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 out line 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
