Between the Larch-woods and the Weir

by Flora Klickmann

To step from the hot noonday glare, on a summer day, into the cool seclusion of these thick stone walls, is to enter a haven of peace and quiet that would seem to belong to the forest primeval rather than to this noise-stricken age.

The window opening to the north excludes the fierce sun, but the yellow-washed walls give light and cheeriness. And the ivy, that ubiquitous plant that scorns all disadvantages, and overcomes every obstacle, has crept in under the red tiles and hangs in festoons from the dark rafters; while in other places its pale green shoots have found for themselves a way clean through the thickness of the wall, pushing along crevices and around the stones, till at last they have come to light on the inner side, where they immediately proceed to drape lopped trunks and big branches standing in the corner.

It is no mere accumulation of timber and sticks that is housed within these rough old walls. The very spirit of the forest seems to permeate the place; everything is part and parcel of the big outside—the stones that pave the floor; the heap of cones in one corner, waiting to brighten up smouldering winter fires and set them all aglow; the solid sections of some sturdy oak, cut to just the right height for seats; the bark stripped from a birch-tree, silver white even now, with grey and pinkish paper-like peelings and black breathing marks; and the great brown branches of larch, a tracery of studded twigs and stems and cones, that have been placed across the end of the wood-house, and sweep the rafters at the top, looking, as you enter the door, like some wonderful rood-screen, dark brown with age, shutting off an ancient, yellow-washed chancel—though such a screen no mortal hand could ever carve!

The larch is always in evidence, and gives a resinous odour to the place, as does the sawdust by the bench, a rich brown pile, for very little of our hillside wood is white; most of it ranges from reddish-brown to mahogany colour. Though here is a small creamy-white gate in course of construction—merely a little wicket to keep the calves out of the orchard—that is made of straight, round branches, slit down the centre, so that one side of each is flat and the other semicircular. The design is simplicity itself, some uprights with a few cross-pieces to hold them together and suggest a trellis; yet the rich cream colour and the satiny surface of the wood make it a thing of distinct beauty. This is only a branch of the lime-tree, with the bark peeled off.

In an ordinary way we seldom have a chance to notice the intrinsic beauty of wood itself. Of course we see it in its polished perfection when it comes to us in some choice piece of furniture, or panelling; but this is not exactly the beauty to which I refer. Each branch, each tree trunk, has, in its unpolished state, definite characteristics of its own, quite distinct from those we see in the finished product civilization regards as the one end to be aimed for. These characteristics may be rough, and are frequently rugged; but their appeal is often all the stronger for this fact.

Look at the wonderful ribbing on the rind of this Spanish chestnut; what is it that wakes up in you when you study its lines and formation? You cannot say, yet you respond to it in an indefinable manner. These branches of apple-wood, only gnarled old things, twisted and crooked and all out of shape some people would say; yet you know that they would not have been nearly so lovely had they been straight as a dart. The larches with their strong bark showing grey and red and green, and furrowed like the sea sand—isn’t there something in this that calls to you from back recesses of your being, and reminds you of the time when you—no, not you, but your ancestors, centuries ago, lived not so much in cities and houses made with hands, as out of doors, finding mystery in the green-roofed aisles and the cathedral dimness of forests long since felled?

To those of us who spend much time among these hills, each tree within the wood-house comes as a friend, with a definite personality and distinct association, and we regret its individual “going out,” even though we know it to be inevitable.

This giant, that leans against the outside wall, with no possibility of ever getting inside the door until it has been sawn in half, is a big fir (where a squirrel nested) that heeled right over in a blizzard. Here is the tall cherry-tree that died of a hollow heart, so beloved of the birds that they left us never a one if we got up later than half-past four the morning the cherries were ripe. This is the bough from the big plum-tree that broke down last August under its weight of fruit. These branches of old apple-trees are some of the winter wreckage that was strewn about the orchards; see the lichen that covers them, could anything be more satisfying to look upon? And these are some of the birches that seemed so frail as they bent to the wind on the slopes, with purple twigs and green leaves always moving; until you have actually handled them you scarcely realize the strength and toughness of the delicate-looking bark, and you henceforth take a much more personal interest in Hiawatha and his canoe, even though his tree was another member of the family. And that convenient stump you are sitting upon is part of a hoary pear, that used annually to clothe itself in white—and then contribute more gallons of perry than it does to think of in these more sober days!