Wood and Plantations <S7 



Here \ve have a group of five trees, which is, in the whole, 

 full of gracefulness and variety, while there is nothing in 

 the composition inharmonious to the practised eye. 



To illustrate the second case, let us suppose a long sweep- 

 ing outline of maples, birches, and other light, mellow- 

 colored trees, which the improver wishes to vary and break 

 into groups, by spiry-topped, evergreen trees. It is evi- 

 dent, that if these trees were planted in such a manner as 

 to peer abruptly out of the light-colored foliage of the 

 former trees, in dark or almost black masses of tapering 

 verdure, the effect would be by no means so satisfactory 

 and pleasing, as if there were a partial transition from the 

 mellow, pale green of the maples, etc., to the darker hues of 

 the oak, ash, or beech, and finally the sombre tint of the 

 evergreens. Thus much for the coloring; and if, in addi- 

 tion to this, oblong-headed trees or pyramidal trees were 

 also placed near and partly intermingled with the spiry- 

 topped ones, the unity of the whole composition would be 

 still more complete.* 



Contrasts, again, are often admissible in woody scenery; 

 and we would not wish to lose" many of our most superb 

 trees, because they could not be introduced in particular 

 portions of landscape. Contrasts in trees may be so vio- 

 lent as to be displeasing; as in the example of the groups 

 of the three trees, the willow, poplar, and oak: or they 

 may be such as to produce spirited and pleasing effects. 

 This must be effected by planting the different divisions of 



* We are persuaded that very few persons are aware of the beauty, 

 varied and endless, that may be produced by arranging trees with regard 

 to their coloring. It requires the eye and genius of a Claude or a Poussin, 

 to develop all these hidden beauties of harmonious combination. Gilpin 

 rightly says, in speaking of the dark Scotch fir, "with regard to color in 

 general, I think I speak the language of painting, when I assert that the 

 picturesque eye makes little distinction in this matter. It has no attach- 

 ment to one color in preference to another, but considers the beauty of 

 all coloring as resulting, not from the colors themselves, but almost 

 entirely from their harmony with other colors in their neighborhood. So 

 that as the Scotch fir tree is combined or stationed, it forms a beautiful 

 umbrage or a murky spot." - A. J. D. 



