Botanical Specimens from Nature. 



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The artist having made himself acquainted 

 with the touch of the tree, may retire to his seat 

 and commence sketching ; unless the tree should 

 57 have conspicuous flowers or conspicuous fruit, 

 as is the case with the horsechestnut drawn 

 when it is in flower, or with the laburnum if 

 drawn when it is either in flower or in fruit. 

 In examples of this kind, the artist must use 

 the same means to acquire the touch of the 

 flowers, or that of the fruit, as he has done to 

 acquire the touch of the leaves. 



In proceeding to draw the entire tree, the 

 artist will first indicate the outlines of the masses, 

 in the slight but accurate manner shown in 

 Jig. 56.'. he will then indicate the trunk, and its 

 manner of rising from the ground ; as whether 

 perpendicular or inclined, and whether it tapers much or little. 

 All the principal branches of the trees, that are visible through 

 the leaves, should also be slightly indicated, as in Jig. 58. This 

 being done, the next step is to fill in the details of the leafing, 



the commencement of which, 

 at the tops of the two trees, is 

 indicated in ^gs. 59. and 60. ; 

 and, when this is effected for 

 the entire trees, these two 

 sketches only require the bo- 

 tanical details placed under 

 ' them, to assume the appear- 

 ance of the oak (Quercuspedun- 

 culata) j*?^. 61., and the bird- 

 cherry (Cerasus Padus)j^. 62. 



The only point which it re- 

 mains to settle is the season of 

 the year, or the state of the 

 tree, most suitable for its being 

 drawn. Were the object in 

 view simply to produce pic- 

 turesque beauty, the autumn, 

 after the leaves of the deciduous sorts had changed their colour, 

 and were ready to drop off, and when the leaves of the ever- 

 green sorts were fully grown, would be the fittest season : but 

 the object, in such a work as the Arboretum Britannicum^ is not 

 beauty with reference to the picturesque, the sculpturesque, or 

 any other description of art ; on the contrary, it is natural 

 beauty, beauty with reference to the nature and characteristic 

 distinction of each particular species of tree. It is, in short, the 

 beauty of truth, not local or peculiar truth, or truth with refer- 



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