Art Out-of-Doors 
a cultivated eye is as much distressed by 
seeing a rigid-looking spruce or a solid sugar- 
maple where a feathery hemlock or a deli- 
cate honey-locust might better stand, as by 
seeing a purple beech where harmony calls 
for a green one, or a lofty hickory where 
good composition demands a low and 
spreading dogwood. 
Among the varieties which Nature creates 
when clothing her trees in her usual livery 
of green, an artist would distinguish vari- 
eties of tint and varieties of tone or “ value.” 
The green of foliage may be of a bluish, or 
a yellowish, or a grayish tint, and, keeping 
this tint, it may vary from a very pale to a 
very dark tone. Again, the effect of a tree 
may be compounded of the different colors 
shown by the different sides of its leaves — 
may be a mottled and not a simple tone ; 
and it is always affected by the character of 
the surface of the leaves, a smooth and shin- 
ing tissue giving a tone quite unlike that 
produced by a dull or a woolly tissue, even 
though upon examination the same shade of 
coloring matter be discovered. And then, 
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