III. PLANT LIFE (part 2 of 2)
Supplementary Reading--Among Green Trees, Rogers; Chap. I in A Primer of Forestry, Pinchot; Part I in A First Book of Forestry, Roth; Chapter IV in Practical Forestry, Gifford.
LESSON CLXXXIX
HOW TO MAKE LEAF PRINTS
A very practical help in interesting children in trees, is to encourage them to make portfolios of leaf-prints of all the trees of the region. Although the process is mechanical, yet the fact that every print must be correctly labeled makes for useful knowledge. One of my treasured possessions is such a portfolio made by the lads of St. Andrews School of Richmond, Va., who were guided and inspired in this work by their teacher, Professor W. W. Gillette. The impressions were made in green ink and the results are as beautiful as works of art. Professor Gillette gave me my first lesson in making leaf prints.
Material--1. A smooth slate, or better, a thick plate of glass, about 12 × 15 inches.
2. A tube of printer’s ink, either green or black, and costing 50 cents; one tube contains a sufficient supply of ink for making several hundred prints. Or a small quantity of printer’s ink may be purchased at any printing office.
3. Two six-inch rubber rollers, such as photographers use in mounting prints, which cost 15 cents each. A letter-press may be used instead of one roller.
4. A small bottle of kerosene to dilute the ink, and a bottle of benzine for cleaning the outfit after using, care being taken to store them safe from fire.
5. Sheets of paper 8½ × 11 inches. The paper should be of good quality, with smooth surface in order that it may take and hold a clear outline. The ordinary paper used in printers’ offices for printing newspapers works fairly well. I have used with success the paper from blank notebooks which cost five cents a piece.
To make a print, place a few drops of ink upon the glass or slate, and spread it about with the roller until there is a thin coat of ink upon the roller and a smooth patch in the center of the glass or slate. It should never be so liquid as to “run,” for then the outlines will be blurred. Ink the leaf by placing it on the inky surface of the glass and passing the inked roller over it once or twice until the veins show that they are smoothly filled. Now place the inked leaf between two sheets of paper and roll once with the clean roller, bearing on with all the strength possible; a second passage of the roller blurs the print. Two prints are made at each rolling, one of the upper, and one of the under side of the leaf. Dry and wrinkled leaves may be made pliant by soaking in water, drying between blotters before they are inked.
Prints may also be made a number at a time by pressing them under weights, being careful to put the sheets of paper with the leaves between the pages of old magazines or folded newspapers, in order that the impression of one set of leaves may not mar the others. If a letter-press is available for this purpose, it does the work quickly and well.
SAP
_Strong as the sea and silent as the grave, It flows and ebbs unseen, Flooding the earth, a fragrant tidal wave, With mists of deepening green._ --JOHN B. TABB.
THE MAPLES
Teacher’s Story
The sugar maple, combining beauty with many kinds of utility, is dear to the American heart. Its habits of growth are very accommodating; when planted where it has plenty of room, it shows a short trunk and oval head, which, like a dark green period, prettily punctuates the summer landscape; but when it occurs in the forest, its noble bole, a pillar of granite gray, rises to uphold the arches of the forest canopy; and it attains there the height of 100 feet. It grows rapidly and is a favorite shade tree, twenty years being long enough to make it thus useful. The foliage is deep green in the summer, the leaf being a glossy, dark green above and paler beneath. It has five main lobes, the two nearest the stem being smaller; the curved edges between the lobes are marked with a few, smoothly cut, large teeth; the main veins extend directly from the petiole to the sharp tips of the lobes; the petiole is long, slender, and occasionally red. The leaves are placed opposite. The shade made by the foliage of the maple is so dense that it shades down the plants beneath it, even grass growing but sparsely there. If a shade tree stands in an exposed position, it grows luxuriously to the leeward of the prevailing winds, and thus makes a one-sided record of their general direction.
It is its autumn transfiguration which has made people observant of the maple’s beauty; yellow, orange, crimson and scarlet foliage make these trees gorgeous when October comes. Nor do the trees get their color uniformly; even in September, the maple will show a scarlet branch in the midst of its green foliage. I believe this is a hectic flush and a premonition of death to the branch which, less vigorous than its neighbors, is being pruned out by Nature’s slow but sure method. After the vivid color is on the maple, it begins to shed its leaves. This is by no means the sad act which the poets would have us believe; the brilliant colors are an evidence that the trees have withdrawn from the leaves the green life-substance, the protoplasm-machinery for making the starch, and have stored it snugly in trunk and branch for winter keeping. Thus, only the mineral substances are left in the leaf, and they give the vivid hues. It is a mistake to think that frost causes this brilliance; it is caused by the natural, beautiful, old age of the leaf. When the leaves finally fall, they form a mulch-carpet for the tree that bore them, and add their substance to the humus from which the tree draws new powers for growth.
After every leaf has fallen, the maple shows why its shade is dense. It has many branches set close and at sharp angles to the trunk, dividing into fine, erect spray, giving the tree a resemblance to a giant whisk-broom. Its dark, deep-furrowed bark smoothes out and becomes light gray on the larger limbs, while the spray is purplish, a color given it by the winter buds. These buds are sharp-pointed and long. In February, their covering of scales shows premonitions of spring by enlarging, and as if due to the soft influence, they become downy, and take on a sunshine color before they are pushed off by the leaves. The leaves and the blossoms appear together. The leaves are at first, yellowish, downy and drooping, thus shunning the too hot sun and the violent pelting rains and fierce spring winds. The flowers appear in tassellike clusters, each downy drooping thread of the tassel bearing at its tip a five-lobed calyx, which may hold seven or eight long, drooping stamens or a pistil with long, double stigmas. The flowers are greenish yellow, and those that bear pollen and those that bear the seeds may be borne on separate trees or on the same tree, but they are always in different clusters. If on the same tree, the seed-bearing tassels are at the tips of the twigs, and those bearing pollen are along the sides.
The ovary is two-celled, but there is usually only one seed developed in the pair which forms a “key;” to observe this, however, we have to dissect the seeds; they have the appearance of two seeds joined together, each provided with a thin, closely veined wing and the two attached to the tree by a single long, drooping stem. This twin-winged form is well fitted to be whirled off by the autumn winds, for the seeds ripen in September. I have seen seedlings growing thickly for rods to the leeward of their parent tree, which stood in an open field. The maples bear blossoms and seeds every year. There are six species of native maples which are readily distinguishable. The silver and the red maples and the box elder are rather large trees; the mountain and the striped (or goosefoot) maples are scarcely more than shrubs, and mostly grow in woods along streams. The Norway and the sycamore maples have been introduced from Europe for ornamental planting. The cut-leaf silver maple comes from Japan.
The maple wood is hard, heavy, strong, tough and fine-grained; it is cream-color, the heart-wood showing shades of brown; it takes a fine polish and is used as a finishing timber for houses and furniture. It is used in construction of ships, cars, piano action and tool handles; its fine-grained quality makes it good for wood-carving; it is an excellent fuel and has many other uses.
MAPLE-SUGAR MAKING
Although we have tapped the trees in America for many hundred years, we do not as yet understand perfectly the mysteries of the sap flow. In 1903, the scientists at the Vermont Experiment Station did some very remarkable work in clearing up the mysteries of sap movement. Their results were published in their Bulletins 103 and 105, which are very interesting and instructive.
The starch which is changed to sugar in the sap of early spring was made the previous season and stored within the tree. If the foliage of the tree is injured by caterpillars one year, very little sugar can be made from that tree the next spring, because it has been unable to store enough starch in its sap-wood and in the outer ray-cells of its smaller branches to make a good supply of sugar. During the latter part of winter, the stored starch disappears, being converted into tree-food in the sap, and then begins that wonderful surging up and down of the sap tide. During the first part of a typical sugar season, more sap comes from above down than from below up; toward the end of the season, during poor sap days, there is more sap coming up from below than down from above. The ideal sugar weather consists of warm days and freezing nights. This change of temperature between day and night acts as a pump. During the day when the branches of the tree are warmed, the pressure forces into the hole bored into the trunk all the sap located in the adjacent cells of the wood. Then the suction which follows a freezing night drives more sap into those cells, which is in turn forced out when the top of the tree is again warmed. The tree is usually tapped on the south side, because the action of the sun and the consequent temperature-pump more readily affects that side.
“Tapping the sugar bush” are magical words to the country boy and girl. Well do we older folk remember those days in March when the south wind settled the snow into hard, marblelike drifts, and the father would say, “We will get the sap-buckets down from the stable loft and wash them, for we shall tap the sugar-bush soon.” In those days the buckets were made of staves and were by no means so easily washed as are the metal buckets of to-day. Well do we recall the sickish smell of musty sap that greeted our nostrils, when we poured in the boiling water to clean those old brown buckets. Previously during the winter evenings, we all had helped fashion sap-spiles from stems of sumac. With buckets and spiles ready when the momentous day came, the large, iron caldron kettle was loaded on a stoneboat together with a sap-cask, log-chain, ax and various other utensils, and as many children as could find standing room; then the oxen were hitched on and the procession started across the rough pasture to the woods, where it eventually arrived after numerous stops for reloading almost everything but the kettle.
When we came to the boiling place, we lifted the kettle into position and flanked it with two great logs against which the fire was to be kindled. Meanwhile the oxen and stoneboat returned to the house for a load of buckets. The oxen blinking, with bowed heads, or with noses lifted aloft to keep the underbrush from striking their faces, “gee’d and haw’d” up hill and down dale through the woods, stopping here and there while the men with augers bored holes in certain trees near other holes which had bled sweet juices in years gone by. When the auger was withdrawn, the sap followed it, and enthusiastic young tongues met it half way, though they received more chips than sweetness therefrom; then the spiles were driven in with a wooden mallet.
The next day after “tapping,” those of us large enough to wear the neck-yoke donned cheerfully this badge of servitude and with its help brought pails of sap to the kettle, and the “boiling” began. As the evening shades gathered, how delicious was the odor of the sap steam, permeating the woods farther than the shafts of firelight pierced the gloom! How weird and delightful was this night experience in the woods! And how cheerfully we swallowed the smoke which the contrary wind seemed ever to turn toward us! We poked the fire to send the sparks upward, and now and then added more sap from a barrel, and removed the scum from the boiling liquid with a skimmer thrust into the cleft of a long stick for a handle. As the evening wore on, we drew closer to each other as we told stories of the Indians, bears, panthers and wolves which had roamed these woods when our father was a little boy; and came to each of us a disquieting suspicion that perhaps they were not all gone yet, for everything seemed possible in those night-shrouded woods; and our hearts suddenly “jumped into our throats” when near by there sounded the tremulous, blood-curdling cry of the screech owl.
After about three days of gathering and boiling sap, came the “siruping down.” During all that afternoon we added no more sap and we watched carefully the tawny, steaming mass in the kettle; when it threatened to boil over, we threw in a thin slice of fat pork which seemed to have some mysterious calming influence. The odor grew more and more delicious and presently the sirup was pronounced sufficiently thick. The kettle was swung off the logs and the sirup dipped through a cloth strainer into a carrying-pail. Oh, the blackness of the residue left on that strainer! But it was clean woods-dirt and never destroyed our faith in the maple-sugar, any more than did the belief that our friends were made of dirt destroy our friendship for them. The next day our interests were transferred to the house where we “sugared off.” There we boiled the sirup to sugar on the stove and pouring it thick and hot upon snow made that most delicious of all sweets--the maple-wax; or we stirred it until it “grained,” before we poured it into the tins to make the “cakes” of maple-sugar.
Now the old stave bucket and the sumac spile are gone; in their place the patent galvanized spile not only conducts the sap but holds in place a tin bucket carefully covered. The old caldron kettle is broken, or lies rusting in the shed. In its place, in the new-fangled sugar-houses, are evaporating vats, set over furnaces with chimneys. But we may as well confess that the maple-sirup of to-day seems to us a pale and anaemic liquid, lacking the delicious flavor of the rich, dark nectar which we, with the help of cinders, smoke and various other things, brewed of yore in the open woods.
LESSON CXC
THE SUGAR MAPLE
Leading thought--The sugar maple grows very rapidly, and is therefore a useful shade tree. Its wood is used for many purposes, and from its sap is made a delicious sugar.
Method--This study of the maple should be done by the pupils out of doors, with a tree to answer the questions. The study of the leaves, blossoms and fruit may be made in the schoolroom. The maple is an excellent subject for Lesson CLXXXVIII. The observations should begin in the fall and continue at intervals until June.
Observations. Fall Work--1. Where is the maple you are studying? Is it near other trees? What is the shape of the head? What is the height of the trunk below the branches? What is the height of the tree? How large around is the trunk three feet from the ground? Can you find when the tree was planted? Can you tell by the shape of the tree from which direction the wind blows most often?
2. Can you find seeds on your tree? Each pair of seeds is called a key. Sketch a key, showing the way the seeds are joined and the direction of the wings. Sketch the stem which holds the key to the twig. Are both seeds of the key good or is one empty? How are the seeds scattered and planted? How far will a maple key fly on its wings? Plant a maple seed where you can watch it grow next year.
3. Make leaf prints and describe a leaf of the maple, showing its shape, its veins and petiole. Are the leaves arranged opposite or alternate on the twig? Make leaf-prints or sketches of the leaves of all the other kinds of maples which you can find. How can you tell the different kinds of maples by their leaves?
4. If your tree stands alone, measure the ground covered by its shadow from morning until evening. Mark the space by stakes. What grows beneath the tree? Do grass and other plants grow thriftily beneath the tree? Do the same plants grow there as in the open field?
5. Does your maple get its autumn colors all at once, or on one or two branches first? At what time do you see the first autumn colors on your tree? When is it completely clothed in its autumn dress? Is it all red or all yellow, or mixed? If it is yellow this year do you think it will be red next year? Watch and see. Sketch your maple in water-colors.
6. At what time do the leaves begin to fall? Do those branches which first colored brightly shed their leaves before the others? At what date does your tree stand bare?
7. Find a maple tree in the forest and compare it with one that grows as a shade tree in a field. Why this difference?
Winter Work--8. Make a sketch of your maple with the leaves off. What sort of bark has it? Is the bark on the branches like that on the trunk? Are the main branches large? At what angle do they come off the trunk? Does the trunk extend up through the entire tree? Is the spray fine or coarse? Is it straight or crooked?
9. Study the winter buds. Are they alternate or opposite on the twigs? Are they shining or dull?
Spring Study--10. At what time do we tap maple trees for sap? On which side of the tree do we make the hole? If we tapped the tree earlier would we get any sap? What kind of weather is the best for causing sap flow? Do you suppose that it is the sap going up from the root to the tree and the branches, or that coming down from the branches to the root which flows into the bucket? Why do we not make maple-sugar all summer? Do you suppose the sap ceases to run because there is no more sap in the tree?
11. Write a story telling all you can find in books or that you know from your own experience about the making of maple-sugar.
12. When do the leaves of your maple first appear? How do they then look? Do they stand out or droop?
13. Do the blossoms appear with the leaves or after them? How do the blossoms look? Can you tell the blossoms with stamens from those with pistils? Do you find them in the same cluster? Do you find them on the same tree?
14. What uses do we find for maple wood? What is the character of the wood?
Supplementary reading--Trees in Prose and Poetry pp. 25–41.
THE AMERICAN ELM
Teacher’s Story
Although the American elm loves moist woods, it is one of those trees that enjoys gadding; and without knowing just how it has managed to do it, we can see plainly that it has planted its seeds along fence corners, and many elms now grace our fields on sites of fences long ago laid low. Because of its beautiful form and its rapid growth, the elm has been from earliest times a favorite shade tree in the Eastern and Middle States. Thirty years after being planted, the elms on the Cornell Campus clasped branches across the avenues; and the beauty of many a village and city is due chiefly to these graceful trees of bounteous shade. Moreover the elm is at no time more beautiful than when it traces its flowing lines against the background of snow and gray horizon. Whether the tree be shaped like a vase or a fountain, the trunk divides into great uplifting branches, which in turn divide into spray that oftentimes droops gracefully, as if it were made purposely to sustain from its fine tips the woven pocket-nest of the oriole. No wonder this bird so often chooses the elm for its roof-tree!
In winter, the dark, coarsely-ridged bark and the peculiar, wiry, thick spray, as well as the characteristic shape of the tree reveal to us its identity; it also has a peculiar habit of growing its short branches all the way down its trunk, making it look as if it were entwined with a vine. The elm leaf, although its ribs are straight and simple, shows a little quirk of its own in the uneven sides of its base where it joins the petiole; it is dark green and rough above, light green and somewhat rough below; but this leaf is rough only when stroked in certain directions, while the leaf of the slippery elm is rough whichever way it may be stroked. The leaf has the edges saw-toothed, which are in turn toothed; the petiole is short. The leaf comes out of the bud in the spring folded like a little fan; but before the fans are opened to the spring breezes, the elm twigs are furry with reddish green blossoms. The blossom consists of a calyx with an irregular number of lobes, and for every lobe, a stamen which consists of a threadlike filament from which hangs a bright red anther; at the center is a two-celled pistil with two light green styles. These blossoms appear in March or early April, before the leaves.
When full-grown the fruit hangs like beaded fringe from the twigs. The seed is flat and has a wide, much veined margin or wing, notched at the tip and edged with a white silken fringe; the seed is at the center, wrinkled and flat. Each seed shows at its base the old calyx and is attached by a slender threadlike stem to the twig at the axils of last year’s leaves. A little later the lusty breezes of spring break the frail threads and release the seeds, although few of them find places fit for growth.
The elm roots are water hunters and extend deep into the earth; they will grow towards water, seeming to know the way. The elm heart-wood is reddish, the sap-wood being broad and whitish in color; the wood is very tough because of the interlaced fibers, and therefore very hard to split. It is used for cooperage, wheel hubs, saddlery, and is now used more extensively for furniture; its grain is most ornamental. It is fairly durable as posts, but perhaps the greatest use of all for the tree is for shade. The slippery elm is much like the white elm, except that its inner bark is very mucilaginous, and children love to chew it. The cork elm has a peculiar corky growth on its branches, giving it a very unkempt look. The wahoo, or winged elm, is a small tree, and its twigs are ornamented on each side by a corky layer. The English elm has a solid, round head, very different from that of our graceful species. The elms are long-lived, some living for centuries. The Washington elm in Cambridge, and the William Penn elm in Philadelphia, which now has a monument to mark its place, were famous trees.
LESSON CXCI
THE ELM
Leading thought--The elm has a peculiarly graceful form, which makes it of value as a shade tree. It grows best in moist locations. Its wood is very tough.
Method--This work should be begun in the fall with the study of the shape of the tree and its foliage. Sketches should be made when the tree is clothed in autumn tints, and later it should be sketched again when its branches are naked. Its blossoms should be studied in March and April and its seeds in May.
Observations--1. Where does the elm grow? Does it thrive where there is little water? What is the usual shape of the elm? How does the trunk divide into branches to make this shape possible? What is the shape of the larger elms? Describe the spray. Describe the elm bark. How can you tell the elm from other trees in winter?
2. Study the elm leaf. What is its form? What kind of edges has it? How large is it? What is the difference in appearance and feeling between the upper and lower sides? Are the leaves rough above whichever way you stroke them? If a leaf is folded lengthwise are the two halves exactly alike? How are the leaves arranged on the twig? What is their color above and below? Describe the leafy growth along the trunk.
3. What is the color of the elm tree in autumn? Make a sketch of the elm tree you are studying.
4. What sort of roots has the elm? Do they grow deep into the earth? What is the character of its wood? Is it easy to split? Why? What are the chief uses of the elm?
5. Do you know what distinguishes the slippery elm, the cork elm, the winged elm, or wahoo, and the English elm from the common American or white elm which you have been studying?
6. Write an essay on two famous American elms.
7. What birds love to build in the elm trees?
Spring Study of the Elm
8. Which appear first, the blossoms or the leaves? Describe the elm blossom. How long before the seeds ripen? How are the seeds attached to the twig? Describe an elm seed. How are the seeds scattered? How are the young leaves folded as they come out of the bud?
Supplementary reading--Trees in Prose and Poetry, pp. 81–92.
THE OAK
Teacher’s Story
The symbol of rugged strength since man first gazed upon its noble proportions, the oak more than other trees has been entangled in human myth, legend and imagination. It was regarded as the special tree of Zeus by the Greeks. Virgil sang of it thus:
“Full in the midst of his own strength he stands Stretching his brawny arms and leafy hands, His shade protects the plains, his head the hills commands.”
While in primitive England the strange worship of the Druids centered around it.
Although the oak is a tree of grandeur when its broad branches are covered with leafage, yet it is only in winter when it stands stripped like an athlete that we realize wherein its supremacy lies. Then only can we appreciate the massive trunk and the strong limbs bent and gnarled with combating the blasts of centuries. But there are oaks and oaks, and each species fights time and tempest in his own peculiar armor and in his own way. Many of the oaks achieve the height of eighty to one hundred feet. The great branches come off the sturdy trunk at wide angles, branches that may be crooked or gnarled but are ever long and strong; the smaller branches also come off at wide angles, and in turn bear angular individual spray--all of which, when covered with leaves, make the broad, rounded head which characterizes this tree. The oaks are divided into two classes which the children soon learn to distinguish, as follows:
A. The white oak group, the leaves of which have rounded lobes and are rough and light-colored below; the wood is light-colored, the acorns have sweet kernels and mature in one year, so that there are no acorns on the branches in winter. To this class belong the white, chestnut, bur, and post oaks.
AA. The black oak group, the leaves of which are nearly as smooth below as above, and have angular lobes ending in sharp points. The bark is dark in color, the acorns have bitter kernels and require two years for maturing, so that they may be seen on the branches in winter. To this group belong the red, scarlet, Spanish, pin, scrub, black-jack, laurel and willow oaks.
There is a great variation in the shape of the leaves on the same tree, and while the black, the red and the scarlet oaks are well-marked species, it is possible to find leaves on these three different trees which are similar in shape. Oaks also hybridize, and thus their leaves are a puzzle to the botanist; but in general, the species can be determined by any of the tree books, and the pupils should learn to distinguish them.
The acorns and their scaly saucers are varied in shape, and are a delight to children as well as to pigs. The great acorns of the red oak are made into cups and saucers by the girls, and those of the scarlet oak into tops by the boys. The white oaks turn a rich wine-color in the autumn, while the bur and the chestnut are yellow. The red oak is a dark, wine-red; the black oak russet, and the scarlet a deep and brilliant red. When the oak leaves first come from the buds in the spring, they are soft and downy and drooping, those of the red and scarlet being reddish, and those of the white, pale green with red tints. Thoreau says of them, “They hang loosely, flaccidly down at the mercy of the wind, like a new-born butterfly or dragonfly.”
The pollen-bearing flowers are like beads on a string, several strings hanging down from the same point on the twig, making a fringe, and they are attractive to the eye that sees. The pistillate flowers are inconspicuous, at the axils of the leaves, and have irregular or curved stigmas; they are on the same branch as the pollen-bearing flowers.
The oak is long-lived; it does not produce acorns until about twenty years of age and requires a century to mature. Although from two to three hundred years is the average age of most oaks, yet a scarlet oak of my acquaintance is about four hundred years old, and there are oaks still living in England which were there when William, the Conquerer came. The famous Wadsworth Oak at Geneseo, N. Y. had a circumference of twenty seven feet. This was a swamp white oak. One reason for their attaining great age is long, strong, tap-roots which plant them deep, also the great number of roots near the surface which act as braces, and their large and luxurious heads.
Oak wood is usually heavy, very strong, tough and coarse. The heart is brown, the sap-wood whitish. It is used for many purposes--ships, furniture, wagons, cars, cooperage, farm implements, piles, wharves, railway ties, etc. The white and live oaks give the best wood. Oak bark is used extensively for tanning.
LESSON CXCII
THE OAKS
Leading thought--The oak tree is the symbol of strength and loyalty. Let us study it and see what qualities in it have thus distinguished it.
Method--Any oak tree may be used for this lesson; but whatever species is used, the lesson should lead to the knowledge of all the species of oaks in the neighborhood. The tree should be sketched, essays concerning the connection of the oak with human history should be written, while the leaves and acorns may be brought into the schoolroom for study. Use Lesson CLXXXIX for a study of leaves of all the oaks of the neighborhood.
Observations--1. Describe the oak tree which you are studying. Where is it growing? What shape is its head? How high in proportion to the head is the trunk? What is the color and character of its bark? Describe its roots as far as you can see. Are the branches straight or crooked? Delicate or strong? Is the spray graceful or angular?
2. What is the name of your oak tree? What is the color of its foliage in autumn? Find three leaves from your tree which differ most widely in form, and sketch them or make leaf prints of them for your note-book. Does the leaf have the lobes rounded, or angular and tipped with sharp points? Is the leaf smooth on the lower side or rough? Is there much difference in color between the upper and the lower side?
3. Describe the acorns which grow on your oak. Has the acorn a stem, or is it set directly on the twig? How much of the acorn does the cup cover? Are the scales on the cup fine or coarse? Is the cup rounded inwards at its rim? What is the length of the acorn including the cup? The diameter? Are there acorns on your oak in winter? If so, why? Is the kernel of the acorn sweet or bitter? Plant an acorn and watch it sprout.
4. Read all the stories you can find about oak trees, and write them in your note-book.
5. How great an age does the oak attain? Describe how the country round about looked when the oak tree you are studying was planted.
6. How many kinds of oaks do you know? What is the difference in leaves between the white and the black oak groups? What is the difference in the length of time required for the acorns to mature in these two groups? The difference in taste of the acorns? The difference in the general color of the bark? Why is the chestnut oak an exception to this latter rule?
7. How do the oak leaves look when they first come out of the bud in spring? What is the color of the tree covered with new leaves? When does your oak blossom? Find the pollen-bearing blossoms which are hung in long, fuzzy, beady strings. Find the pistillate flower which is to form the acorn. Where is it situated in relation to the pollen-bearing flower?
8. Make a sketch of your oak tree in the fall, and another in the winter. Write the autobiography of some old oak tree in your neighborhood.
9. For what is the oak wood used? How is the bark used?
Supplementary reading--Trees in Prose and Poetry, pp. 111–129.
THE SHAGBARK HICKORY
Teacher’s Story
How pathetically the untidy bark of this dignified tree suggests the careless raiment of a great man! The shagbark is so busy being something worth while that it does not seem to have time or energy to clothe itself in tailor-made bark, like the beech, the white ash and the basswood. And just as we like a great man more because of his negligence to fashion’s demands, so do we esteem this noble tree, and involuntarily pay it admiring tribute as we note its trunk with the bark scaling off in long, thin plates that curve outward at the top and bottom and seem to be only slightly attached at the middle.
In general shape, the shagbark resembles the oak; the lower branches are large and, although rising as they leave the bole, their tips are deflected; and, for their whole length, they are gnarled and knotted as if to show their strength. The bark on the larger branches may be scaly toward their bases but above is remarkably smooth. The spray is angular and extends in almost every direction. The leaves, like those of other hickories, are compound. There are generally five leaflets, but sometimes only three and sometimes seven. The basal pair is smaller than the others. The hickory leaves are borne alternately on the twig, and from this character the hickory may be distinguished from the ashes, which have leaves of similar type, but which are placed opposite on the twigs. The shagbark usually has an unsymmetrical oblong head; the lower branches are usually shorter than the upper ones, and the latter are irregularly placed, causing gaps in the foliage.
The nut is large, with a thick, smooth, outer husk channeled at the seams and separating readily into sections; the inner shell is sharply angled and pointed and slightly flattened at the sides; the kernel is sweet. The winter buds of the shagbark are large, light brown, egg-shaped and downy; they swell greatly before they expand. There are from eight to ten bud-scales; the inner ones, which are red, increase to two or three inches in length before the leaves unfold, after which they fall away. The young branches are smooth, soft, delicate in color, and with conspicuous leaf scars.
The hickory bears its staminate and pistillate flowers on the same tree. The pollen-bearing flowers grow at the base of the season’s shoots in slender, pendulous, green catkins, which occur usually in clusters of three swinging from a common stem. The pistillate flowers grow at the tips of the season’s shoots singly or perhaps two or three on a common stem. In the shagbark the middle lobe of the staminate calyx is nearly twice as long as the other two, and is tipped with long bristles; it usually has four stamens with yellow anthers; its pistillate calyx is four-toothed and hairy, and has two large, fringed stigmas.
The big shagbark, or king nut, is similar to the shagbark in height, manner of growth, and bark. However, its leaves have from seven to nine leaflets, which are more oblong and wedgelike than are those of the shagbark; they are also more downy when young and remain slightly downy beneath. The nut is very large, thick-shelled, oblong, angled, and pointed at both ends. The kernel is large and sweet but inferior in flavor to the smaller shagbark. The big shagbark has larger buds than has the other. Their fringy, reddish purple, inner scales grow so large that they appear tuliplike before they fall away at the unfolding of the leaves.
Hickory wood ranks high in value; it is light-colored, close-grained, heavy, and very durable when not exposed to moisture. It is capable of resisting immense strain, and, therefore, it is used for the handles of spades, plows and other tools, and also for spokes and thills in carriage-making. As a fuel, it is superior to most woods, making a glowing, hot and quite lasting fire.
LESSON CXCIII
THE SHAGBARK
Leading thought--The hickories are important trees commercially. They have compound leaves which are set alternately upon the twig. The shagbark can be told from the other hickories by its ragged, scaling bark.
Method--This lesson may be begun in the winter when the tree can be studied carefully as to its shape and method of branching. Later, the unfolding of the leaves from the large buds should be watched, as this is a most interesting process; and a little later the blossoms may be studied. The work should be taken up again in the fall, when the fruit is ripe.
Observations Winter study--1. What is the general shape of the whole tree? Are the lower branches very large? At what angle do the branches, in general, grow from the trunk? Are there many large branches?
2. Where is the spray borne? What is its character--that is, is it fine and smooth, or knotted and angled? What is its color?
3. Describe the bark. Is the bark on the limbs like that on the trunk?
4. What is the size and shape of the buds? Are the buds greenish-yellow, yellowish brown, or do they have a reddish tinge?
5. Count the bud-scales. Are they downy or smooth?
Spring study--6. Describe how the hickory leaf unfolds from its bud. How is each leaflet folded within the bud?
7. Describe the long greenish catkins which bear the pollen. On what part of the twigs do they grow? Do they grow singly or in clusters?
8. Take one of the tiny, pollen-bearing flowers and hold it under a lens on the point of a pin. How many lobes has the calyx? Count the stamens, and note the color of the anthers.
9. Upon what part of the twigs do the pistillate flowers grow? How many points or lobes has the pistillate calyx? Describe the growth of the nut from the flower.
Autumn study--10. Does the hickory you are studying grow in open field or wood?
11. Are the trunk and branches slender and lofty, or sturdy and wide spreading?
12. Note the number and shape of the leaflets. Are they slim and tapering, or do they swell to the width of half their length? Are they set directly upon or are they attached by tiny stems to the mid-stem? Are they smooth or downy on the under side? Are the leaves set upon the twigs alternately or opposite each other? How are the leaflets set upon the mid-stem?
13. Describe the outer husk of the nut. Into how many sections does it open? Does it cling to the nut and fall with it to the ground? Is the nut angled and pointed, or is it roundish and without angles? Is the kernel sweet or bitter?
THE CHESTNUT
Teacher’s Story
This splendid tree, sometimes reaching the height of one hundred feet, seldom receives the admiration due to it, simply because humanity is so much more interested in food than in beauty. The fact that the chestnuts are sought so eagerly has taken away from interest in the appearance of the tree. The chestnut has a great round head set firmly on a handsome bole, which is covered with grayish brown bark divided into rather broad, flat, irregular ridges. The foliage is superb; the long, slender, graceful leaves, tapering at both ends, are glossy, brilliant green above and paler below; and they are placed near the ends of the twigs, those of the fruiting twigs seeming to be arranged in rosettes to make a background for blossom or fruit. The leaves are placed alternately and have deeply notched edges, the veins extending straight and unbroken from midrib to margin; the petiole is short. The leaf is like that of the beech, except that it is much longer and more pointed; it resembles in general shape the leaf of the chestnut oak, except that the edges of the latter have rounded scallops instead of being sharply toothed. The burs appear at the axils of the leaves near the end of the twig. Thoreau has given us a most admirable description of the chestnut fruit:
“What a perfect chest the chestnut is packed in! With such wonderful care Nature has secluded and defended these nuts as if they were her most precious fruits, while diamonds are left to take care of themselves. First, it bristles all over with sharp, green prickles, some nearly a half inch long, like a hedgehog rolled into a ball; these rest on a thick, stiff, barklike rind one-sixteenth to one-eighth of an inch thick, which again is most daintily lined with a kind of silvery fur or velvet plush one-sixteenth of an inch thick, even rising into a ridge between the nuts, like the lining of a casket in which the most precious commodities are kept. At last frost comes to unlock this chest; it alone holds the true key; and then Nature drops to the rustling leaves a ‘done’ nut, prepared to begin a chestnut’s course again. Within itself again each individual nut is lined with a reddish velvet, as if to preserve the seed from jar and injury in falling, and perchance from sudden damp and cold; and within that a thin, white skin envelops the germ. Thus, it has lining within lining and unwearied care, not to count closely, six coverings at least before you reach the contents.”
The red squirrels, as if to show their spite because of the protection of this treasure chest, have the reprehensible habit of cutting off the young burs and thus robbing themselves of a rich later harvest--which serves them right. There are usually two nuts in each bur, set with flat sides together; but sometimes there are three and then the middle one is squeezed so that it has two flat sides. Occasionally there is only one nut developed in a bur--an only child, so well cared for that it grows to be almost globular. The color we call chestnut is derived from the beautiful red-brown of the polished shell of the nut, polished except where the base joins the bur, and the apex which is gray and downy.
The chestnut is always a beautiful tree, whether green in summer or glowing golden yellow in autumn; but it is most beautiful during late June and July, when covered with constellations of pale yellow stars. Each of these stars is a rosette of the pollen-bearing blossoms; each ray consists of a catkin often six or eight inches in length, looking like a thread of yellowish chenille fringe, clothing this thread in tufts for its whole length are the stamens, standing out like minute threads tipped with tiny anther balls. If we observe the blossom early enough, we can see these stamens curled up as they come forth from the tiny, pale yellow, six-lobed calyx. One calyx, although scarcely one-sixteenth of an inch across, develops from ten to twenty of these stamens; these tiny flowers are arranged in knots along the central thread of the catkin. No wonder it looks like chenille! There are often as many as thirty of these catkin rays in the star rosette; the lower ones come from the axils of the leaves; but toward the tips of the twig, the leaves are ignored and the catkins have possession. In one catkin I estimated that there were approximately 2,500 stamens developed, each anther packed with pollen. When we think that there may be thirty of the catkins in a blossom-star, we get a glimmering of the amount of pollen produced.
And what is all this pollen for? Can it be simply to fertilize the three or four inconspicuous flowers at the tip of the twig beyond and at the center of the star? These pistillate flowers are little bunches of green scales with some short, white threads projecting from their centers; and beyond them a skimpy continuation of the stem with more little green bunches scattered along it, which are undeveloped pistillate blossoms. The one or two flowers at the base of the stem get all the nourishment and the others do not develop. If we examine one of these nests of green scales, we find that there are six threads belonging to one tiny, green flower with a six-lobed calyx; the six threads are the stigmas, each one reaching out and asking for no more than one grain of the rich shower of pollen.
Chestnut wood is light, rather soft, stiff, coarse and not strong. It is used in cabinet work, cooperage, for telegraph poles and railway ties. When burned as fuel, it snaps and crackles almost equal to hemlock.
LESSON CXCIV
THE CHESTNUT
Leading thought--The chestnut is one of our most beautiful trees. We should learn to appreciate it by observing the beauty of its blossoms and of its foliage when green and when brilliant yellow in autumn. Until the chestnut fruit is ripe, it is well protected by its spiny bur.
Method--This study may be begun in the fall when chestnuts are ripe. Ask the boys to describe the trees from which they get this longed-for harvest. The leaves, burs and nuts may be studied in the schoolroom.
Observations--1. Where do chestnut trees grow? What is the general form of the head of the tree? How high is the trunk below the branches? Do the branches divide into fine twigs or spray at the tips?
2. Sketch and describe a chestnut leaf, showing the veins, edges and petiole. Are the leaves placed opposite or alternate? What is their color above and below? How do the chestnut leaves differ from those of the beech and of the chestnut oak? What is the color of the chestnut foliage in autumn?
3. Where on the branch is the bur borne? How does the green chestnut bur look? Why is this prickly exterior beneficial to the fruit? Does the bur open easily when green? What causes the chestnut bur to open? Into how many lobes does it open? Describe an open bur outside and in.
4. Where in the bur are the chestnuts set? How many in one bur? How can you tell by the shape of the chestnut whether it grew as a twin or single in a bur? Are there ever three in a bur? If so, what shape is the middle one? Do the burs fall when the chestnuts are ripe?
5. Take a single chestnut. Describe its shape and color. What is the mark on its large end? Describe the coloring and covering of the tip. Open the shell and note the lining. Describe how the meat is finally protected. Can you see where the germ is? Plant a chestnut and watch it grow.
6. Study the chestnut blossom in late June or July. What kind of blossoms are those which look like yellow stars all over the tree? Study one of the catkins which makes a ray of the star, and describe it. Can you see the anthers and the pollen? How many of these pollen-bearing flowers are on one stem? Where are the pistillate flowers which will grow into young chestnuts? Describe them.
7. How much are chestnuts worth per bushel? To what uses is chestnut timber put? What is the character of the wood?
THE HORSE-CHESTNUT
Teacher’s Story
The wealth of children is, after all, the truest wealth in this world; and the horse-chestnuts, brown and smooth, looking so appetizing and so belying their looks, have been used from time immemorial by boys as legal tender--a fit use, for these handsome nuts seem coined purposely for boys’ pockets.
The horse-chestnut is a native of Asia Minor. It has also a home in the high mountains of Greece. In America, it is essentially a shade tree. Its head is a broad cone, its dark green foliage is dense and, when in blossom, the flower clusters stand out like little white pyramids against the rich back-ground in a most striking fashion. “A pyramid of green supporting a thousand pyramids of white” is a clever description of this tree’s blossoming. The brown bark of the trunk has a tendency to break into plates, and the trunk is just high enough to make a fitting base for the handsome head.
The blossom panicle is at the tip end of the twig and stops its growth at that point; the side buds continue to grow thus making a forking branch. Each blossom panicle stands erect like a candle flame, and the flowers are arranged spirally around the central stem, each pedicel carrying from four to six flowers. The calyx has five unequal lobes, and it and the stem are downy. Five spreading and unequal petals with ruffled margins are raised on short claws, to form the corolla; seven stamens with orange colored anthers are thrust far out and up from the flower. The blossoms are creamy or pinkish white and have purple or yellow blotches in their throats. Not all the flowers have perfect pistils. The stigmas ripen before the pollen, and are often thrust forth from the unopened flower. The flowers are fragrant and are eagerly visited by bumblebees, honey-bees and wasps.
Very soon after the blossom falls, there may be seen one or two green, prickly balls which are all the fruits one flower cluster could afford to mature. By October the green, spherical husk breaks open in three parts, showing its white satin lining and the roundish, shining, smooth nut at its center. At first there were six little nuts in this husk, but all except one gave up to the burly occupant. The great, round, pale scar on the nut is where it joined the husk. Very few American animals will eat the nut; the squirrels scorn it and horses surely disown it.
In winter, the horse-chestnut twig has at its tip a large bud and looks like a knobbed antenna thrust forth to test the safety of the neighborhood. There are, besides the great varnished buds at the ends of the twigs, smaller buds opposite to each other along the sides of the twig, standing out stiffly. On each side of the end bud, and below each of the others, is a horseshoe-shaped scar left by the falling leaf of last year. The “nails” in this horseshoe are formed by the leafy fibres which joined the petiole to the twig. The great terminal buds hold both leaves and flowers. The buds in winter are brown and shining as if varnished; when they begin to swell, they open, displaying the silky gray floss which swaddles the tiny leaves. The leaves unfold rapidly and lift up their green leaflets, looking like partly opened umbrellas, and giving the tree a very downy appearance, which Lowell so well describes:
“And gray hoss-chestnut’s leetle hands unfold Softer’n a baby’s be at three days old.”
The leaf, when fully developed, has seven leaflets, of which the central ones are the larger. They are all attached around the tip of the petiole. The number of leaflets may vary from three to nine, but is usually seven. The leaflets are oval in shape, being attached to the petiole at the smaller end; their edges are irregularly toothed. The veins are large, straight and lighter in color; the upper surface is smooth and dark green, the under side is lighter in color and slightly rough. The petiole is long and shining and enlarges at both ends; when cut across, it shows a woody outer part encasing a bundle of fibres, one fiber to each leaflet. The places where these fibers were attached to the twig make the nails in the horseshoe scar. The leaves are placed opposite on the twigs.
Very different from that of the horse-chestnut is the flower of the yellow or sweet, buckeye; the calyx is tubular, long and five-lobed; the two side petals are on long stalks and are closed like spoons over the stamens and anthers; the two upper petals are also on long stalks, lifting themselves up and showing on their inner surfaces a bit of color to tell the wandering bee that here is a tube to be explored. The flowers are greenish yellow. The flowers of the Ohio buckeye show a stage between the sweet buckeye and the horse-chestnut. The Ohio buckeye is our most common native relative of the horse-chestnut. Its leaves have five leaflets instead of seven. The Sweet buckeye is also an American species and grows in the Alleghany mountains.
LESSON CXCV
THE HORSE-CHESTNUT
Leading thought--The horse-chestnut has been introduced into America as a shade tree from Asia Minor and southern Europe. Its foliage and its flowers are both beautiful.
Method--This tree is almost always at hand for the village teacher, as it is so often used as a shade tree. Watching the leaves develop from the buds is one of the most common of the nature-study lessons. The study of the buds, leaves and fruits may be made in school; but the children should observe the tree where it grows and pay special attention to its insect visitors when it is in bloom.
Observations--1. Describe the horse-chestnut tree when in blossom. At what time does this occur? What is there in its shape and foliage and flowers which make it a favorite shade tree? Where did it grow naturally? What relatives of the horse-chestnut are native to America?
2. Study the blossom cluster; are the flowers borne on the ends or on the sides of the twig? Describe the shape of the cluster. How are the flowers arranged on the main flower stalk to produce this form? Do the flowers open all at once from top to bottom of the cluster? Are all the flowers in the cluster the same color? Are they fragrant? What insects visit them?
3. Take a single flower; describe the form of the calyx. Is it smooth or downy? Are the lobes all the same size? Are the petals all alike in size and shape? What gives them the appearance of Japanese paper? Are any connected together? Are they all splashed with color alike?
4. How many stamens are there? Where do you see them? What color are the anthers? Search the center of a flower for a pistil with its green style. Do you find one in every flower? Could a bee reach the nectar at the base of the blossom without touching the stigma? Could she withdraw without dusting herself with pollen?
5. How long after the blossom does the young fruit appear? How does it look? How many nuts are developed from each cluster of blossoms? What is the shape of the bur? Into how many parts does it open? Describe the outside; the inside. Describe the shape of the nuts, their color and markings. Which make the best “conquerers,” those which grow single in the bur or as twins? Open a nut. Can you find any division in the kernel? Is it good to eat?
Horse-chestnut Twigs and Leaves in Spring--6. Are the buds on the twigs nearly all the same size? Where are the larger ones situated? What is the color of the buds? How are the scales arranged on them? Are they shiny or dull? What do the scales enfold? Can you tell without opening them which buds contain flowers and which ones leaves?
7. Describe the scars below the buds. What caused them? What marks are on them? What made the “nails” in the horseshoe? Has the twig other scars? How do the ring-marks show the age of the twig? Do you see the little, light colored dots scattered over the bark of the twig? What are they?
8. Describe how the leaf unfolds from the bud. What is the shape of the leaf? Do all the leaves have the same number of leaflets? Do any of them have an even number? How are the leaflets set upon the petiole? Describe the leaflets, including shape, veins, edges, color above and below. Is the petiole pliant, or stiff and strong? Is it the same shape and size throughout its length? Break a petiole, is it green throughout? What can you see at its center? Are the leaves opposite or alternate? When they fall, do they drop entire or do the leaflets fall apart from the stem?
9. Sketch the horse-chestnut tree.
10. How do the flowers and leaves of the horse-chestnut differ from those of the sweet buckeye and of the Ohio buckeye?
Supplementary reading--Trees in Prose and Poetry, p. 17.
THE WILLOWS
Teacher’s Story
They shall spring up among the grass, as willows by the water courses. --ISAIAH.
“When I cross opposite the end of Willow Row the sun comes out and the trees are very handsome, like a rosette, pale, tawny or fawn color at base and red-yellow or orange-yellow for the upper three or four feet. This is, methinks, the brightest object in the landscape these days. Nothing so betrays the spring sun. I am aware that the sun has come out of the cloud just by seeing it light up the osiers.”--THOREAU.
The willow, Thoreau noted, is the golden osier, a colonial dame, a descendent from the white willow of Europe. It is the most common tree planted along streams to confine them to their channels, and affords an excellent subject for a nature-study lesson. The golden osier has a short though magnificent trunk, giving off tremendous branches, which in turn branch and uphold a mass of golden terminal shoots. But there are many willows besides this, and the one who tries to determine all the species and hybrids must conclude that of making willows there is no end. The species beloved by children is the pussy willow which is often a shrub, rarely reaching twenty feet in height. It loves moist localities, and on its branches in early spring are developed the silky, furry pussies. These are favorite objects for a nature-study lesson, and yet how little have the teachers or pupils known about these flowers!
The willow pussies are the pollen-bearing flowers; they are covered in winter by a brown, varnished, double, tentlike bract. The pussy in full bloom shows beneath each fur-bordered scale two stamens with long filaments and plump anthers; but there are no pistils in this blossom. The flowers which produce seed are borne on another tree entirely and in similar greenish gray catkins, but not so soft and furry. In the pistillate catkin each fringed scale has at its base a pistil which thrusts out a Y-shaped stigma. The question of how the pollen from one gets to the pistils of another is a story which the bees can best tell. The willow flowers give the bees almost their earliest spring feast and, when they are in blossom, the happy hum of the bees working in them can be heard for some distance from the trees. The pollen gives them bee bread for their early brood, and they get their honey supply from the nectar which is produced in little jug-shaped glands, at the base of each pollen-bearing flower on the “pussy” catkin, and in a long pocket at the base of each flower on the pistillate catkin. So they pass back and forth, carrying their pollen loads to fertilize the stigmas on trees where there is no pollen. It has been asserted that the pussies, or pollen-bearing flowers, yield no nectar but give only pollen, so that the bee is obliged to seek both trees in order to secure a diet of “balanced ration;” but the person who made this statement had never taken the pains to look at the tiny jugs over-flowing with nectar found at their bases.
In June the willow seed is ripe. The catkin then is made up of tiny pods, which open like milkweed pods and are filled with seed equipped with balloons. When these fuzzy seeds are being set free people say that the willows “shed cotton.”
Although the seed of the willow is produced in abundance, it is hardly needed for preserving the species. Twigs which we place in water to develop flowers will also put forth roots; even if the twigs are placed in water wrong side up, rootlets will form. A twig lying flat on moist soil will push out rootlets along its entire length as though it were a root; and shoots will grow from the buds on its upper side. This habit of the willows and the fact that the roots are long, strong and fibrous make these trees of great use as soil binders. There is nothing better than a thick hedge of willows to hold streams to their proper channels during floods; the roots reach out in all directions, interlacing themselves in great masses, and thus hold the soil of the banks in place. The twigs of several of the species, notably the crack and sand-bar willows, are broken off easily by the wind and carried off down stream, and where they lodge, they take root; thus, many streams are bordered by self-planted willow hedges.
The willow foliage is fine and makes a beautiful, soft mass with delicate shadows. The leaf is long, narrow, pointed and slender, with finely toothed edges and short petiole; the exact shape of the leaf, of course, depends upon the species, but all of them are much lighter in color below than above. The willows are, as a whole, water lovers and quick growers.
Although willow wood is soft and exceedingly light, it is very tough when seasoned and is used for many things. The wooden shoes of the European peasant, artificial limbs, willowware, and charcoal of the finest grain used in the manufacture of gunpowder, are all made from the willow wood. The toughness and flexibility of the willow twigs have given rise to many industries; baskets, hampers, carriage bodies and furniture are made of them. To get these twigs the willow trees are pollarded, or cut back every year between the fall of the leaves and the flow of the sap in the spring. This pruning results in many twigs. The use of willow twigs in basketry is ancient. The Britons fought the Roman soldiers from behind shields of basket work; and the wattled huts in which they lived were woven of willow saplings smeared with clay. Salicylic acid, used widely in medicine, is made from willow bark, which produces also tannin and some unfading dyes.
There are many insect inhabitants of the willow, but perhaps the most interesting is the little chap which makes a conelike object on the twig of certain species of willow growing along our streams. This cone is naturally considered a fruit by the ignorant, but we know that the willow seeds are grown in catkins instead of cones. This willow cone is made by a small gnat which lays its egg in the tip of the twig; as soon as the little grub hatches, it begins to gnaw the twig, and this irritation for some reason stops the growth. The leaves instead of developing along the stem are dwarfed and overlap each other. Just in the center of the cone at the tip of the twig the little larva lives its whole life surrounded by food and protected from enemies; it remains in the cone all winter, in the spring changes to a pupa, and after a time comes forth--a very delicate little fly. The larva in this gall is very hospitable. It has its own little apartment at the center but does not object to having a tenant in its outer chambers, a fact which is taken advantage of by another gall-gnat which breeds there in large numbers. It is well to gather these cones in winter; examine one by cutting it open to find the larva, and place others in a fruit jar with a cover so as to see the little flies when they shall issue in the spring. (See p. 362). For supplementary reading see “Outdoor Studies,” page 24.
There is another interesting winter tenant of willow leaves, but it is rather difficult to find. On the lower branches may be discovered, during winter and spring, leaves rolled lengthwise and fastened, making elongated cups. Each little cup is very full of a caterpillar which just fits it, the caterpillar’s head forming the plug of the opening. This is the partially grown larva of the viceroy butterfly. It eats off the tip of the leaf each side of the midrib for about half its length, fastens the petiole fast to the twig with silk, then rolls the base of the leaf into a cup, lines it with silk and backs into it, there to remain until fresh leaves on the willow in spring afford it new food.
LESSON CXCVI
THE WILLOWS
Leading thought--The willows have their pollen-bearing flowers and their seed-bearing flowers on separate trees; the bees carry the pollen from one to the other. The willow pussies are the pollen-bearing flowers.
Method--As early in March as is practicable, have the pupils gather twigs of as many different kinds of willows as can be found; these should be put in jars of water and placed in a warm, sunny window. The catkins will soon begin to push out from the bud-scales, and the whole process of flowering may be watched.
Observations--1. How can you tell the common willow tree from afar? In what localities do these trees grow? What is the general shape of the big willow? How high is the trunk, or bole? What sort of bark has it? Are the main branches large or small? Do they stand out at a wide angle or lift up sharply? What color are the terminal shoots, or spray?
2. Are the buds opposite or alternate on the twigs? Is there a bud at exactly the end of any twig? How many bracts are there covering the bud?
3. Which appear first, the leaves or the blossoms? Study the pussies on your twigs and see if they are all alike. Is one kind more soft and furry than the other? Are they of different colors?
4. Take one of the furry pussies. Describe the little bract, which is like a protecting hood at its base. What color is the fur? After a few days, what color is the pussy? Why does it change from silver color to yellow? Pick one of the catkins apart and see how the fur protects the stamens.
5. Take one of the pussies which is not so furry. Can you see the little pistils with the Y-shaped stigmas set in it? Is each little pistil set at the base of a little scale with fringed edges?
6. Since the pollen-bearing catkins are on one tree and the seed-bearing catkins are on the other, and since the seeds cannot be developed without the pollen, how is the pollen carried to the pistils? For this answer, visit the willows when the pussies are all in bloom and listen. Tell what you hear. What insects do you see working on the willow blossoms? What are they after?
7. What sort of seed has the willow? How is it scattered? Do you think the wind or water has most to do with planting willow seed?
Work for May or September--8. Describe willow foliage and leaves. How can you tell willow foliage at a distance?
9. What sort of roots has the willow? Why are the willows planted along the banks of streams? If you wished to plant some willow trees how would you do it? Would you plant seeds or twigs?
10. For what purposes is willow wood used? How are the twigs used? Why are they specially fitted for this use? What is pollarding a tree? What medicine do we get from willow bark?
11. Do you find willow cones on your willows? Cut one of these cones through and see if you can find any seeds? What is in the middle of it? What do you think made the scales of the cone? Do you think this little insect remains in here all winter?
12. In winter, hunt the lower branches of willows for leaves rolled lengthwise making a winter cradle for the young caterpillars of the viceroy.
Supplementary reading--Trees in Prose and Poetry, p. 137.
THE COTTONWOOD, OR CAROLINA POPLAR
Teacher’s Story
The sojourner on our western plains where streams are few and sluggish, disappearing entirely in summer, soon learns to love the cottonwoods, for they will grow and cast their shade for men and cattle where no other tree could endure. The cottonwood may be unkempt and ragged, but it is a tree, and we are grateful to it for its ability to grow in unfavorable situations. In the Middle West it attains its perfection, although in New York we have some superb specimens--trees which are more than one hundred feet in height and with majestic trunks, perhaps five or six feet through. The deep-furrowed, pale gray bark makes a handsome covering. The trunk divides into great out-swinging, widely spaced branches, which bear a fine spray on their drooping ends. Sargent declares that at its best the cottonwood is one of the statliest inhabitants of our eastern forests. The variety we plant in cities we call the Carolina poplar, but it is a cottonwood. It is a rapid grower, and therefore a great help to the “boom towns” of the West and to the boom suburbs in the East; although for a city tree its weak branches break too readily in wind storms in old age. However, it keeps its foliage clean, the varnished leaves shedding the dust and smoke; because of this latter quality it is of special use in towns that burn soft coal.
The cottonwood twigs which we gather for study in the spring are yellowish or reddish, those of last year’s growth being smooth and round, while those showing previous growth are angular. The buds are red-brown and shining, and covered with resin which the bees like to collect for their glue. The leaf buds are slender and sharp-pointed; the flower buds are wider and plumper.
The two sexes of the flowers are borne on separate trees. The trees bearing pollen catkins are so completely covered with them that they take on a very furry, purplish appearance when in blossom. These catkins are from three to five inches long and half an inch thick, looking fat and pendulous; each fringed scale of the catkin has at its base a disc looking like a white bracket, from which hang the reddish purple anthers; these catkins fall after the pollen is shed and look like red caterpillars upon the ground.
The seed-bearing flowers are very different; they look like a string of little, greenish beads loosely strung. Each pistil is globular and set in a tiny cup, and it has three or four stigmas which are widened or lobed; as it matures, it becomes larger and darker green, and the string elongates to six or even ten inches. The little pointed pods open into two or more valves and set free the seeds, which are provided with a fluff of pappus to sail them off on the breeze; so many of the seeds develop that every object in the neighborhood is covered with their fuzz, and thus the tree has gained its name “cottonwood.”
The foliage of the cottonwood is like that of other poplars, trembling with the breeze. The heavy, subcircular leaf is supported on the sidewise flattened petiole, so that the slightest breath of air sets it quaking; a gentle breeze sets the whole tree twinkling and gives the eye a fascinating impression as of leaves beckoning. The leaf is in itself pretty. It is from three to five inches long, broad, slightly angular at the base and has a long, tapering, pointed tip. The edge is saw-toothed, and also slightly ruffled except near the stem where it is smooth; it is thick and shining green above and paler beneath. The long, slender petiole is red or yellowish, and the leaves are placed alternate on the twigs.
In the autumn the leaves are brilliant yellow. The wood is soft, weak, fine-grained, whitish or yellowish, and has a satiny luster; it is not durable. It is used somewhat for building and for furniture, in some kinds of cooperage, and also for crates and woodenware; but its greatest use is for making the pulp for paper. Many newspapers and books are printed on cottonwood paper. It is common from the Middle States to the Rocky Mountains and from Manitoba to Texas.
LESSON CXCVII
THE COTTONWOOD
Leading thought--The cottonwood is a poplar. It grows rapidly and flourishes on the dry western plains where other trees fail to gain a foothold. It grows well in the dusty city, its shining leaves shedding the smoke and dirt.
Method--Begin this study in spring before the cottonwoods bloom. Bring in twigs in February, give them water and warmth, and watch the development of the catkins. Afterwards watch the unfolding of the leaves and study the tree.
Observations--1. What is the color of the bark on the cottonwood? Is it ridged deeply? What is the color of the twigs? Are they round or angular, or both? Describe the winter buds and bud-scales. Can you tell which bud will produce leaves and which flowers?
2. Describe the catkin as it comes out. Has this catkin anthers and pollen, or will it produce seed? Do you think the seeds are produced on the same trees as the pollen?
3. Find a pollen-bearing catkin. Describe the stamens. Can you see anything but the anthers? On what are they set? What color are they? What color do they give to the tree when they are in blossom? What happens to the catkins after their pollen is shed?
4. Find a seed-bearing catkin. How long is it? Do you see why this tree is called the necklace poplar? Describe the pistils which make the beads on the necklace.
5. When do the seeds ripen? If you have been near the tree, how do you know when they are ripe? How long is the catkin with the ripened seeds? How many balls on the necklace now? What is the color? How many seeds come out of each little pod? How are the seeds floated on the air? Why do we call this tree “cottonwood?”
6. How large is the largest cottonwood that you know? Sketch it to show the shape of the tree. Are the main branches large? Do they droop at the tips?
7. How does the foliage of the cottonwood look? Does it twinkle with the wind? Examine the leaves upon a branch and see why they twinkle. Are the petioles round or flat? Are they flattened sidewise or up and down? Are they stiff or slender? Describe the leaves, giving their shape, veins, edges, color and texture above and below. Are the edges ruffled as well as toothed? Is the leaf heavy? If a breeze comes along how would it affect such a heavy, broad leaf on such a slender, thin petiole? Blow against the leaves and see how they move? Do you understand, now, why they twinkle? Can you see why the leaves shed smoke and dust, when used for shading city streets?
8. Why is the cottonwood used as a shade tree? Do you think it makes a beautiful shade tree? How long does it take it to grow? What kind of wood does it produce? For what is it used?
Supplementary reading--Trees in Prose and Poetry, pp. 139–149.
THE WHITE ASH
Teacher’s Story
Myths and legends cluster about the ash tree. It was, in the Norse mythology, the tree “Igdrasil,” the tree of the universe, which was the origin of all things. It is a pity that it was not the Tree of Life in the Garden of Eden, for if another myth is true, no snake will go near it or cross its branches. There is a widespread belief that it draws lightning, just as the beech repels the thunderbolts. “As straight as a white ash tree” was the highest compliment that could be paid to the young pioneer; so straight is its fiber and so strong its quality, that the American Indians made their canoe paddles from it.
The ashes have the most beautiful bark in the world. It is divided into fine, vertical ridges, giving the trunks the look of being shaded with pencil lines; the bark smooths out on the lower branches. But even more characteristic than the bark, are the ash branches and twigs; the latter are sparse, coarse and clumsy, those of the white ash being pale orange or gray and seemingly warped into curves at the ends; they are covered with whitish gray dots, which reveal themselves under the lens to be breathing-pores.
The white ash loves to grow in rich woods or in rich soil anywhere, even though it be shallow; at its best, it reaches the height of 130 feet, with a trunk six feet through. Its foliage is peculiarly graceful; the leaves are from eight to twelve inches long and are composed of from five to nine leaflets. The leaflets have little petioles connecting them with the middle stem; in shape they are ovate with edges obscurely toothed or entire; the two basal leaflets are smaller than the others and the end one largest; in texture, they are satiny, dark green above, whitish beneath, with feather-like veins, often hairy on the lower side. The petioles are swollen at the base. The leaves are set opposite upon the twig; except the horsechestnut, the ashes are our only trees with compound leaves which have the leaves opposite. This character alone readily distinguishes the ashes from the hickories. The autumn foliage has a very peculiar color; the leaves are dull purple above and pale yellow below; this brings the sunshine color into the shadowy parts of the tree, and gives a curious effect of no perspective. Notwithstanding this, the autumn coloring is a joy to the artistic eye and is very characteristic.
The seeds of the ash are borne in crowded clusters; the delicate stem, from three to five inches long, is branched into smaller stems to which are joined two or three keys, and often several of these main stems come from the same bud at the tip of last year’s wood so that they seem crowded. The seed is winged, the wing being almost twice as long as the seed set at its base. Thoreau says: “The keys of the white ash cover the trees profusely, a sort of mulberry brown, an inch and a half long, and handsome.” The seeds cling persistently to the tree, and I have often observed them being blown over the surface of the snow as if they were skating to a planting place.
The flowers appear in April or May, before the leaves. The pistillate flowers make an untidy fringe, curling in every direction around the twigs. The chief flower stem is three to four inches long, quite stout, pale green, and from this arise short, fringed stems, each carrying along its sides the knobs on little stems--which are the pistillate flowers. Each tiny flower seems to be bristling with individuality, standing off at its own angle to get its own pollen. The flower has the calyx four-lobed; the style is long and slender and is divided into a V-shaped purple stigma.
The staminate flowers appear early in the spring, and look like knobs on the tips of the coarse, sparse twigs; they consist of masses of thick, green anthers with very short, stout filaments; each calyx is four-lobed. These flowers are attached to a five-branching stem; but the stem and its branches cannot be seen unless the anthers are plucked off, because they hang in such a crowded mass. Later the leaves come out beyond them.
The leaf buds in winter are very pretty; they are white, bluntly pointed, with a pale gray half-circle below, on which was set last year’s leaf. Another one of nature’s miracles is the bouquet of leaves coming from one of the big four-parted terminal buds, which is made up of four scales, two of which are longer and narrower than the others. Within the bud each little compound leaflet is folded like a sheet of paper lengthwise, and folded with the other leaflets like the leaves of a book; and when they first appear they look like tiny, scrawny, birds’ claws. But it is not merely one pair of leaves that comes from this bud, but many, each pair being set on a twig opposite and at right angles to the next pair on either side. Even as many as five pairs of these splendid compound leaves come from this one prolific bud. As they push out, the green stem of the new wood grows, thus spacing the pairs properly for the making of beautiful foliage.
LESSON CXCVIII
ASH TREES
Leading thought--The ashes are our most valuable timber trees; the white ash is one of the most beautiful and useful of them all. It does not make forests, but it grows in them, and its wood is of great value for many things.
Method--The pupils should all see the tree where it grows. The questions should be given to them for their field note-books. The lesson should begin in the fall and be continued in the spring.
Observations--1. What is there about the bark of the ash tree which distinguishes it from other trees? Where does the white ash grow? What is the height and thickness of the ash tree you are studying?
2. The ash leaf is a compound leaf; of how many leaflets is it composed? What is the texture and shape of the leaflets? Describe the veins. Do the leaflets have petioles (petiolules)? Are the edges of the leaflets toothed? Which of the leaflets is largest? Which smallest? Is the petiole swollen at the base? How are the leaves arranged on the twigs? How does this distinguish the ashes from all other of our trees having compound leaves? How do the hickories have their leaves arranged? What color is the ash foliage in autumn?
3. Describe the seeds of the ash and the way they are arranged on their stems. Where are they placed on the tree? How long do they cling? How does the snow help to scatter them?
4. When does the white ash blossom? Are the pistillate and staminate flowers together or separate? Find and describe them.
5. What are our uses for ash timber? For what are the saplings used? How did the Indians use the white ash? Write a theme on all the interesting things you can find about the ash trees.
6. How many species of the ash trees do you know?
Supplementary reading--Trees in Prose and Poetry, pp. 60–71.
* * * * *
“_I care not how men trace their ancestry, To ape or Adam; let them please their whim; But I in June am midway to believe A tree among my far progenitors, Such sympathy is mine with all the race, Such mutual recognition vaguely sweet There is between us. Surely there are times When they consent to own me of their kin, And condescend to me and call me cousin, Murmuring faint lullabies of eldest time, Forgotten, and yet dumbly felt with thrills Moving the lips, though fruitless of the words._” --From “Under the Willows,” LOWELL.
THE APPLE TREE
Teacher’s Story
As the apple tree among the trees of the wood, so is my beloved among the sons. I sat down under his shadow with great delight, and his fruit was sweet to my taste. --THE SONG OF SOLOMON.
An old-fashioned orchard is always a delight to those of us who love the picturesque. The venerable apple tree with its great twisted and gnarled branches, rearing aloft its rounded head, and casting its shadow on the green turf below, is a picture well worthy of the artist’s brush. And that is the kind of orchard I should always have, because it suits me, just as it does bluebirds, downies and chickadees, as a place to live in. However, if I wished to make money by selling apples, I should need to have an orchard of comparatively young trees, which should be straight and well pruned, and the ground beneath them well cultivated; for there is no plant that responds more generously to cultivation than does the apple tree. In such an orchard, a few annual crops might be grown while the trees were young, and each year there should be planted in August or September the seed of crimson clover or of some other good cover-crop. This would grow so as to protect the ground from washing during the heavy rains and thaws of fall and winter, and in the spring it would be plowed under to add more humus to the soil.
The apple originally came from southwestern Asia and the neighboring parts of Europe, but it has been cultivated so long that we have no accounts of how it began. The prehistoric lake-dwellers of Switzerland ate this fruit. In this country the apple thrives best on clay loam, although it grows on a great variety of soils; where wheat and corn grow, there will the apple also grow. In general, the shape of the apple tree head is rounded or broadly pyramidal; however, this differs somewhat with varieties. The trunk is short and rather stocky, the bark is a beautiful soft gray and is decidedly scaly, flaking off in pieces which are more or less quadrangular. The wood is very fine-grained and heavy. On this account for many years it was used for wood-engraving and is also a favorite wood for wood-carving; it makes a most excellent fuel. The spray is fine, and while at the tips of the limbs it may be drooping or horizontal, it often grows erect along the upper sides of the limbs, each shoot looking as if it were determined to be a tree in itself. The leaves are oval, with toothed edges and long petioles. When the leaves first appear each has two stipules at its base. The shape of the apple leaves depends to some extent upon the variety of the apple.
It has long been the practice not to depend upon the seeds for reproducing a variety; for, since the bees do such a large work in pollenating the apple flowers, it would be quite difficult to be sure that a seed would not be a result of a cross between two varieties. Therefore, the matter is made certain by the process of grafting or budding. There are several modes of grafting, but perhaps the one in most common use is the cleft-graft. A scion which is a twig bearing several buds, is cut from a tree of the desired variety, and its lower end is cut wedge-shaped. The branch of the tree to be grafted is cut off across and split down through the end to the depth of about two inches; the wedge-shaped end of the scion is pressed into this cleft, so that its bark will come in contact with the inner edge of the bark on one side of the cleft branch. The reason for this is that the growing part of the tree is the cambium layer, which is just inside of the bark, and if the cambium of the scion does not come in contact with the cambium of the branch they will not grow together. After the graft becomes well-established, the other branches of the tree are cut off and the tree produces apples only from that part of it which grows from the graft. After the scion has been set in the stock, all of the wounded parts are covered with grafting wax, which keeps in the moisture and keeps out disease germs.
Budding is done on a similar principle, but in a different fashion. A seedling apple tree about a year and a half old has a T-shaped slit cut into its bark; into this suture a bud, cut from a tree of the desired variety is inserted, and is bound in with yarn. The next spring this tree is cut back to just above the place where the bud was set in, and this bud-shoot grows several feet; the next year the tree may be sold to the orchardist. Budding is done on a large scale in the nurseries, for it is by this method that the different varieties are placed on the market.
Most varieties of apple trees should be set forty feet apart each way. It is possible, if done judiciously, to raise some small crops on the land with the young orchard, but care should be taken that they do not rob the trees of their rightful food. The dwarf varieties begin to bear much sooner than the others, but an orchard does not come into full bearing until after it has been planted fifteen or twenty years. The present practice is to prune a tree so that the trunk shall be very short. This makes the picking of the fruit much easier and also exposes the tree less to wind and sun-scald.
There are certain underlying principles of pruning that every child should know: The pruning of the root cuts down the amount of food which the tree is able to get from the soil. The pruning of the top throws the food into the branches which are left and makes them more vigorous. If the buds at the tips of the twigs are pruned off, the food is forced into the side buds and into the fruit, which make greater growth. Thinning the branches allows more light to reach down into the tree, and gives greater vigor to the branches which are left. A limb should be pruned off smoothly where it joins the larger limb, and there should be no stump projecting; the wound should be painted so as not to allow fungus spores to enter.
We should not forget that we have a native apple, which we know as the thornapple. Its low, broad head in winter makes a picturesque point along the fences; its fine, thick spray, spread horizontally, makes a fit framework for the bridal bouquet which will grow upon it in June; and it is scarcely less beautiful in autumn, when covered with the little, red apples called “haws.” Though we may refrain from eating these native apples, which consist of a bit of sweet pulp around large seeds, the codling-moth finds them most acceptable.
LESSON CXCIX
THE APPLE TREE
Leading thought--The tree of each variety of apple has its own characteristic shape, although all apple trees belong to one general type. The variety of the apple grown upon the tree is not determined by the kind of seed which is planted to produce the tree, but by the process of grafting or budding the young tree.
Method--A visit to a large, well-grown orchard in spring or autumn will aid in making this work interesting. Any apple tree near at hand may be used for the lesson.
Observations--1. How tall is the largest apple tree you know? What variety is it? How old is it? How can you distinguish old apple trees from young ones at a glance?
2. Choose a tree for study: How thick is its trunk? What is the shape of its head? Does the trunk divide into large branches or does it extend up through the center of the head?
3. What sort of bark has it? What is the color of the bark?
4. Does the spray stand erect or is it gnarled and querly? Does the spray grow simply at the ends of the branches or along the sides of the branches?
5. Are the leaves borne at the tip of the spray? Are the leaves opposite or alternate? Describe or sketch an apple leaf. Does it have stipules at its base when it first appears?
6. What is the character of apple-tree wood? What is it used for?
7. Did this tree come from a seed borne in an apple of the same variety which it produces? What is the purpose of grafting a tree? What is a scion? How and why do we choose a scion? How do we prepare a branch to receive the scion? If you should place the scion at the center of the branch would it grow? Where must it be placed in order to grow? How do we protect the cut-end of the branch after it is grafted? Why?
8. What is meant by the term “budding?” What is the difference between grafting and budding? Describe the process of budding.
9. Where is budding done on a large scale? How do nurserymen know what special varieties of apples their nursery stock will bear? How old is a tree when it is budded? How old when it is sold to the orchardist?
10. Why should the soil around apple trees be tilled? Is this the practice in the best-paying orchards?
11. What is often used as a cover crop in orchards? When is this planted? For what purpose?
12. How far apart should apple trees be set? How may the land be utilized while the trees are growing? How old must the apple tree be to come into bearing?
13. Is the practice now to allow an apple tree to grow tall? Why is an apple tree with a short trunk better?
14. What does it do to a tree to prune its roots? What does it do to a tree to prune its branches?
15. How does it affect a tree to prune the buds at the tips of the twigs?
16. How does it affect a tree to thin the branches? Describe how a limb should be pruned and how the wound thus made should be treated. Why?
HOW AN APPLE GROWS
Teacher’s Story
An apple tree in full blossom is a beautiful sight. If we try to analyze its beauty we find that on the tip of each twig there is a cluster of blossoms, and set around them, as in a conventional bouquet, are the pale, soft, downy leaves. These leaves and blossoms come from the terminal winter buds, which are protected during winter by little scales which are more or less downy. With the bursting of the bud, these scales fall off, each one leaving its mark crosswise on the twig, marking the end of the year’s growth; these little ridges close together and in groups mark the winters which the twig has experienced, and thus reveal its age.
There is a difference in varieties of apples and in the season as to whether the blossoms or the leaves push out first. The white, downy leaves at first have two narrow stipules at the base of their petioles. They are soft, whitish and fuzzy, as are also the flower stem and the calyx, which holds fast in its slender, pointed lobes the globular flower bud. We speak of the lobes of the calyx because they are joined at the base, and are not entirely separate as are sepals. The basal part of the calyx is cup-shaped, and upon its rim are set the large, oval petals, each narrowing to a slender stem at its base. The petals are set between the sepals or lobes of the calyx, the latter appearing as a beautiful, pale green, five-pointed star at the bottom of the flower. The petals are pink on the outside and white on the inside, and are veined from base to edge like a leaf; they are crumpled more than are the cherry petals.
The many pale, greenish white stamens of different lengths and heights stand up like a column at the center of the flower. They are tipped with pale yellow anthers, and are attached to the rim of the calyx-cup. They are really attached in ten different groups but this is not easy to see.
The five pale green styles are very silky and downy and are tipped with green stigmas. The pistils all unite at their bases making a five-lobed, compound ovary. The upper part of this ovary may be seen above the calyx-cup, but the lower portion is grown fast to it and is hidden within it. The calyx-cup is what develops into the pulp of the apple, and each of these pistils becomes one of the five cells in the apple core. If one of the stigmas does not receive pollen, its ovary will develop no seed; this often makes the apple lop-sided. When the petals first fall, the calyx-lobes are spread wide apart; later they close in toward the center, making a tube. To note exactly the time of this change is important; since the time of spraying for the codling moth is before the calyx-lobes close. These lobes may be seen in any ripe apple as five little, wrinkled scales at the blossom end; within them may be seen the dried and wrinkled stamens, and within the circle of stamens, the sere and blackened styles.
There may be five or six, or even more blossoms developed from one winter bud, and there may be as many leaves encircling them, forming a bouquet at the tip of the twig. However, rarely more than two of these blossoms develop into fruit, and the fruit is much better when only one blossom of the bouquet produces an apple; if a tree bears too many apples it cannot perfect them.
The blossoms and fruit are always at the end of the twigs and spurs of the apple tree, and do not grow along the sides of the branches as do the cherry and the peach. However, there are many buds which produce only leaves; and just at the side and below the spur, where the apple is borne, a bud is developed, which pushes on and continues the growth of the twig, and will in turn be a spur and bear blossoms the following year.
LESSON CC
HOW AN APPLE GROWS
Leading thought--The purpose of the apple blossom is to produce apples which shall contain seeds to grow into more apple trees.
Method--This lesson should begin with the apple blossoms in the spring and should continue, with occasional observations, until the apples are well grown. If this is not possible, the blossom may be studied, and directly afterward, the apple may be observed carefully, noting its relation to the blossom.
The Apple Blossom
Observations--1. How are the apple buds protected in the winter? As the buds open what becomes of the protecting scales? Can you see the scars left by the scales after they have fallen. How does this help us to tell the age of a twig or branch?
2. As the winter buds open, which appear first--the flowers or the leaves? Do they both come from the same bud? Do all the buds produce both flowers and leaves?
3. Study the bud of the apple blossom. Describe its stem; its stipules; its calyx. What is the shape and position of the lobes, or sepals, of the calyx? Why do we usually call them the “lobes of the calyx” instead of sepals?
4. Sketch or describe an open apple blossom. How many petals? What is their shape and arrangement? Can you see the calyx-lobes between the petals as you look down into the blossom? What sort of a figure do they make? Are the petals usually cup-shaped? What is their color outside and inside? Why do the buds seem so pink and the blossoms so white?
5. How many stamens are there? Are they all of the same length? What is the color of the filaments and anthers? On what are they set?
6. How many pistils do you see? How many stigmas are there? Are the ovaries united? Are they attached to the calyx?
7. Describe the young leaves as they appear around the blossoms. What is their color? Have they any stipules? Why do they make the flowers look like a bouquet?
8. After the petals fall, what of the blossom remains? What part develops into the apple? Does this part enclose the ovaries of the pistils? How can you tell in the ripe apple if any stigma failed to receive pollen?
9. What is the position of the calyx-lobes directly after the petals fall? Do they change later? How does this affect spraying for the codling moth?
10. Watch an apple develop; look at it once a week and tell what parts of the blossom remain with the apple.
11. How many blossoms come from one winter bud? How many leaves? Do the blossoms ever appear along the sides of the branches, as in the cherries? How many blossoms from a single bud develop into apples?
12. Since the apple is developed on the tip of the twig how does the twig keep on growing?
13. Compare the apple with the pear, the plum, the cherry and the peach in the following particulars; position on the twigs; number of petals; number and color of stamens; number of pistils; whether the pistils are attached to the calyx-cup at the base.
THE APPLE
Teacher’s Story
“_Man fell with apples and with apples rose, If this be true; for we must deem the mode In which Sir Isaac Newton could disclose, Through the then unpaved stars, the turnpike road, A thing to counterbalance human woes._” --BYRON.
Apples seem to have played a very important part in human history, and from the first had much effect upon human destiny, judging from the trouble that ensued both to Adam and to Helen of Troy from meddling, even though indirectly, with this much esteemed fruit. It is surely no more than just to humanity--shut out from the Garden of Eden--that the apple should have led Sir Isaac Newton to discover the law which holds us in the universe; and that, in these later centuries, apples have been developed, so beautiful and so luscious as almost to reconcile us to the closing of the gates of Paradise.
While it is true that no two apples were ever exactly alike, any more than any two leaves, yet their shapes are often very characteristic of the varieties. From the big, round Baldwin to the cone-shaped gillyflower, each has its own peculiar form, and also its own colors and markings and its own texture and flavor. Some have tough skins, others bruise readily even with careful handling; but to all kinds, the skin is an armor against those ever-present foes, the fungus spores, myriads of which are floating in the air ready to enter the smallest breach, and by their growth bring about decay. Even the tip of a branch or twig swayed by the wind, may bruise an apple and cause it to rot; windfalls are always bruised and will not keep. Greater care in packing, wrapping, picking and storing, so as to avoid contact with other apples, is a paying investment of labor to the apple grower.
The cavities at the stem and basin-ends of the fruit are also likely to have, in the same variety, a likeness in their depth or shallowness, and thus prove a help in identifying an apple. At the blossom, or basin, end of the fruit may be seen five scales, which are all that remain of the calyx-lobes which enclosed the blossom; and within them are the withered and shrunken stamens and styles.
When the fruit is cut, we see that the inner parts differ as much in the different varieties as do the outer parts. Some have large cores, others small. The carpels, or seed-cells, are five in number, and when the fruit is cut across through the center these carpels show as a pretty, five-pointed star; in them the seeds lie, all pointing toward the stem. Some apples have both seeds and carpels smooth and shining, while in others they are tufted with a soft, fuzzy outgrowth. The number of seeds in each cell varies; the usual number is two. In case a carpel is empty, the apple is often lopsided, and this signifies that the stigma of that ovary received no pollen. The apple seed is oval, plump and pointed, with an outer shell, and a delicate inner skin covering the white meat; this separates readily into two parts, between which, at the point, may be seen the germ. The entire core, with the pulp immediately surrounding the seed cells, is marked off from the rest of the pulp by the core-lines, faint in some varieties but distinct in others. In our native crab-apples this separation is so complete that, when the fruit is ripe, the core may be plucked out leaving a globular cavity at the center of the apple.
Extending from the stem to the basin, through the center of the apple, is a bundle of fibers, five in number, each attached to the inner edge of a carpel, or seed-box. Other bundles of fibers pass through the flesh about half way between the core and the skin. Delicate as they are, so that no one observes them in eating the fruit, they show clearly as a second core-line, and each terminates at a point in the calyx-tube where the stamens were attached--as can be easily seen by dissecting an apple. In transverse section, these show as ten faint dots placed opposite each outer point and inner angle of the star at the center formed by the carpels. Sometimes the seed-cells are very close to the stem, and the apple is said to have a sessile core; if at the center of the fruit, it has a medium core; if nearest to the blossom end, it has a distant core. This position of the core marks different varieties.
Apples even of the same variety, differ much in yield and quality according to the soil and climate in which they grow. The snow apple grows best in the St. Lawrence Valley, and New York State is noted for the fine flavor of the Esopus spitzenburg, the northern spy, and the Newtown pippin, all of which originated and grow best within its boundaries. Thus, each locality has its favorite variety.
Too often in passing through the country, we see neglected and unprofitable orchards, with soil untilled, the trees unpruned and scale-infested, yielding scanty fruit, fit only for the cider mill and the vinegar barrel. This kind of orchard must pass away and give place to the new horticulture.
References--Popular Apple Growing, Green; The American Apple Orchard, Waugh; The Apple and How to Grow It, Farmers’ Bulletin 113, U.S. Department of Agriculture.
LESSON CCI
THE APPLE
Leading thought--The apple is a nutritious fruit, wholesome and easily digested. The varieties of apple differ in shape, size, color, texture and flavor. A perfect apple has no bruise upon it and no worm-holes in it.
Method--Typical blossoms of different varieties of apples should be brought into the schoolroom, where the pupils may closely observe and make notes about their appearance. Each pupil should have one or two apples that may be cut in vertical and transverse sections, so that the pulp, core-lines, carpels and seeds may be observed. After this lesson there should be an apple exhibit, and the pupils should be taught how to score the apples according to size, shape, color, flavor and texture.
Observations--1. Sketch the shape of your apple. Is it almost spherical, or flattened, or long and egg-shaped, or with unequal tapering sides? How does the shape of the apple help in determining its variety?
2. What is the color of the skin? Is it varied by streaks, freckles or blotches? Has it one blushing cheek the rest being of a different color?
3. Is the stem thick and fleshy, or short and knobby, or slender and woody and long? Does each variety have a characteristic stem?
4. Is the cavity or depression where the stem grew narrow and deep like a tunnel, or shallow like a saucer?
5. Examine the blossom end, or basin. What is its shape? Can you find within it the remnants of the calyx-lobes, the stamens and the pistils of the flower?
6. What is the texture of the skin of the apple? Is it thin, tough, waxy or oily? Has it a bloom that may be rubbed off? From what sort of injury does the skin protect the apple?
Experiment 1. Take three apples of equal soundness and peel one of them; place them on a shelf. Place one of the unpeeled apples against the peeled one, and the other a little distance from it. Does the peeled apple begin to rot before the other two? Does the unpeeled apple touching the peeled one begin to decay first at the point of contact?
Experiment 2. Take an apple with a smooth, unblemished skin and vaccinate it with some juice from an apple that has begun to decay; perform the operation with a pin or needle, pricking first the unsound fruit and then the sound one; this may be done in patterns around the apple or with the initials of the operator’s name. Where does this apple begin to decay? What should these two experiments teach us as to the care and storage of fruit?
7. Cut an apple through its center from stem to blossom end. Describe the color, texture and taste of the pulp. Is it coarse or fine-grained? Crisp or smooth? Juicy, or dry and mealy? Sweet or sour? Does it exhale a fragrance or have a spicy flavor?
8. Is the flesh immediately surrounding the core separated from the rest of the pulp by a line more or less distinct? This is called the core-line and differs in size and outline in different varieties. Can you find any connection between the stem and blossom ends and the core? Can you see the fibrous threads which connect them?
9. Cut an apple transversely across the middle. In what shape are the seed-cells arranged in the center? Do the carpels, or seed-cells, vary in shape in different varieties? Are they closed, or do they all open into a common cavity? Can you see, between the core-lines and the skin, faint little dots? Count, and tell how they are arranged in relation to the star formed by the core.
10. The stiff, parchment-like walls of the seed-cells are called carpels. How many of these does the apple contain? Do all apples have the same number of carpels? Are the carpels of all varieties smooth and glossy, or velvety? How many seeds do you find in a carpel? Do they lie with the points toward the stem-end or the blossom-end of the apple? Where are they attached to the apple? Describe the apple seed--its outer and inner coat and its “meat.” Can you find the germ within it which will, after the seed is planted, produce another apple tree?
11. Is the core at the center of the apple, or is it nearer to the stem-end or to the blossom-end of the fruit? Are all apples alike in this particular?
12. Describe fully all the varieties of apples which you know, giving the average size, texture and color of the skin, the shape of the cavities at the stem and blossom ends, the color, texture and flavor of the pulp, and the position within the apple of the core.
Supplementary reading--Trees in Prose and Poetry, pp. 43–59.
THE PINE
Teacher’s Story
None other of our native trees is more beautiful than the pine. In the East, we have the white pine with its fine-tasselled foliage, growing often 150 to 200 feet in height and reaching an age of from two to three hundred years. On the Pacific coast, the splendid sugar pine lifts its straight trunk from two to three hundred feet in height; and although the trunk may be from six to ten feet in diameter yet it looks slender, so tall is the tree. A sugar pine cone on my desk measures 22 inches in length and weighs almost one pound, although it is dried and emptied of seed.
There is something majestic about the pines, which even the most ignorant feel. Their dark foliage outlined against wintry skies appeals to the imagination, and well it may, for it represents an ancient tree-costume. The pines are among the most ancient of trees, and were the contemporaries of those plants which were put to sleep, during the Devonian age, in the coal beds. It is because the pines and the other evergreens belong essentially to earlier ages, when the climate was far different than it is to-day, that they do not shed their leaves like the more recent, deciduous trees. They stand among us, representatives of an ancient race, and wrap their green foliage about them as an Indian sachem does his blanket, in calm disregard of modern fashion of attire.
All cone-bearing trees have typically a central stem from which the branches come off in whorls, but so many things have happened to the old pine trees that the evidence of the whorls is not very plain; the young trees show this method of growth clearly, the white pine having five branches in each whorl. Sometimes pines are seen which have two or three stems near the top; but this is a story of injury to the tree and its later victory.
The very tip of the central stem in the evergreens is called “the leader,” because it leads the growth of the tree upward; it stretches up from the center of the whorl of last year’s young branches, and there at its tip are the buds which produce this year’s branches. There is a little beetle which seems possessed of evil, for it likes best of all to lay its rascally eggs in the very tip of this leader; the grub, after hatching, feeds upon the bud and bores down into the shoot, killing it. Then comes the question of which branch of the upper whorl shall be elected to rise up and take the place of the dead leader; but this is an election which we know less about than we do of those resulting from our blanket ballots. Whether the tree chooses, or whether the branches aspire, we may not know; but we do know that one branch of this upper whorl arises and continues the growth of the tree. Sometimes there are two candidates for this position, and they each make such a good struggle for the place that the tree grows on with two stems instead of one--and sometimes with even three. This evil insect injures the leaders of other conifers also, but these are less likely to allow two competitors to take the place of the dead leader.
The lower branches of many of the pines come off almost at right angles from the bole; the foliage is borne above the branches, which gives the pines a very different appearance from that of other trees. The foliage of most of the pines is dark green, looking almost black in winter; the pitch pine has the foliage yellowish green, and the white pine, bluish green; each species has its own peculiar shade. There is great variation in the color and form of the bark of different species. The white pine has nearly smooth bark on the young trees, but on the older ones it has ridges that are rather broad, flat and scaly, separated by shallow sutures, while the pitch pine has its bark in scales like the covering of a giant alligator.
The foliage of the pine consists of pine needles set in little bundles on raised points which look like little brackets along the twigs. When the pine needles are young, the bundle is enclosed in a sheath making the twig look as if it were covered with pin-feathers. In many of the species this sheath remains, encasing the base of the bundle of needles; but in the white pine it is shed early. The number of leaves in the bundle helps to determine the tree; the white pine has five needles in each bunch, the pitch pine has three, while the Austrian pine has two. There is a great difference in the length and the color of the needles of different species of pine. Those of the white pine are soft, delicate and pliable, and from three to four inches in length; the needles of the pitch pine are stiff and coarse and about the same length; the white pine needles are triangular in section, and are set so as to form distinct tassels, while those of the Austrian pine simply clothe the ends of the twigs. The needles of the pine act like the strings of an aeolian harp; and the wind, in passing through the tree, sets them into vibration, making a sighing sound which seems to the listener like the voice of the tree. Therefore, the pine is the most companionable of all our trees and, to one who observes them closely, each tree has its own tones and whispers a different story.
The appearance of the unripe cone is another convincing evidence that mathematics is the basis of the beautiful. The pattern of the overlapping scales is intricate and yet regular--to appreciate it one needs to try to sketch it. Beneath each scale, when it opens wide, we find nestled at its base two little seeds in twin boxes; each provided with a little wing so that it can sail off with the wind to find a place to grow. The shape of the scales of the cone is another distinguishing character of the pine, and sketching the outside of scales from several different species of pine cones will develop the pupils’ powers of observation; the tip of the scale may be thickened or armed with a spine, and one wonders if these spines are for the purpose of discouraging the squirrels from stealing the green seeds.
The pine cone requires two years for maturing; the pistillate flower from which it is developed is a tiny cone with each scale spread wide and standing upright to catch the pollen for the tiny ovule nestled within it. The pistillate flower of the white pine grows near the tip of the new twig, and is pinkish in color. In the Austrian pine it is the merest pink dot at first, but after a little shows itself to be a true cone with pink-purple scales, which stand up very erect and makes a pretty object when viewed through a lens; each scale is pink at its three-pointed tip, with pink wings just below, the inner portions being pale green. The cone is set just beside the growing tip of the twig, is pointed upward, and its sheath-scales are turned back like chaff around its base.
In June when the new shoots of the pine twigs stand up like pale green candles on a Christmas tree, at their bases may be found the staminate catkins set in radiating whorls, making galaxies of golden stars against the dark green background of foliage. In the Austrian pine, one of these pollen catkins may be an inch or two long and a half-inch in width; each little scale of this cone is an anther sac, filled to bursting with yellow pollen. From these starry pollen cones there descends a yellow shower every time a breeze passes; for the pine trees depend upon the wind to sift their pollen dust into the lifted cups of the cone scales, which will close upon the treasure soon. The pollen grains of pine are very beautiful when seen through a microscope; and it seems almost incredible that the masses of yellow dust sifted in showers from the pines when in blossom, should be composed of these beautiful structures. When the pine forests on the shores of the Great Lakes are in bloom, the pollen covers the waves for miles out from the shores.
If we examine the growing tips of the pine branches, we find the leaves look callow and pin-feathery. The entire leaf is wrapped in a smooth, shining, silken sheath, at the tip of which its green point protrudes. The sheath is tough like parchment and is cylindrical because the pine needles within it are perfectly adjusted one to another in cylindrical form. The sheath is made up of several layers, one over the other, and may be pulled apart. The new leaves are borne on the new, pale green wood.
The uses of pines are many. The lumber of many of the species, especially that of the white pine, is free from knots and is used for almost everything from house-building to masts for ships. In the Southern States, the long-leafed pines are tapped for resin, which is not the sap of the tree, as is generally supposed. Pine sap is like other sap; the resin is a product of certain glands of the tree, and is of great use to it in closing wounds and thus keeping out the spores of destructive fungi. It is this effort of the tree to heal its wounds that makes it pour resin into the cuts made by the turpentine gatherers. This resin is taken to a distillery, where the turpentine is given off as a vapor and condensed in a coiled tube which is kept cold. What is left is known as “rosin.”
LESSON CCII
THE PINE
Leading thought--The pines are among our most ancient trees. Their foliage is evergreen but is shed gradually. The pollen-bearing and the seed-bearing flowers are separate on the tree. The seeds are winged and are developed in cones.
Method--At least one pine tree should be studied in the field. Any species will do but the white pine is the most interesting. The Austrian pine which is commonly planted in parks is a good subject. The leaves and cones may be studied in the schoolroom, each pupil having a specimen.
Observations--1. What is the general shape of the pine tree? Is there one central stem running straight up through the center of the tree to the top. Do you find any trees where this stem is divided into two or three near the top? Describe how the pine tree grows. What is the “leader?” What happens if the leader is injured? How do the topmost branches of the young pine look? Do they all come off from the same part of the stem? How many are there in a whorl?
2. What color is the bark? Is it ridged or in scales?
3. Do the branches come off the main stem at right angles or do they lift up or droop down? Where is the foliage borne on the branches? What is the color of the foliage? Is the pine foliage ever shed or does the pine leaf, when it comes, stay on as long as the tree lives?
4. Study the pine leaves. Why are they called needles? Note that they grow several together in what we call a bundle. How many in one bundle? Is the bundle enclosed in a little sheath at the base? Are the bundles grouped to make distinct tassels? Study one of the needles. How long is it? Is it straight or curved? Flexible or coarse and stiff? Cut it across and examine it with a lens. What is the outline in cross section? Why does the wind make a moaning sound in the pines?
5. Study a pine cone. Does it grow near the tip of the branch or along the sides? Does it hang down or stand out stiffly? What is its length? Sketch or describe its general shape. Note that it is made up of short, over-lapping scales. What pattern do the scales make as they are set together? Describe or sketch one scale; has it a thickened tip? Is there a spine at the tip of the scale?
6. Where in the cone are the seeds? Describe or sketch a pine seed. How long is its wing? How is it carried and planted? When the cone opens, how are the seeds scattered? What creatures feed upon the pine seed?
7. Study the pine when in blossom, which is likely to occur in June. This time is easily determined because the air around the tree is then filled with the yellow pollen dust. Study the pollen-bearing flower. Is it conelike in form? Does it produce a great deal of pollen? If you have a microscope, look at the pollen through a high objective and describe it. How many of the pollen catkins are clustered together? On what part of the twigs are they borne? Where are the pistillate flowers which are to form the young cones? How large are they and how do they look at the time the pollen is flying? Do they point upward or droop downward? Why? Look beneath the scales of a little cone with a lens and see if you can find the flowers. What carries the pine pollen to the flowers in the cone?
8. Name all the uses for pine lumber that you know. Write an English theme on how turpentine is produced from pines and the effect of this industry upon pine forests. Where does resin appear on the pine? Of what use is it to the tree? Do you think it is pine sap? What is the difference between resin and rosin?
9. How long do the pine trees live? Write a story of all that has happened to your neighborhood since the pine tree which you have been studying was planted.
10. Make the following drawings: A bundle of pine needles showing the sheath and its attachment to the twig; the cone; the cone scale; the seed. Sketch a pine tree.
Supplementary reading--Trees in Prose and Poetry, pp. 32, 151, 152; The Spirit of the Pine, Bayard Taylor; To a Pine Tree, Lowell; Nature in Verse, pp. 15, 288.
THE NORWAY SPRUCE
Teacher’s Story
The Norway spruce is a native of Europe, and we find it in America the most satisfactory of all spruces for ornamental planting; it lifts its slender cone from almost every park and private estate in our country, and is easily distinguished from all other evergreens by the drooping, pendant habit of its twigs, which seem to hang down from the straight, uplifted branches. We have spruces of our own--the black, the white and the red spruces; and it will add much to the interest of this lesson for the pupils to read in the tree and forestry books concerning these American species. Chewing gum and spruce beer are the products of the black and red spruce of our eastern forests. The Douglas spruce, which is a fir and not a spruce, is also commonly planted as an ornamental tree, but it is only at its best on the Pacific Coast, where it is one of the most magnificent of trees.
The Norway spruce tree is in form a beautiful cone, slanting from its slender tip to the ground, on which its lower drooping branches rest; the upper branches come off at a narrower angle from the sturdy central stem than do the widespreading lower branches. On the older trees, the twigs hang like pendulous fringes from the branches, enabling them to shed the snow more readily--a peculiarity which is of much use to the tree, because it is a native of the snowy northern countries of Europe and also grows successfully in the high altitudes of the Alps and other mountains. If we stroke a spruce branch toward the tip, the hand slides smoothly over it; but brush backward from the tip, and the hand is pricked by hundreds of the sharp, bayonet-pointed leaves; this is another arrangement for letting the snow slide off.
If we examine a twig of the present year’s growth, we can see on every side of its brown stem the pointed leaves, each growing from a short ridge; but the leaves on the lower side stretch out sidewise to get the light, and those above lift up angularly. Perhaps the twig of last year’s growth has shed its leaves which grew on the under side and thus failed to reach the sun. The leaf of the spruce is curved, stiff, four-sided and ends in a sharp point. It is dark yellowish above and lighter beneath and is set stiffly on the twig. The winter buds for next year’s growth may be seen at the tips of the twigs, covered with little, recurved, brown scales quite flowerlike in form. In the balsam fir, which is often planted with the Norway spruce, these buds are varnished.
The cones are borne on the tips of the branches and hang down. In color they are pale, wood-brown; they are from four to six inches long, and are very conspicuous. They are made up of broad scales that are thin toward the notched tips; they are set around the central stem in spirals of five rows. If we follow one spiral around marking it with a winding string, it will prove to be the fifth row above the place where we started. These manifold spirals can be seen sometimes by looking into the tip end of a cone. The cone has much resin on it, and is a very safe box for seeds; but when it begins to open, squirrels impatiently tear it to pieces, harvesting the seeds and leaving a pile of cone-scales beneath the tree to tell of their piracy.
A Norway spruce in blossom is a beautiful sight; the little, wine-red pistillate cones are lifted upwards from the tips of the twigs, while short, terminal branches are laden with the pollen-bearing catkins, which are soft and caterpillarish, growing on soft, white stems from the base of scales which enclosed and protected them during the winter; these catkins are filled with the yellow dust. The young cones continue to stand upright after the scales have closed on the pollen which has been sifted by the wind to the ovules which they guard; and for some time they remain most ornamentally purplish red. Before the cone is heavy enough to bend from its own weight, it turns deliberately around and downward, as if the act were a wilful deed, and then changes its color to green, ripening into brown in the fall.
The Norway spruce grows on the Alps abundantly, and like the youth with the banner, “excelsior” is not only its motto but its scientific name, (Picea excelsa). Here it grows to the height of one hundred to one hundred and fifty feet. Its wood is valuable and its pitch is marketed. In this country, it is used chiefly for ornamental planting and for wind-breaks.
LESSON CCIII
THE NORWAY SPRUCE
Leading thought--The Norway spruce is one of the most valuable of the trees which have come to America from Europe. It grows naturally in high places and in northern countries where there is much snow; its drooping twigs cannot hold a great burden of snow, and thus it escapes being crushed.
Method--This lesson should begin in the autumn when the cones are ripe. The tree should be observed by all of the pupils, and they should bring in twigs and cones for study in the schoolroom. The lesson should be taken up again in May when the trees are in blossom.
Observations--1. What is the general shape of the tree? Do the lower branches come off at the same angle as the upper? If untrimmed, what can you see of the trunk? Do the lower branches rest upon the ground? What advantage would this be to the tree in winter? Do the twigs stand out, or droop from the branches? Of what advantage is this in case of heavy snow? What is the color of the foliage? Where did the Norway spruce come from?
2. What is the color of the twig? How are the leaves set upon it? Are there more leaves on the upper than on the under side of the twigs of this year’s growth? Of last year’s growth? Brush your hand along a branch toward the tip. Do the leaves prick? Brush from the tip backward. Is the result the same? Why is this angle of the leaves to the twig a benefit during snowstorms?
3. Take a single leaf. What is its shape? How many sides has it? Is it soft or stiff? Is it sharp at the tip? Describe the buds which are forming for next year’s growth. Look along the twigs and see if you can discover the scales of the bud which produced last year’s growth?
4. Where are the cones borne? How long does it take a cone to grow? Is it heavy? Is there resin on it? Note that the scales are set in a spiral around the center of the cone. Wind a string around a cone following the same row of scales. How many rows between those marked with a string? Look into the tip of a cone and see the spiral arrangement. Sketch and describe a cone-scale, paying special attention to the shape of the tip. Try to tear a cone apart. Is this easily done? Hang a closed cone in a dry place and note what happens.
5. Describe the seed, its wings and where it is placed at the base of the scale. How many seeds under each scale? When do the cones open of themselves to scatter the seed? Do you observe squirrels tearing these apart to get the seed?
6. The Norway spruce blossoms in May. Find the little flower which will produce the cone, and describe it. What color is it? Is it upright or hanging down? Do the scales turn toward the tip or backward? Why is this? Where are the pollen-catkins borne? How many of them arise from the same place on the twig? Can you see the little scales at the base of each pistillate catkin? What are they? Are they very full of pollen? Do the insects carry the pollen for the Norway spruce, or does the wind sift it over the pistillate blossoms? After the pollen is shed, note if the scales of the young cones close up. How long before the cones begin to droop? Do you think it is their weight which causes them to droop?
7. What use do we make of the Norway spruce? What is it used for in Europe?
* * * * *
“_All outward wisdom yields to that within, Whereof nor creed nor canon holds the key; We only feel that we have ever been And evermore shall be._
_And thus I know, by memories unfurled In rarer moods, and many a nameless sign, That once in Time, and somewhere in the world, I was a towering pine._
_Rooted upon a cape that overhung The entrance to a mountain gorge; whereon The wintry shade of a peak was flung, Long after rise of sun._
_There did I clutch the granite with firm feet, There shake my boughs above the roaring gulf, When mountain whirlwinds through the passes beat, And howled the mountain wolf._
_There did I louder sing than all the floods Whirled in white foam adown the precipice, And the sharp sleet that stung the naked woods, Answer with sullen hiss._
_I held the eagle till the mountain mist Rolled from the azure paths he came to soar, And like a hunter, on my gnarled wrist The dappled falcon bore._” --From “The Spirit of the Pine,” BAYARD TAYLOR.
THE HEMLOCK
Teacher’s Story
“_O’er lonely lakes that wild and nameless lie, Black, shaggy, vast and still as Barca’s sands A hemlock forest stands. Oh forest like a pall! Oh hemlock of the wild, Oh brother of my soul I love thy mantle black, thy shaggy bole, Thy form grotesque, thy spreading arms of steel._” --PATTEE.
In its prime, the hemlock is a magnificent tree. It reaches the height of from sixty to one hundred feet, is cone-shaped, its fine, dense foliage and its drooping branches giving to its appearance exquisite delicacy; and I have yet to see elsewhere such graceful tree-spires as are the hemlocks of the Sierras, albeit they have bending tips. However, an old hemlock becomes very ragged and rugged in appearance; and dying, it rears its wind-broken branches against the sky, a gaunt figure of stark loneliness. The hemlock branches are seldom broken by snow; they droop to let the burden slide off. The bark is reddish, or sometimes gray, and is furrowed into wide, scaly ridges. The foliage is a rich dark green, but whitish when seen from below. The leaves of the hemlock are really arranged in a spiral, but this is hard to demonstrate. They look as though they were arranged in double rows along each side of the little twig; but they are not in the same plane and there is usually a row of short leaves on the upper side of the twig. The leaf is blunt at the tip and has a little petiole of its own which distinguishes it from the leaves of any other species of conifer; it is dark, glossy green above, pale green beneath, marked with two white, lengthwise lines. In June, the tip of every twig grows and puts forth new leaves which are greenish yellow in color, making the tree very beautiful and giving it the appearance of blossoming. The leaves are shed during the third year. The hemlock cones are small and are borne on the tips of the twigs. The seeds are borne, two beneath each scale, and they have wings nearly as large as the scale itself. Squirrels are so fond of them that probably but few have an opportunity to try their wings. The cones mature in one year, and usually fall in the spring. The hemlock blossoms in May; the pistillate flowers are very difficult to observe as they are tiny and greenish and are placed at the tip of the twig. The pollen-bearing flowers are little, yellowish balls on delicate, short stems, borne along the sides of the twig.
Hemlock bark is rich in tannin and is used in great quantities for the tanning of leather. The timber, which is coarse-grained, is stiff and is used in framing buildings and for railroad ties; nails and spikes driven into it cling with great tenacity and the wood does not split in nailing. Oil distilled from the leaves of hemlock is used as an antiseptic.
The dense foliage of the hemlock offers a shelter to birds of all kinds in winter; even the partridges roost in the young trees. These young trees often have branches drooping to the ground, making an evergreen tent which forms a winter harbor for mice and other beasties. The seed-eating birds which remain with us during the winter, feed upon the seeds; and as the cones grow on the tips of the delicate twigs, the red squirrels display their utmost powers as acrobats when gathering this, their favorite food.
LESSON CCIV
THE HEMLOCK
Leading thought--This is one of the most common and useful and beautiful of our evergreen trees. Its fine foliage makes it an efficient winter shelter for birds.
Method--Ask the children the questions and request them to make notes on the hemlock trees of the neighborhood. The study of the leaves and the cones may be made in the schoolroom.
Observations--1. Where does the hemlock tree grow in your neighborhood? What is the general shape of the tree? What sort of bark has it? How tall does it grow? How are its branches arranged to shed the snow?
2. What is the color of the foliage? How are the leaves arranged on the twigs? Are all the leaves of about the same size? What is the position of the smaller leaves?
3. Break off a leaf and describe its shape; its petiole. Does the leaf of any other evergreen have a petiole? What is the color and marking of the hemlock leaf above? Below? At what time of year are the new leaves developed? How does the hemlock tree look at this time? Does the hemlock ever shed its leaves?
4. Are the hemlock cones borne on the tip of the twigs or along the side? How long does it take a cone to mature? When does it fall? How many scales has it? Where are the seeds borne? How many seeds beneath each scale? Describe and sketch a hemlock seed. How are the seeds scattered? Study the tree in May, and see if you can find the blossom?
5. Make drawings of the following: The hemlock twig, showing the arrangement of the leaves; single leaf, enlarged; cone; cone scale; seed.
6. What creatures feed upon the hemlock seed? What birds find protection in the hemlock foliage in winter?
7. For what purposes is hemlock bark used? What is the timber good for? Is a nail easily pulled out from a hemlock board?
THE DOGWOOD
Teacher’s Story
_Through cloud rifts the sunlight is streaming in floods to far depths of the wood, Retouching the velvet-leafed dogwood to crimson as vital as blood._
There is no prettier story among the flowers than that of the bracts of the dogwood, and it is a subject for investigation which any child can work out for himself. I shall never forget the thrill of triumph I experienced when I discovered for myself the cause of the mysterious dark notch at the tip of each great white bract, which I had for years idly noticed. One day my curiosity mastered my inertia, and I hunted a tree over for a flower bud, for it was rather late in the season; finally I was rewarded by finding the bracts in all stages of development.
The flowering dogwood forms its buds during the summer, and of course they must have winter protection; therefore, they are wrapped in four, close-clasping, purplish brown scales, one pair inside and one pair outside, both thick and well fitted to protect the bunch of tiny flower buds at their center. But when spring comes, these motherly bud-scales change their duties, and by rapid growth become four beautiful white or pinkish bracts calling aloud to all the insect world that here at their hearts is something sweet. For months they brood the flowers and then display them to an admiring world. The artistic eye loves the little notch at the tip of the bracts, even before it has read in it the story of winter protection, of which it is an evidence.
The study of the flowers at the center is more interesting if aided by a lens. Within each blossom can be seen its tube, set in the four-lobed calyx. It has four slender petals curled back, its four chubby, greenish yellow anthers set on filaments which lift them up between the petals; and at the center of all is the tiny green pistil. There may be twenty, more or less, of these perfect flowers in this tiny, greenish yellow bunch at the center of the four great, flaring bracts. These flowers do not open simultaneously, and the yellow buds and open flowers are mingled together in the rosette. The calyx shows better on the bud than on the open flower. It might be well to explain to the pupils that a bract is simply a leaf in some other business than that ordinarily performed by leaves.
The twigs have a beautiful, smooth bark, purplish brown above and greenish below. The flowers grow at the tips of the twigs; and the young leaves are just below the flowers and also at the tips of the twigs. These twigs are spread and bent in a peculiar way, so that each white flower-head may be seen by the admiring world and not be hidden behind any of its neighbors. This habit makes this tree a favorite for planting, since it forms a mass of white bloom.
The dogwood banners unfurl before the flowers at their hearts open, and they remain after the last flower has received within itself the gracious, vital pollen which will enable it to mature into a beautiful berry. This long period of bloom is another quality which adds to the value of the dogwood as an ornamental tree. At the time the bracts fall, the curly petals also fall out leaving the little calyx-tubes standing with style and stigma projecting from their centers, making them look like a bunch of liliputian churns with dashers. In autumn, the foliage turns to a rich, purplish crimson--a most satisfying color.
During the winter, the flowering dogwood, which renders our forests so beautiful in early spring, may be readily recognized by its bark, which is broken up into small scales and mottled like the skin of a serpent; and on the tips of its branches are the beautiful clusters of red berries, or speaking more exactly, drupes. This fruit is oval, with a brilliant, shining, red, pulpy covering which must be attractive to birds. At its tip it has a little purple crown, in the center of which may be seen the remnant of the style, but this attractive outside covers a seed with a very thick, hard shell, which is quite indigestible and fully able to protect, even from the attack of the digestive juices of the bird’s stomach, the tender white kernel within it, which includes the stored food and the embryo. There are in the North two other common species of dogwood which have dark blue fruit.
LESSON CCV
THE DOGWOOD
Leading thought--The petals are not the only means of attracting insects to the flowers. Sometimes other parts of the plant are made into banners to show insects where the nectar is to be found.
Method--Bring in a branch of the dogwood when it is in flower. The branch should have upon it some flowers that are unopened. Study the flower first, and ask the pupils to discover for themselves why the great white bracts have a notch in the tip. A lens is a great help to the interest in studying these tiny flowers.
Observations--1. What is there at the center of the dogwood flower? How do the parts at the center look? Are they of the same shape? Are some opened and others not? Take a penknife and cut out one that is opened and describe it. Can you see how many petals this tiny flower has? Describe its calyx. How many stamens has it? Can you see the pistil? If a flower has a calyx and stamens and a pistil, has it not all that a flower needs?
2. How many of these flowers are there at the center of the dogwood “blossom?” What color are they? Would they show off much if it were not for the great white banners around them? Do we not think of these great white bracts as the dogwood flower?
3. Study one of these banners. What is its shape? Are the four white bracts the same shape and size? Make a sketch of these four bracts with the bunch of flowers at the center. What is there peculiar about each one of these white bracts. Why should this notch be there? Find one of the flower-heads which is not yet opened and watch it develop, and then write a little story of the work done in the winter for the flowers by these bracts and the different work done by them in the spring, all for the sake of the precious blossoms.
4. Sketch the bracts from below. Is one pair wider than the other? Is the wider pair inside or outside? Why is this so?
5. Where are the flowers of the dogwood borne? How are the twigs arranged so as to unfurl all the banners and not hide one behind another, so that the whole tree is a mass of white?
6. While studying the flowers, study where the young leaves come from. Can you still see the scales which protected the leaf buds?
7. What kind of fruit develops from the dogwood blossoms? What colors are its leaves in autumn?
THE VELVET, OR STAGHORN, SUMAC
Teacher’s Story
_The sumacs with flame leaves at half-mast, like wildfire spread over the glade; Above them, the crows on frayed pinions move northward in ragged parade._
The sumacs, in early autumn, form a “firing line” along the borders of woodlands and fences, before any other plant but the Virginia creeper has thought of taking on brighter colors. No other leaves can emulate the burning scarlet of their hues. The sumacs are a glory to our hills; and sometime, when Americans have time to cultivate a true artistic sense, these shrubs will play an important part in landscape gardening. They are beautiful in summer, when each crimson “bob” (a homely New England name for the fruit panicle) is set at the center of the bouquet of spreading, fernlike leaves. In winter nakedness they are most picturesque, with their broadly branching twigs bearing aloft the wine-colored pompons against the background of snow, and calling to the winter birds to come and partake of the pleasantly acid drupes. In spring, they put out their soft leaves in exquisite shades of pale pinkish green, and when in blossom their staminate panicles of greenish white cover them with loose pyramids of delicate bloom.
Well may it be called velvet sumac, for this year’s growth of wood and the leaf stems are covered with fine hairs, pinkish at first, but soon white; if we slip our fingers down a branch, we can tell even without looking where last year’s growth began and ended, because of the velvety feel. The name staghorn sumac is just as fitting, for its upper branches spread widely like a stag’s horns and, like them, the new growth is covered with velvet.
The leaves are borne on the new wood, and therefore at the ends of branches; they are alternate; the petiole broadens where it clasps the branch, making a perfect nursery for the little next-year’s bud, which is nestled below it. The leaves are compound and the number of leaflets varies from eleven to thirty-one. Each leaflet is set close to the midrib, with a base that is not symmetrical; the leaflets have their edges toothed, and are long and narrow; they do not spread out on either side the midrib like a fern, but naturally droop somewhat, and thus conceal their undersides, which are much lighter in color. The leaflets are not always set exactly opposite; the basal ones are bent back toward the main stem, making a fold in the base of each. The end leaflets are not always three, symmetrically set, but sometimes are two and sometimes one, with two basal lobes.
The wine-colored “bob” is cone-shaped, but with a bunchy surface. Remove all the seeds from it and note its framework of tiny branches, and again pay admiring tribute to nature’s way of doing up compact packages. Each seed is a drupe, as is also the cherry. A drupe is merely a seed within a fleshy layer, all being enclosed in a firmer outside covering; here, the outside case is covered with dark red fuzz, a clothing of furs for winter, the fur standing out in all directions. The fleshy part around the seed has a pleasantly acid taste, and one of my childhood diversions was to share these fruits in winter with the birds. I probably inadvertently ate also many a little six-footed brother hidden away for winter safe-keeping, for every sumac panicle is a crowded insect-tenement.
It is only in its winter aspect that we can see the peculiar way of the sumac’s branching, which is in picturesque zigzags, ending with coarse, wide-spreading twigs. As each terminal twig was a stem for the bouquet of blossom and fruit set about with graceful leaves, it needed room and this is reason enough for the coarse branching. The wood of the sumac has a pith, and is coarse in texture.
During late May the new growth starts near the end of last year’s twig; the buds are yellowish and show off against the dark gray twigs. From the center of these buds comes the fuzzy new growth, which is usually reddish purple; the tiny leaves are folded, each leaflet creased at its midrib and folded tightly against itself; as the leaves unfold, they are olive-green tinted with red, and look like tassels coming out around the old dark red “bob.” When the sumacs are in blossom, we see in every group of them, two kinds; one with pyramids of white flowers, and the other with pinkish callow bobs. The structure of these two different flower-clusters is really the same, except that the white ones are looser and more widely spread. Each flower of the white panicle is staminate, and has five greenish, somewhat hairy sepals and five yellowish white petals, at the center of which are five large anthers. A flower from the bob is quite different; it has the five hairy sepals alternating with five narrow, yellowish white petals, both clasping the globular base, or ovary, which is now quite covered with pinkish plush, and bears at its tip the three styles flaring into stigmas.
The velvet sumac is larger than the smooth species (Rhus glabra), and is easily distinguished from it, since the new wood of the latter is smooth and covered with bloom but is not at all velvety. The poison sumac, which is very dangerous to many people when handled, is a swamp species and its fruit is a loose, drooping panicle of whitish berries, very much like that of poison ivy; therefore, any sumac that has the red bob is not dangerous. The poison species has the edges of its leaflets entire and each leaflet has a distinct petiole of its own where it joins the midrib.
There is much tannin in sumac and it is used extensively to tan leather. The bobs are used for coloring a certain shade of brown. The famous Japanese lacquer is made from the juice of a species of sumac.
LESSON CCVI
THE VELVET, OR STAGHORN, SUMAC
Leading thought--The sumac is a beautiful shrub in summer because of its fern-like leaves; it is picturesque in winter, and its colors in autumn are most brilliant. Its dark red fruit clusters remain upon it during the entire winter. In June it shows two kinds of blossoms on different shrubs, one is whitish and bears the pollen, the other is reddish and is a pistillate flower, later developing into the seed on the “bob,” or fruit cluster.
Method--Begin this study in October when the beautiful autumn color of the leaves attracts the eye. Observations to be made in the field should be outlined and should be answered in the field note-books. The study of the fruit and leaf may be made in the schoolroom, and an interest should be developed which will lead to the study of the interesting flowers the following spring. The sumacs in autumn make a beautiful subject for water-color sketches, and their peculiar method of branching with their dark red seed clusters or bobs, make them excellent subjects for winter sketching.
Observations--1. Why is this called the velvet sumac? Why is it called the staghorn sumac? Look at the stems with a lens and describe the velvet. Can you tell this year’s wood by the velvet? Is there any velvet on last year’s wood? Is there any on the wood below? What is there peculiar in the appearance of last year’s wood? What are the colors of the hairs that make the velvet on this year’s growth? On last year’s growth? What is the color of this year’s growth under the velvet? Where are the leaves borne?
2. Look at the leaves. How many come off the stem between two, one of which is above the other? Is the midrib velvety? What is its color at base and at tip? What is the shape of the petiole where it joins the stem? Remove the leaf. What do you find hidden and protected by its broad base?
3. How many leaflets are there on the longest leaf which you can find? How many on the shortest? Do the leaflets have little petioles, or are they set close to the midrib? How does the basal pair differ from the others? Are the leaflets the same color above as below? Are the pairs set exactly opposite each other? Look at the three leaflets at the tips of several leaves and see if they are all regular in form. Draw a leaflet showing its base, its veins and its margin. Draw an entire leaf, and color it as exactly as possible.
4. Study the fruit. Pick one of the bobs and note its general shape. Is it smooth or bunchy? Sketch it. Remove one of the little bunches and find out why it is of that shape. Remove all of the seeds from one of last year’s bobs and see how the fruit is borne. Sketch a part of such a bare stem.
5. Take a single seed; look at it through a lens and describe it. What are the colors? Cut or pare away the flesh, and describe the seed. What birds live on the sumac seeds in winter? How many kinds of insects can you find wintering in the bob? Find a seed free from insects and taste it.
Winter study of the Sumac--6. Study the sumac after the leaves have fallen and sketch it. What is there peculiar in its branching? Of what use to the plant is its method of branching? Break a branch and look at the end. Is there a pith? What color is the wood and pith?
May or June Study of the Sumac--7. Where on the branch does the new growth start? How are the tiny leaves folded? Look over a group of sumacs and see if their blossoms all look alike. Are the different kinds of blossoms found on the same tree or on different trees? Take one of the white pyramidal blossom clusters; look at one of these flowers with a lens and describe its sepals and petals. How many anthers has it and where are they? This is a pollen-bearing flower and has no pistil. How are its tiny staminate flowers arranged on the stem to give the beautiful pyramid shape? This kind of flower cluster is called a panicle.
8. Take one of the green bobs and see if it is made up of little round flowers. Through a lens study one of these. How many sepals? How many petals? Describe the middle of the flower around which the petals and sepals clasp. Is this the ovary, or seed box? Can you see the stigmas protruding beyond it? What insects visit these flowers?
9. How can you tell the velvet or staghorn sumac from the smooth sumac? How can you tell both of these from the poison sumac?
10. To what uses are the sumacs put?
* * * * *
“I see the partridges feed quite extensively upon the sumach berries, at my old house. They come to them after every snow, making fresh tracks, and have now stripped many bushes quite bare.” --THOREAU’S JOURNAL, Feb. 4, 1856.
THE WITCH-HAZEL
Teacher’s Story
_In the dusky, somber woodland, thwarting vistas dull and cold, Thrown in vivid constellations, gleam the hazel stars of gold, Gracious gift of wealth untold._
_Hazel blossoms brightly glowing through the forests dark and drear, Work sweet miracles, bestowing gladness on the dying year, Joy of life in woods grown sere._
Witch-hazel is not only a most interesting shrub in itself, but it has connected with it many legends. From its forked twigs were made the divining rods by which hidden springs of water or mines of precious metals were found, as it was firmly believed that the twig would turn in the hand when the one who held it passed over the spring or mine. At the present day, its fresh leaves and twigs are used in large quantities for the distilling of the healing extract so much in demand as a remedy for cuts and bruises and for chapped or sunburned skins. It is said that the Oneida Indians first taught the white people concerning its medicinal qualities.
The witch-hazel is a large shrub, usually from six to twelve feet high, although under very advantageous circumstances it has been known to take a tree-like form and attain a height of more than twenty feet. Its bark is very dark grayish brown, smooth, specked with little dots, which are the lenticels, or breathing-pores. If the season’s growth has been rapid, the new twigs are lighter in color, but when stunted by drouth or poor soil, the new growth has a tint similar to the old. The wood is white, very tough and fibrous, with a pith or heart-wood of softer substance and yellow in color. The leaves are alternate, and the leaf buds appear at the tips of the season’s twigs, while the blossoms grow at the axils of the leaves.
The witch-hazel leaf is nearly as broad as it is long, bluntly pointed at its tip, with a stem generally less than one-half inch in length. The sides are unequal in size and shape, and the edges are roughly scalloped. The veins are straight, are depressed on the upper side but very prominent beneath, and they are lighter in color than the rest of the leaf. Witch-hazel leaves are likely to be apartment houses for insects, especially the insects that make galls. Of these there are many species, each making a different shaped gall. One of the most common is a gall, shaped like a little horn or spur on the upper side of the leaf and having a tiny door opening on the under side of the leaf. If one of these snug little homes is torn open, it will be found occupied by a community of little aphids, or plant-lice.
The witch-hazel blossoms appear at the axil of a leaf or immediately above the scar from which a leaf has fallen, the season of bloom being so late that often the bush is bare of leaves and is clothed only with the yellow, fringe-like flowers. Usually the flowers are in clusters of three, but occasionally four or five can be found on the same very short stem. The calyx is four-lobed, the petals are four in number, shaped like tiny, yellow ribbons, about one-half inch long and not much wider than a coarse thread. In the bud, these petals are rolled inward in a close spiral, like a watch-spring, and are coiled so tightly that each bud is a solid little ball no larger than a bird-shot. There are four stamens lying between the petals, and between each two of these stamens is a little scale just opposite the petal. The anthers are most interesting. Each has two little doors which fly open, as if by magic springs, and throw out the pollen which clings to them. The pistil has two stigmas, which are joined above the two-celled seed-box, or ovary. The blossoms sometimes open in late September, but the greater number appear in October and November. They are more beautiful in November after the leaves have fallen, since these yellow, starry flowers seem to bring light and warmth into the landscape. After the petals fall, the calyx forms a beautiful little urn, holding the growing fruit.
The nuts seem to require a sharp frost to separate the closely joined parts; it requires a complete year to mature them. One of these nuts is about half an inch long and is covered with a velvety green outer husk, until the frost turns it brown; cutting through it discloses a yellowish white inner shell, which is as hard as bone; within this are the two brown seeds each ornamented with a white dot; note particularly that these seeds lie in close-fitting cells. The fruit, if looked at when the husk is opening, bears an odd resemblance to a grotesque monkey-like face with staring eyes. Frosty nights will open the husks, and the dry warmth of sunny days or of the heated schoolroom, will cause the edges of the cups which hold the seeds, to curve inward with such force as to send the seeds many feet away; ordinarily they are thrown from ten to twenty feet, but Hamilton Gibson records one actual measurement of forty-five feet. The children should note that the surface of the seeds is very polished and smooth, and the way they are discharged may be likened to that by which an orange seed is shot from between the fingers.
LESSON CCVII
THE WITCH-HAZEL
Leading thought--The witch-hazel blossoms during the autumn, and thus adds beauty to the landscape. It has an interesting mechanism by which it can shoot its seeds for a distance of many feet.
Method--This lesson divides naturally into two parts; a study of the way the seeds are distributed is fitted for the primary grades, and a study of the flower for more advanced grades. For the primary grades the lesson should begin by the gathering of the twigs which bear the fruit. These should be brought to the schoolroom--there to await results. Soon the seeds will be popping all over the schoolroom, and then the question as to how this is done, and why, may be made the topic of the lesson. For the study of the flower and the shrub itself, the work should begin in October when the blossoms are still in bud. As they expand they may be studied, a lens being necessary for observing the interesting little doors to the anthers.
Observations--1. Is the witch-hazel a shrub or a tree?
2. What is the color of the bark? Is it thick or thin, rough or smooth, dark or light, or marked with dots or lines? Is there any difference in color between the older wood and the young twigs? Is the wood tough or brittle? Dark or light in color?
3. Do the leaves grow opposite each other or alternate? On what part of the plant do the leaf buds grow?
4. What is the general shape of the leaf? Is it more pointed at the base or at the tip? Are the leaves regular in form, or larger on one side than the other? Are the edges entire, toothed or wavy? Are the petioles short or long? Are the veins straight or branching? Are they prominent? Are the leaves of the same color on both sides?
5. Are there many queer-shaped little swellings on the leaf above and below? See how many of these you can find? Tell what you think they are.
6. Do the flowers grow singly or in clusters? What is the shape and color of the petals, and how many of them are there in each blossom? Describe the calyx. If there are any flower buds just opening, observe and describe the way the petals are folded within them.
7. How many stamens? With a lens observe the way the two little doors to the anther fly open; how is the pollen thrown out? What is the shape of the pistil? How many stigmas?
8. Does each individual flower have a stem or is there a common stem for a cluster of blossoms? Do the flowers grow at the tips or along the sides of the twigs? When do the witch-hazel flowers appear and how long do they last?
9. Make a drawing of a witch-hazel nut before it opens. What is the color of the outer husk when ripe? Cut into a closed nut and observe the extreme hardness and strength of the inner shell.
10. Where are the seeds situated? Can you see that the shell, when partially open, ready to throw out the seeds resembles a queer little face? Describe the color and marking of the seeds; are they rough or smooth? How far have you known the witch-hazel to throw its seeds? Study the nut and try to discover how it throws the seeds so far.
References--Tree Book, Rogers; Our Northern Shrubs, Keeler; Familiar Trees and Their Leaves, Mathews; Field, Forest and Wayside Botany, Gray.
THE MOUNTAIN LAUREL
Teacher’s Story
As a child I never doubted that the laurel wreaths of Grecian heroes were made from mountain laurel, and I supposed, of course, that the flowers were used also. My vision was of a hero crowned with huge wreaths of laurel bouquets, which I thought so beautiful. It was a shock to exchange this sumptuous headgear of my dreams for a plain wreath of leaves from the green-bay tree.
However, the mountain laurel leaf is evergreen and beautiful enough to crown a victor; in color it is a rich, lustrous green above, with a yellow midrib, the lower side being of a much lighter color. In shape, the leaf is long, narrow, pointed at each end and smooth-edged, with a rather short petiole. The leaves each year grow on the new wood, which is greenish and rough, in contrast with the old wood, which is rich brownish red. The leaves are arranged below the flower cluster, so that they make a shining green base for this natural bouquet.
The flowers grow on the tips of the branching twigs, which are huddled together in a manner that brings into a mass many flowers. I have counted seventy-five of them in a single bunch; the youngest flowers grow nearest the tip of the twig. The blossom stems are pink, and afford a rich background for the starry open flowers and knobby closed buds. The bud of the laurel blossom is very pretty and resembles a bit of rose-colored pottery; it has a five-sided, pyramidal top, and at the base of the pyramid are ten little buttresses which flare out from the calyx. The calyx is five-lobed, each lobe being green at the base and pink at the point. Each one of the ten little buttresses or ridges is a groove in which a stamen is growing, as we may see by looking into an opening flower; each anther is “headed” toward the pocket which ends the groove. The filament lengthens and shoves the anther into the pocket, and then keeps on growing until it forms a bow-shaped spring, like a sapling with the top bent to the ground. The opening flower is saucerlike, pinkish white, and in form is a five-pointed star. At the bottom of the saucer a ten-pointed star is outlined in crimson; and bowed above this crimson ring are the ten white filaments with their red-brown anthers stuffed cozily into the pockets, one pocket at the center of each lobe, and one half-way between; each pocket is marked with a splash of crimson with spotty edges. From the center of the flower projects the stigma, far from and above the pollen-pockets.
Each laurel flower is thus set with ten spring-traps all awaiting the visit of the unwary moth or bee which, when seeking the nectar at the center of the flower, is sure to touch one or all of these bent filaments. As soon as one is touched, up it springs and slings its pollen hard at the intruder. The pollen is not simply a shower of powder, but is in the form of a sticky string, as if the grains were strung on cobweb silk. When liberating these springs with a pencil point, I have seen the pollen thrown a distance of thirteen inches; thus, if the pollen ammunition does not strike the bee, it may fall upon some open flower in the neighborhood. The anthers spring back after this performance and the filaments curl over each other at the center of the flower below the pink stigma; but after a few hours they straighten out and each empty anther is suspended above its own pocket. The anthers open while in the pocket, each one is slit open at its tip so that it is like the leather pocket of a sling.
After the corollas fall, the long stigma still projects from the tip of the ripening ovary, and there it stays, until the capsule is ripe and open. The five-pointed calyx remains as an ornamental cup for the fruit. The capsule opens along five valves, and each section is stuffed with little, almost globular seeds.
The mountain laurel grows in woods and shows a preference for rocky mountain sides or sandy soil.
Another of the common species is the sheep laurel, which grows in swampy places, especially on hillsides. The flowers of this are smaller and pinker than the mountain laurel, and are set below the leaves on the twig. Another species called the pale, or swamp, laurel, has very small flowers, not more than half an inch in breadth and its leaves have rolled-back edges and are whitish green beneath. This species is found only in cold peat-bogs and swamps.
LESSON CCVIII
THE MOUNTAIN LAUREL
Leading thought--The laurel blossom is set with ten springs, and each spring acts as a sling in throwing pollen upon visiting insects, thus making sure that the visitor will carry pollen to other waiting flowers.
Method--Have the pupils bring to the schoolroom a branch of laurel which shows blossoms in all stages from the bud. Although this lesson is on the mountain laurel, any of the other species will do as well.
Observations--1. How are the laurel leaves set about the blossom clusters to make them beautiful? What is the shape of the laurel leaf? What are its colors above and below? How do the leaves grow with reference to the flowers? Do they grow on last year’s or this year’s wood? How can you tell the new wood from the old?
2. Take a blossom bud. What is its shape? How many sides to the pyramid-like tip? How many little flaring ridges at the base of the pyramid? Describe the calyx.
3. What is the shape of the flower when open? How many lobes has it? What is its color? Where is it marked with red?
4. In the open blossom, what do you see of the ten ridges, or keels, which you noticed in the bud? How does each one of these grooves end? What does the laurel blossom keep in these ten pockets? Touch one of the ten filaments with a pencil and note what happens.
5. Take a bud scarcely open. Where are the stamens? Can you see the anthers? Take a blossom somewhat more open. Where are the anthers now? From these observations explain how the stamens place their anthers in the pockets. How do the filaments grow into bent springs?
6. Are the anthers open when they are still in the pocket? Look at an anther with a lens and tell how many slits it has. How do they open? Are the pollen grains loose when they are thrown from the anther? How are they fastened together? Does this pollen mass stick to whatever it touches?
7. What is the use to the flower of this arrangement for throwing pollen? What insects set free the stamen-springs? Where is the nectar which the bee or moth is after? Can it get this nectar without setting free the springs? Touch the filaments with a pencil and see how far they will sling the pollen.
8. Describe the pistil in the open flower. Is the stigma near the anthers? Would they be likely to throw their pollen on the stigma of their own flower? Could they throw it on the stigmas of neighboring flowers?
9. How does the fruit of the laurel look? Does the style still cling after the corolla falls? Describe the fruit-capsule. How does it open? How do the seeds look? Are there many of them?
10. Where does the mountain laurel grow? What kind of soil does it like? Do you know any other species of laurel? If so, are they found in the same situations as the mountain laurel?
* * * * *
“_A childish gladness stays my feet, As through the winter woods I go, Behind some frozen ledge to meet A kalmia shining through the snow._
_I see it, beauteous as it stood Ere autumn’s glories paled and fled, And sigh no more in pensive mood, ‘My leafy oreads are all dead.’_
_I hear its foliage move, like bells On rosaries strung, and listening there, Forget the icy wind that tells Of turfless fields, and forests bare._
_All gently with th’ inclement scene I feel its glossy verdure blend;-- I bless that lovely evergreen As heart in exile hails a friend._
_Its boughs, by tempest scarcely stirred, Are tents beneath whose emerald fold The rabbit and the snowbound bird Forget the world is white and cold._
_And still, ’mid ruin undestroyed, Queen arbor with the fadeless crown, Its brightness warms the frosty void, And softens winter’s surliest frown._” --From “The Mountain Laurel,” THERON BROWN.