A tree with very strong characters is said to be picturesque. That is, it is such an object as an artist delights to put into a picture. Trees which are very unsymmetrical, or knotty, gnarled, or crooked, are usually picturesque. Of all common trees, none is more picturesque than an old apple tree. Observe its gnarled and crooked branches, and the irregular spaces in its top. Encourage the pupil to extend his observation to all the trees about him, especially to such as are common and familiar. Teach him to observe the growths of bushes and trees in the fence-rows which lie on his way to school; and to observe carefully and critically. How do gooseberry bushes differ from currant bushes, and raspberries from blackberries? Observe the lilac bush and the snowballs. How is the snow held on the different kinds of evergreens--as the pines, spruces, arbor-vitæ? See how the fruit-spurs on pears and plums stand out against the sky. (Consult Leaflet No. XXXI, "Four Apple Twigs.") Are there any bright colors of branch and twig to relieve the bareness of the snow? Do you see any warmth of color in the swales where the willows and osiers are? Do you see old plumes of grass and weeds standing above the snow? Do they bring up any visions of summer and brooks and woods? [Illustration] LEAFLET XXX. ONE WAY OF DRAWING TREES IN THEIR WINTER ASPECT.[41] BY C. W. FURLONG. [41] Teacher's Leaflet, No. 12, January, 1899. The few suggestions which are set forth in these pages are based upon two assumptions:--first, that the teacher has some knowledge of the most salient principles of elementary perspective; and second, that she has a love for all things beautiful. It is feasible to deal here not to any extent with art in either its abstract or its concrete form, but only with drawing. Drawing, in its simplest analysis, is the ability to record objects as they appear to the normal eye. Art is more complicated. It includes many elements, a few of which are composition, expression of movement, and action. The very thought, feeling, and refinement of the artist must be expressed in his work. He must tell not only what he sees, but also what he feels. He interprets nature through his own moods. There are no outlines in nature. The boundaries, shapes, and character of various forms are determined by the difference of their color values, and the contrasts of light and shade. Yet an outline drawing is the simplest means of representing form and proportion. Although inadequate in many respects, this somewhat conventional rendering is important to the beginner, for it is necessary that the child be taught to observe forms and proportions correctly; and these impressions may be recorded most simply and definitely by outline drawings. Michael Angelo emphasized its importance in these words: "The science of drawing or of outline is the essence of painting and all the fine arts, and the root of all the sciences."