The landscape of the equator is, as the traveler discovers to his no small surprise, singularly like the landscape of the more luxuriant parts of southern England. He finds the same thick woods and, where man has cleared them, the same park-like expanses of luscious greenery. The whole is illumined by the same cloudy sky, alternately bright and dark, and wetted by precisely those showers of hot water which render yet more oppressive the sultriness of July days in the Thames valley or in Devonshire. The equator is England in summer, but raised, so to speak, to a higher power. Falmouth cubed equals Singapore. Between the equatorial and the temperate zone lies a belt of drought; even Provence is half a desert. The equator is dank, the tropics and the sub-tropics are predominantly dry. The Sahara and Arabia, the wastes of India and Central Asia and North America are a girdle round the earth of sand and naked rock. The Mediterranean lies on the fringes of this desert belt and the olive is its tree—the tree of a region of sun-lit clarity separating the damps of the equator from the damps of the North. It is the symbol of a classicism enclosed between two romanticisms.

“And where,” Sir George Beaumont inquired of Constable, “where do you put your brown tree?” The reply was disquieting: the eccentric fellow didn’t put it anywhere. There are no brown trees in Constable’s landscapes. Breaking the tradition of more than a century, he boldly insisted on painting his trees bright green. Sir George, who had been brought up to think of English landscape in terms of raw Sienna and ochre, was bewildered. So was Chantrey. His criticism of Constable’s style took a practical form. When “Hadleigh Castle” was sent to the Academy he took a pot of bitumen and glazed the whole foreground with a coat of rich brown. Constable had to spend several hours patiently scratching it off again. To paint a bright green tree and make a successful picture of it requires genius of no uncommon order. Nature is embarrassingly brilliant and variegated; only the greatest colorists know how to deal with such a shining profusion. Doubtful of their powers, the more cautious prefer to transpose reality into another and simpler key. The key of brown, for example. The England of the eighteenth-century painters is chronically autumnal.

At all seasons of the year the olive achieves that sober neutrality of tone which the deciduous trees of the North put on only in autumn and winter. “Where do you put your gray tree?” If you are painting in Provence, or Tuscany, you put it everywhere. At every season of the year the landscape is full of gray trees. The olive is essentially a painter’s tree. It does not need to be transposed into another key, and it can be rendered completely in terms of pigment that are as old as the art of painting.

Large expanses of the Mediterranean scene are by Nature herself conceived and executed in the earth colors. Your gray tree and its background of bare bone-like hills, red-brown earth and the all but black cypresses and pines are within the range of the most ascetic palette. Derain can render Provence with half a dozen tubes of color. How instructive to compare his olives with those of Renoir! White, black, terra verde—Derain’s rendering of the gray tree is complete. But it is not the only complete rendering. Renoir was a man with a passion for bright gay colors. To this passion he added an extraordinary virtuosity in combining them. It was not in his nature to be content with a black, white and earth-green olive. His gray trees have shadows of cadmium green, and where they look toward the sun, are suffused with a glow of pink. Now, no olive has ever shown a trace of any color warmer than the faint ochre of withering leaves and summer dusts. Nevertheless these pink trees, which in Renoir’s paintings of Cagnes recall the exuberant girls of his latest, rosiest manner, are somehow quite startlingly like the cold gray olives which they apparently misrepresent. The rendering, so different from Derain’s, is equally complete and satisfying.

If I could paint and had the necessary time, I should devote myself for a few years to making pictures only of olive trees. What a wealth of variations upon a single theme! Above Pietrasanta, for example, the first slopes of the Apuan Alps rise steeply from the plain in a series of terraces built up, step after step, by generations of patient cultivators. The risers of this great staircase are retaining walls of unmortared limestone; the treads, of grass. And on every terrace grow the olives. They are ancient trees; their boles are gnarled, their branches strangely elbowed. Between the sharp narrow leaves one sees the sky; and beneath them in the thin softly tempered light there are sheep grazing. Far off, on a level with the eye, lies the sea. There is one picture, one series of pictures.

But olives will grow on the plain as well as on the hillside. Between Seville and Cordoba the rolling country is covered with what is almost a forest of olive trees. It is a woodland scene. Elsewhere they are planted more sparsely. I think, for example, of that plain at the foot of the Maures in Provence. In spring, beside the road from Toulon to Frejus, the ploughed earth is a rich Pozzuoli red. Above it hang the olives, gray, with soft black shadows and their highest leaves flashing white against the sky; and, between the olives, peach trees in blossom—burning bushes of shell-pink flame in violent and irreconcilable conflict with the red earth. A problem, there, for the most accomplished painter.

In sunlight Renoir saw a flash of madder breaking out of the gray foliage. Under a clouded sky, with rain impending, the olives glitter with an equal but very different intensity. There is no warmth in them now; the leaves shine white, as though illumined from within by a kind of lunar radiance. The soft black of the shadows is deepened to the extreme of night. In every tree there is simultaneously moonlight and darkness. Under the approaching storm the olives take on another kind of being; they become more conspicuous in the landscape, more significant. Of what? Significant of what? But to that question, when we ask it, nature always stubbornly refuses to return a clear reply. At the sight of those mysterious lunar trees, at once so dark and so brilliant beneath the clouds, we ask, as Zechariah asked of the angel: “What are these two olive trees upon the right side of the candlestick and upon the left side thereof? What be these two olive branches which through the two golden pipes empty the golden oil out of themselves? And he answered me and said, Knowest thou not what these be? And I said, No, my lord. Then said he, These are the two anointed ones, that stand by the Lord of the whole earth.” And that, I imagine, is about as explicit and comprehensible an answer as our Wordsworthian questionings are ever likely to receive.

Provence is a painter’s paradise, and its tree, the olive, the painter’s own tree. But there are disquieting signs of change. During the last few years there has been a steady destruction of olive orchards. Magnificent old trees are being cut, their wood sold for firing and the land they occupied planted with vines. Fifty years from now, it may be, the olive tree will almost have disappeared from southern France, and Provence will wear another aspect. It may be, I repeat; it is not certain. Nothing is certain nowadays except change. Even the majestic stability of agriculture has been shaken by the progress of technology. Thirty years ago, for example, the farmers of the Rhone valley grew rich on silkworms. Then came the invention of viscose. The caterpillars tried to compete with the machines and failed. The female form is now swathed in wood-pulp, and between Lyons and Avignon the mulberry tree and its attendant worm are all but extinct. Vines were next planted. But North Africa was also planting vines. In a year of plenty vin ordinaire fetches about a penny a quart. The vines have been rooted up again, and today the prosperity of the Rhone valley depends on peach trees. A few years from now, no doubt, the Germans will be making synthetic peaches out of sawdust or coal tar. And then—what?