If we had never before looked upon the earth, but suddenly came to it man or woman grown, set down in the midst of a summer mead, would it not seem to us a radiant vision? The hues, the shapes, the song and life of birds, above all the sunlight, the breath of heaven, resting on it; the mind would be filled with its glory unable to grasp it, hardly believing that such things could be mere matter ... too beautiful to be long watched lest it should fade away.'from: 'Wild Flowers', The Open Air.

An old beech tree had been broken off about five feet from the ground, and becoming hollow within, was filled with the decay of its own substance. In this wood-sorrel had taken root, and flower and leaf covered the space within, white flower and green leaf flourishing on old age. The wood-sorrel leaf, the triune leaf, is perhaps more lovely even than the flower, like a more delicately shaped clover of a tenderer green, and it lasts far on into the autumn. When the violet leaves are no more looked for, when the cowslips have gone, and the bluebells have left nothing behind them but their nodding seed-cases, still the wood-sorrel leaf stays on the mound, in shape and colour the same, and as pleasantly acid to the taste now under the ripening nuts as in May. At its coming it is folded almost like a. green flower; at Midsummer, when you are gathering ferns, you find its trefoil deep under the boughs; it grows, too, in the crevices of the rock over the spring. The whortleberry leaves, that were green as the myrtle when the wood-sorrel was in bloom, have faded somewhat now that their berries are ripening. Another beech has gone over, and lies at full length, a shattered tube, as it were, of timber; for it is so rotten within, and so hollow and bored, it is little else than bark. Others that stand are tubes on end, with rounded knot-holes, loved by the birds, that let air and moisture into the very heart of the wood. They are hardly safe in a strong wind. Others again, very large and much shorter, have sent up four trunks from one root, a little like a banyan, quadruple trees built for centuries, throwing abroad a vast roof of foliage, whose green in the midst of summer is made brown by sacks and sacks of beech nuts. These are the trees to camp by, and that are chosen by painters. The bark of the beech is itself a panel to study, spotted with velvet moss brown-green, made grey with close-grown lichen, stained with its own hues of growth, and toned by time. To these add bright sunlight and leaf shadow, the sudden lowering of tint as a cloud passes, the different aspects of the day and the evening, and the changes of rain and dry weather. You may look at the bark of a beech twenty times and always find it different. After crossing Virgil's Bridge in the deep coombe at the bottom of Marden Hill these great beeches begin, true woodland trees, and somehow more forest-like than the hundreds and hundreds of acres of fir trees that are called forest. There is another spirit among the beech trees; they look like deer and memories of old English life.

The wood cooper follows his trade in a rude shed, splitting poles and making hoops the year through, in warm summer and iron-clad winter. His shed is always pitched at the edge of a great woodland district. Where the road has worn in deeply the roots of the beeches hang over, twisted in and out like a giant matting, a kind of cave under them. Dark yew trees and holly trees stand here and there; a yew is completely barked on one side, stripped clean. If you look close you will see scores in the wood as if made with a great nail. Those who know Exmoor will recognise these signs in a moment; it is a fraying-post where the stags rubbed the velvet from their horns last summer. There are herds of red deer in the park. At one time there were said to be almost as many as run free and wild over the expanse of Exmoor. They mark the trees very much, especially those with the softer bark. Wire fencing has been put round many of the hollies to protect them. A stag occasionally leaps the boundary and forages among the farmers' corn, or visits a garden, and then the owner can form some idea of what must have been the difficulties of agriculture in mediaeval days. Deer more than double the interest of a park. A park without deer is like a wall without pictures. However well proportioned the room, something is lacking if the walls be blank. However noble the oaks and wide the sweep of sward, there is something wanting if antlers do not rise above the fern. The pictures that the deer make are moving and alive; they dissolve and re-form in a distant frame of tree and brake. Lately the herd has been somewhat thinned, having become too numerous. One slope is bare of grass, a patch of yellow sand, which if looked at intently from a distance seems presently to be all alive like mites in cheese, so thick are the rabbits in the warren. Under a little house, as it were, built over a stream is a chalybeate fountain with virtues like those of Tunbridge Wells.

The park is open to visitors--here comes a gay four-in-hand heavily loaded sweeping by on its road to that summer town. There is much ironstone in the soil round about. At the edge of the park stands an old farmhouse of timber and red tile, with red oast-house beside it, built with those gables which our ancestors seemed to think made such excellent rooms within. Our modern architects try to make their rooms mathematically square, a series of brick boxes, one on the other like pigeon-holes in a bureau, with flat ceilings and right angles in the corners, and are said to go through a profound education before they can produce these wonderful specimens of art. If our old English folk could not get an arched roof, then they loved to have it pointed, with polished timber beams in which the eye rested as in looking upwards through a tree. Their rooms they liked of many shapes, and not at right angles in the corners, nor all on the same dead level of flooring. You had to go up a step into one, and down a step into another, and along a winding passage into a third, so that each part of the house had its individuality. To these houses life fitted itself and grew to them; they were not mere walls, but became part of existence. A man's house was not only his castle, a man's house was himself. He could not tear himself away from his house, it was like tearing up the shrieking mandrake by the root, almost death itself. Now we walk in and out of our brick boxes unconcerned whether we live in this villa or that, here or yonder. Dark beams inlaid in the walls support the gables; heavier timber, placed horizontally, forms, as it were, the foundation of the first floor. This horizontal beam has warped a little in the course of time, the alternate heat and cold of summers and winters that make centuries. Up to this beam the lower wall is built of brick set to the curve of the timber, from which circumstance it would appear to be a modern insertion. The beam, we may be sure, was straight originally, and the bricks have been fitted to the curve which it subsequently took. Time, no doubt, ate away the lower work of wood, and necessitated the insertion of new materials. The slight curve of the great beam adds, I think, to the interest of the old place, for it is a curve that has grown and was not premeditated; it has grown like the bough of a tree, not from any set human design. This, too, is the character of the house. It is not large, nor overburdened with gables, not ornamental, nor what is called striking, in any way, but simply an old English house, genuine and true. The warm sunlight falls on the old red tiles, the dark beams look the darker for the glow of light, the shapely cone of the hop-oast rises at the end; there are swallows and flowers, and ricks and horses, and so it is beautiful because it is natural and honest. It is the simplicity that makes it so touching, like the words of an old ballad. Now at Mayfield there is a timber house which is something of a show place, and people go to see it, and which certainly has many more lines in its curves and woodwork, but yet did not appeal to me, because it seemed too purposely ornamental. A house designed to look well, even age has not taken from it its artificiality. Neither is there any cone nor cart-horses about. Why, even a tall chanticleer makes a home look homely. I do like to see a tall proud chanticleer strutting in the yard and barely giving way as I advance, almost ready to do battle with a stranger like a mastiff. So I prefer the simple old home by Buckhurst Park.

The beeches and oaks become fewer as the ground rises, there are wide spaces of bracken and little woods or copses, every one of which is called a 'shaw.' Then come the firs, whose crowded spires, each touching each, succeed for miles, and cover the hill-side with a solid mass of green. They seem so close together, so thickened and matted, impenetrable to footsteps, like a mound of earth rather than woods, a solid block of wood; but there are ways that wind through and space between the taller trunks when you come near. The odour of firs is variable; sometimes it fills the air, sometimes it is absent altogether, and doubtless depends upon certain conditions of the atmosphere. A very small pinch of the fresh shoot is pleasant to taste; these shoots, eaten constantly, were once considered to cure chest disease, and to this day science endeavours by various forms of inhalations from fir products to check that malady. Common rural experience, as with the cow-pox, has often laid the basis of medical treatment. Certain it is that it is extremely pleasant and grateful to breathe the sweet fragrance of the fir deep in the woods, listening to the soft caressing sound of the wind that passes high overhead. The willow-wren sings, but his voice and that of the wind seem to give emphasis to the holy and meditative silence. The mystery of nature and life hover about the columned temple of the forest. The secret is always behind a tree, as of old time it was always behind the pillar of the temple. Still higher, and as the firs cease, and shower and sunshine, wind and dew, can reach the ground unchecked, comes the tufted heath and branched heather of the moorland top. A thousand acres of purple heath sloping southwards to the sun, deep valleys of dark heather; further slopes beyond of purple, more valleys of heather--the heath shows more in the sunlight, and heather darkens the shadow of the hollows--and so on and on, mile after mile, till the heath-bells seem to end in the sunset. Round and beyond is the immense plain of the air---you feel how limitless the air is at this height, for there is nothing to measure it by. Past the weald lie the South Downs, but they form no boundary, the plain of the air goes over them to the sea and space.

This wild tract of Ashdown Forest bears much resemblance to Exmoor; you may walk, or you may ride, for hours and meet no one; and if black game were to start up it would not surprise you in the least. There seems room enough to chase the red stag from Buckhurst Park with horn and hound till, mayhap, he ended in the sea at Pevensey. Buckhurst Park is the centre of this immense manor. Of old time the deer did run wild, and were hunted till the pale was broken in the great Civil War. The 'Forest' is still in every one's mouth--'on the Forest,' 'by the Forest,' 'in' it, or 'over' it, everything comes from the 'Forest,' even stone to mend the roads, or 'through the Forest,' as up from Brighton. People say this farm used to be forest, or this garden or this house was the first built on the forest. The enclosures are small, and look as if they had been hewn out of wood or stubbed out of heather, and there are numbers of small owners or settlers. Here and there a house stands, as it seems, alone in the world on the Forest ridge, thousands of acres of heather around, the deep weald underneath--as at Duddleswell, a look-out, as it were, over the earth. Forest Row, where they say the courtiers had their booths in ancient hunting days; Forest Fold, Boar's-head Street, Greenwood Gate--all have a forest sound; and what prettier name could there be than Sweet-Haws? Greybirchet Wood, again; Mossbarn, Highbroom, and so on. Outlying woods in every direction are fragments of the forest, you cannot get away from it; and look over whatever gate you will, there is always a view. In the vale, if you look over a gate you only see that field and nothing beyond; the view is bounded by the opposite hedge. Here there is always a deep coombe, or the top of a wood underneath, or a rising slope, or a distant ridge crowned with red-tiled farmstead, red-coned oast-house, and tall spruce firs. Or far away, miles and miles, the fields of the weald pushed close together by distance till in a surface no larger than the floor of a room there are six or seven farms and a village. Clouds drift over; it is a wonderful observatory for cloud studies; they seem so close, the light is so strong, and there is nothing to check the sight as far as its powers will reach. Clouds come up no wider than a pasture-field, but in length stretching out to the very horizon, dividing the blue sky into two halves; but then every day has its different clouds--the fleets of heaven that are always sailing on and know no haven.