Lifted higher and higher, and sublimated more and more, putting off some earthiness and cultivating more intimacy with the light each year, they have at length the least possible amount of earthy matter, and the greatest spread and grasp of skyey influences. There they dance, arm in arm with the light,--tripping it on fantastic points, fit partners in those aerial halls. So intimately mingled are they with it, that, what with their slenderness and their glossy surfaces, you can hardly tell at last what in the dance is leaf and what is light. And when no zephyr stirs, they are at most but a rich tracery to the forest-windows.

I am again struck with their beauty, when, a month later, they thickly strew the ground in the woods, piled one upon another under my feet. They are then brown above, but purple beneath. With their narrow lobes and their bold deep scollops reaching almost to the middle, they suggest that the material must be cheap, or else there has been a lavish expense in their creation, as if so much had been cut out. Or else they seem to us the remnants of the stuff out of which leaves have been cut with a die. Indeed, when they lie thus one upon another, they remind me of a pile of scrap-tin.

Or bring one home, and study it closely at your leisure, by the fireside. It is a type, not from any Oxford font, not in the Basque nor the arrow-headed character, not found on the Rosetta Stone, but destined to be copied in sculpture one day, if they ever get to whittling stone here. What a wild and pleasing outline, a combination of graceful curves and angles! The eye rests with equal delight on what is not leaf and on what is leaf,--on the broad, free, open sinuses, and on the long, sharp, bristle-pointed lobes. A simple oval outline would include it all, if you connected the points of the leaf; but how much richer is it than that, with its half-dozen deep scollops, in which the eye and thought of the beholder are embayed! If I were a drawing-master, I would set my pupils to copying these leaves, that they might learn to draw firmly and gracefully.

Regarded as water, it is like a pond with half a dozen broad rounded promontories extending nearly to its middle, half from each side, while its watery bays extend far inland, like sharp friths, at each of whose heads several fine streams empty in,--almost a leafy archipelago.

But it oftener suggests land, and, as Dionysius and Pliny compared the form of the Morea to that of the leaf of the Oriental Plane-tree, so this leaf reminds me of some fair wild island in the ocean, whose extensive coast, alternate rounded bays with smooth strands, and sharp-pointed rocky capes, mark it as fitted for the habitation of man, and destined to become a centre of civilization at last. To the sailor's eye, it is a much-indented shore. Is it not, in fact, a shore to the aerial ocean, on which the windy surf beats? At sight of this leaf we are all mariners,--if not vikings, buccaneers, and filibusters. Both our love of repose and our spirit of adventure are addressed. In our most casual glance, perchance, we think, that, if we succeed in doubling those sharp capes, we shall find deep, smooth, and secure havens in the ample bays. How different from the White-Oak leaf, with its rounded headlands, on which no lighthouse need be placed! That is an England, with its long civil history, that may be read. This is some still unsettled New-found Island or Celebes.