ON WOOD AND PLANTATIONS. 



which, while they differ from the willow in some 

 particulars, agree in others. The elm has mucn larger 

 and darker foliage, while it has also a drooping spray ; the 

 weeping birch differs in its leaves, but agrees in the pensile 

 flow of its branches ; the common birch has few pendent 

 boughs, but resembles in the airy lightness of its leaves ; 

 and the three-thorned acacia, though its branches are 

 horizontal, has delicate foliage of nearly the same hue and 

 floating lightness as the willow. Here we 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 

 sweeping 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 evident, 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 addition 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.* 



* We are pera aaded 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 

 ievelope all these hidden beauties of harmonious combination. Gilpin rightly 



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