CHAP. CV. CORYLA'CEH. QUE’RCUS. 1795 
remarkable. (See fig. 1640., from Gilpin; and fig. 1641., from Strutt. bib 
two shoots spring from the same knot, they are commonly of unequal length ; 
and one with large strides generally takes the head. Very often, also, three 
shoots, and sometimes four, = 3 
spring from the same knot. Les RE: RL = 
Hence, the spray of the oak ‘ie t™ x = 
becomes thick, close, and in-  _ > J ‘ 
terwoven; so that at a little ; = ie 
distance it has a full rich ap- i =~ 4 i ee ae 
pearance, and more of the RAL GO a 
picturesque roughness than > i 
we observe in the spray of J 
any other tree. The spray 1640 
of the oak also generally ial 2 
springs in such directions as give its branches that horizontal appearance 
which they generally assume.” (Gilp. For. Scen., vol. i. p. 111.) 
In fig. 1639., Strutt observes, “ it will be seen that the spray seldom shoots 
from the lower or under side of the branches; which, added to the roughness 
and strength of their component parts, enables the branches to stretch out 
and maintain their horizontal position, not unfrequently even to the very last 
twig; although sometimes, from the great weight of foliage, and, perhaps, from 
some difference in the species of the tree, an oak may be found with pendent 
boughs. ; 
“ The ramification of trees is of great importance to the painter. As well, it 
has been observed by Gilpin (see p. 1790.), might an artist attempt to deli- 
neate the figure of a Hercules without expressing any of the muscles in his 
body, as to give the drawing of an oak tree without a scientific regard to the 
anatomy of its form, in a just display of the various angles and tortuous iregu- 
larities of its branches. The example shown in fig. 1641. is sketched from the 
denuded boughs, to give a more uninterrupted view of their peculiar character. 
_ © The foliage of the oak is particularly suited to the pencil. In those por- 
tions which are brought nearer to the sight, the form of the individual leaves 
(fig. 1642.a) may here and there be expressed, as shown in the sketch, which 
also exhibits what is technically called the touch (4) necessary to express Its 
character as it recedes from the eye. ; : 
“ The colouring of the oak, and, indeed, of all natural objects connected with 
landscape, admits of so great a variety, that it is impossible to give any precise 
rules on the subject : a diligent attention to nature will alone, in this respect, 
avail; for, besides the ordinary varieties induced by change of season, from 
the tender and emerald hues of spring to the deeper bloom of summer, and 
the rich and glowing tints of autumn, an astonishing diversity of colour is 
: 643 
