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 weaves 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, would give it a 
wholly different effect because a wholly dif- 
ferent texture, while the feathery spray and 
leafage of a hemlock would appear quite 
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