and woodlands, the Author desires to say that the work is the out M368204 come of a minute and careful study of the subject pursued during many years. It is a singular circumstance that, with all the resources which art possesses in the present day, and in view, especially, of the wealth of illustration that has been brought into requisition in the endeavour to reproduce the flowers of the field,' no one should have attempted to reproduce the 'blossoms of Autumn' as represented by autumnal leaves. The neglect, in a literary and pictorial sense, of this most fascinating branch of natural science is doubtless only accidental, and it does not arise from any lack of appreciation of the subject. But the fact remains that, rich as this subject is in itself, and full as it is of attraction for the lovers of Nature, it has, by pictorial art, in the especial phase in which it is here represented, been wholly overlooked. Merely general references-such as may be found abundantly both in poetry and prose-to the glory and beauty of Autumn, 'Thrice happy time, Best portion of the various year, in which Lovely to full perfection wrought,' till leave unsatisfied the desire to know some thing more of the loveliness which has stirred the enthusiasm and excited the admiration of poets and-in a less degree-of prosateurs. It is true, as one writer feelingly exclaims, that 'Not Spring or Summer's beauty hath such grace As I have seen in one autumnal face,' and it is worth an effort to endeavour to catch and stereotype, so to speak, some of the most prominent of the exquisitely beautiful, but transient, features of the season of Autumn. It is not, perhaps, generally known that transient as these features are in our woodlands-for 'the autumnal forest,' as Gilpin truly says, 'is an instrument easily untuned' by 'one frosty night or parching blast'-yet, as far as the rich and varied tints of autumnal leafage are concerned, they can be retained to charm the eye in portfolios: so that the poet's lament over the 'latest loveliest flowers' which Autumn wreaths in many-coloured bowers,' The rich luxuriance ** of every view, need not find an echo in the soul of the reader who will but take the trouble to seek for and preserve the coloured gems of the autumnal woods. Should this volume suggest to any of its readers the collection and preservation of autumnal leaves not merely as objects in themselves of great beauty, but as reminiscences of pleasant autumn rambles, it will, incidentally, it is hoped, serve a pleasant, if a minor, purpose: and if such a pastime should give to the reader half the pleasure the Author has experienced in wandering by autumn hedges and through autumn woods in search of the materials out of which he has wrought this volume, its perusal will, perhaps, in more than one way, be fruitful of good results. The modus operandi by which the outlines of form, the characteristic venation and the tinting of the leaves figured in the coloured plates which accompany the text of Part II., have been reproduced is fully described in the introductory chapter. The Author's best thanks are due to the artists and lithographers-Messrs Emrik and Binger-and to their London representative, Mr. William Day, for the admirable manner in which they have carried out his instructions. The botanical artist employed upon the work is a |