Art Out-of. Doors 



variety of form within the limits of the 

 general contour. 



By the texture of a tree I mean the 

 character of its masses of foliage as deter- 

 mined by the manner of growth of the 

 lighter spray, and the number, shape, dis- 

 position, and tissue of its leaves. We know 

 what great differences in texture — in real or 

 apparent solidity and in surface effect — may 

 be produced, for example, by different 

 methods of weaving silken threads, resulting 

 now in silk, now in gauze, now in satin, 

 and again in velvet. Nature produces simi- 

 lar differences as she v/eaves the leafy cover- 

 ings of her trees ; and they play as great 

 a part in determining the effect of these 

 trees as even varieties of form. 



If a spruce and a white pine were exactly 

 the same in contour and in the disposition 

 of their foliage into masses, the longer 

 leaves of the pine, and their arrangement in 

 clusters instead of in rows, vrould give it a 

 wholly different effect because a wholly dif- 

 ferent texture, Avhile the feathery spray and 

 leafage of a hemlock would appear quite 



24S 



