54 PINES 
P. PINEA AND PINASTER 
I saw far off the dark top of a pine 
Look like a cloud—a slender stem, the tie 
That bound it to its native earth, ... 
Worpswortn, The Pine on Monte Mario at Rome. 
The Prnza (Stdne, or Umbrella Pine) and the 
PINASTER (Maritime, or Cluster Pine) run somehow 
concurrently in some quite well-constituted minds. 
Doubtless they should not do so, but it often happens, 
for all that, that a tree-lover, prating on trees, gets 
badly mixed up upon the question of their different 
individualities. He is often prone to drift towards 
a non-compos-mentis state of bewilderment as to 
which is which. When he talks of the one, often as 
not he means the other; and when he is thinking 
of this other he wanders orally away on to the afore- 
mentioned. Perhaps it is the similarity of names, 
added to the similarity of locality, that they affect, 
which is responsible for this Didymus doubt, and 
which exercises a beguiling effect upon the dewdra=: 
logist’s mental equilibrium. 
The coarser leaves of the Pinaster, and its habit 
of leaving the remains of its buds’ scales on the shoots, 
ought to assist us in arriving at its identity. In 
addition to this, the white cottony appearance of 
the leaf sheath, and the kind of fimbricated “ frou- 
frou ” effect created about it, makes it quite different 
from anything else of its find. 
Both these trees have a separate claim to a notoriety 
of their own: the P. Pinea as an artist’s model, and 
the conspicuous feature of a foreground in many a 
Turner and Claude landscape, the Pinaster as the 
all-conqueror of the sands; and the way it contrives 
to get a grip of those sands with its long perpendicular 
roots, with undenied resolution and_ consolidating 
-effect, must excite the admiration of all who deem 
