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only by Douglas Fir and by the combined stand of the four 

 southern yellow-pines. 



In the trade, it is extensively used in general construction work 

 and in almost an unlimited variety of other capacities. The wood 

 is lighter and softer than that of the southern yellow-pines and 

 shows less definite transition between spring and summer wood. 



In its native range, this tree may become 150 feet tall and 

 occasionally 230 feet, with diameters ranging from five to eight 

 feet; in fact, it is the tallest of the pines next to the Sugar Pine 

 of California. P. Lambertiana, which species unfortunately is not 

 represented in the collections. 



As with many other trees of extended distribution, the Western 

 Yellow-Pine bears a series of common names. On the coast it is 

 sometimes erroneously known as California White-Pine. The 

 standing timber is called Bull Pine. It is also often known as 

 Heavy Pine, but that term serves merely to distinguish it from the 

 considerably lighter Sugar Pine. In Montana it is Black Pine 

 and elsewhere it has received the name of Sierra Brownbark Pine. 



In addition to insect damage, this tree in the southern portion of 

 its range is seriously injured by a mistletoe. This parasite, whose 

 relatives, generally, are regarded as harmless to their hosts in the 

 East, causes considerable destruction to several western conifers. 



The leaves of the Western Yellow-Pine are prevalently in threes, 

 though occasionally they will be found to vary from two to five. 

 They are conspicuously long, five to eleven inches in length, and 

 occur in great clumps with a characteristic appearance. 



The taller evergreen behind these yellow pines and close to the 

 shrubbery in the background is another Red Cedar (p. 112). 



The next five larger trees ahead of us, three of which are more 

 removed from the path than the others, are 



Pinus Thunbergii, the Japanese Black or Thunberg Pine 



This species from Japan is truly Japanese, with its character- 

 istic leaning trunk and broad irregular head. In fact, it is the tree 

 that has probably influenced Japanese art more than any other, 

 for it is a familiar subject on paintings, wood-carvings and em- 



