The most chromically complex landscape in the collection — a riot of autumn color rendered with full watercolor confidence. The composition is structured as a view through a stand of foreground trees — two large pink-orange trunks frame the left and right edges of the composition, their branches reaching across the upper field — toward a middle ground of dense autumn foliage in purple, orange, red, and green, and beyond that, glimpsed through the trees, a green hillside with a cross or antenna at its summit and a pale blue sky.
The color choices are audacious: the tree trunks are rendered in vivid pink-orange rather than brown, making them feel more like coral or flamingo than bark. The foliage masses are purple and red-orange where autumnal foliage would normally be orange-brown. Sidney is not describing what autumn looks like so much as how it feels — the intensity, the saturation, the sense of color burning before it goes.
The handling of the multiple depth planes is the compositional achievement: the pink trunks in the immediate foreground, the complex middle-ground foliage, the green hill in the distance, and the sky behind — four distinct spatial zones handled with different degrees of definition and different chromatic temperatures. The foreground is most saturated, the distance least — the conventional atmospheric perspective principle applied through color rather than value.
At the lower edge, a wooden fence in horizontal orange-red stripes and vertical posts anchors the composition in a specific, cultivated place — not wilderness but someone's land, a farm or estate seen in its most beautiful season.