CHAP. CV. 



CORYLACEiE. QUE'RCUH. 



1T95 



remarkable. [See/g. 1640., from Gilpin; and /g, 16+1., from Strutt.] When 

 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, 

 spring from the same knot. 

 Hence, the spray of the oak 

 becomes thick, close, and in- 

 terwoven ; so that at a little 

 distance it has a full rich ap- 

 pearance, and more of the 

 picturesque roughness than 

 we observe in the spray of 

 any other tree. The spray 

 of the oak also generally 

 springs in such directions as give its branches that horizontal appearance 

 which they generally assume." (Gilj). For. Seen., vol. i. p. 111.) 



In Jig. 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 irregu- 

 larities of its branches. The example shown in Jig. 1641. is sketched from the 

 denuded boughs, to give a more uninterrupted view of their peculiar chai'acter. 

 ;■ " 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 

 (Jig. 1642.W) may here and there be expressed, as shown in the sketch, which 

 also exhibits what is technically called the touch (h) 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 

 th€ rich and glowing tints of autumn, an astonishing diversity of colour is 



6 A o 



