Lippincott's Magazine, August, 1885

by Various

The tulip-tree grows best in warm loam in which there is a mixture of sand and vegetable mould superposed on clay and gravel. About its roots you may find the lady-slipper and the dog-tooth violet, each in its season. Its bark often bears the rarest lichens, and, near the ground, short green moss as soft and thick as velvet. The poison-ivy and the beautiful Virginia creeper like to clamber up the rough trunk, sometimes clothing the huge tree from foot to top in a mantle of brown feelers and glossy leaves. Seen at a distance, the tulip-tree and the black-walnut-tree look very much alike; but upon approaching them the superior symmetry and beauty of the former are at once discovered. The leaves of the walnut are gracefully arranged, but they admit too much light; while the tulip presents grand masses of dense foliage upheld by knotty, big-veined branches, the perfect embodiment of vigor.

In the days of bee-hunting in the West, I may safely say that a majority of bee-trees were tulips. I have found two of these wild Hyblas since I began my studies for this paper; but the trees have become so valuable that the bees are left unmolested with their humming and their honey. It seems that no more appropriate place for a nest of these wild nectar-brewers could be chosen than the hollow bough of a giant tulip,—a den whose door is curtained with leaves and washed round with odorous airs, where the superb flowers, with their wealth of golden pollen and racy sweets, blaze out from the cool shadows above and beneath. But the sly old 'coon, that miniature Bruin of our Western woods, is a great lover of honey, and not at all a respecter of the rights of wild bees. He is tireless in his efforts to reach every deposit of waxy comb and amber distillation within the range of his keen power of scent. The only honey that escapes him is that in a hollow too small for him to enter and too deep for his fore-paws to reach the bottom.

Poe, in his story of the Gold-Bug, falls into one of his characteristic errors of conscience. The purposes of his plot required that a very large and tall tree should be climbed, and, to be picturesque, a tulip was chosen. But, in order to give a truthful air to the story, the following minutely incorrect description is given: "In youth the tulip-tree, or Liriodendron Tulipiferum, the most magnificent of American foresters, has a trunk peculiarly smooth, and often rises to a great height without lateral branches; but in its riper age the bark becomes gnarled and uneven, while many short limbs make their appearance on the stem" The italics are mine, and the sentence italicized contains an unblushing libel upon the most beautiful of all trees. Short branches never "appear on the stems" of old tulip-trees. The bark, however, does grow rough and deeply seamed with age. I have seen pieces of it six inches thick, which, when cut, showed a fine grain with cloudy waves of rich brown color, not unlike the darkest mahogany. But Poe, no matter how unconscionable his methods of art, had the true artistic judgment, and he made the tulip-tree serve a picturesque turn in the building of his fascinating story; though one would have had more confidence in his descriptions of foliage if it had been May instead of November.

The growth of the tulip-tree, under favorable circumstances, is strong and rapid, and, when not crowded or shaded by older trees, it begins flowering when from eighteen to twenty-five years old. The blooming-season, according to the exigences of weather, begins from May 20 to June 10 in Indiana, and lasts about a week. The fruit following the flower is a cone an inch and a half long and nearly an inch in diameter at the base, of a greenish—yellow color, very pungent and odorous, and full of germs like those of a pine-cone. The tree is easily grown from the seed. Its roots are long, flexible, and tough, and when young are pale yellow and of bitterish taste, but slightly flavored with the stronger tulip individuality which characterizes the juice and sap of the buds and the bark of the twigs. The leaves, as I have said, are dark and rich, but their shape and color are not the half of their beauty. There is a charm in their motion, be the wind ever so light, that is indescribable. The rustle they make is not "sad" or "uncertain," but cheerful and forceful. The garments of some young giantess, such as Baudelaire sings of, might make that rustling as she would run past one in a land of colossal persons and things.

I have been surprised to find so little about the tulip-tree in our literature. Our writers of prose and verse have not spared the magnolia of the South, which is far inferior, both tree and flower, to our gaudy, flaunting giantess of the West. Indeed, if I were an aesthete, and were looking about me for a flower typical of a robust and perfect sentiment of art, I should greedily seize upon the bloom of the tulip-tree. What a "craze" for tulip borders and screens, tulip wallpapers and tulip panel-carvings, I would set going in America! The colors, old gold, orange, vermilion, and green,—the forms, gentle curves and classical truncations, and all new and American, with a woodsy freshness and fragrance in them. The leaves and flowers of the tulip-tree are so simple and strong of outline that they need not be conventionalized for decorative purposes. During the process of growth the leaves often take on accidental shapes well suited to the variations required by the designer. A wise artist, going into the woods to educate himself up to the level of the tulip, could not fail to fill his sketch-books with studies of the birds that haunt the tree, and especially such brilliant ones as the red tanager, the five or six species of woodpecker, the orioles, and the yellow-throated warbler. The Japanese artists give us wonderful instances of the harmony between birds, flowers, and foliage; not direct instances, it is true, but rather suggested ones, from which large lessons might be learned by him who would carry the thought into our woods with him in the light of a pure and safely-educated taste. Take, for instance, the yellow-bellied woodpecker, with its red fore-top and throat, its black and white lines, and its bright eyes, together with its pale yellow shading of back and belly, and how well it would "work in" with the tulip-leaves and flowers! Even its bill and feet harmonize perfectly with the bark of the older twigs. So the golden-wing, the tanager, and the orioles would bear their colors harmoniously into any successful tulip design.

South of the Alleghany Mountains I have not found as fine specimens of this tree as I have in Kentucky, Ohio, and Indiana. Everywhere the saw-mills are fast making sad havoc. The walnut and the tulip are soon to be no more as "trees with the trees in the forest." Those growing in the almost inaccessible "pockets" of the Kentucky and Tennessee mountains may linger for a half-century yet, but eventually all will be gone from wherever a man and a saw can reach them.

The oak of England and the pine of Norway are not more typical than the tulip-tree. The symmetry, vigor, and rich colors of our tree might represent the force, freedom, and beauty of our government and our social influences. If the American eagle is the bird of freedom, the tulip is the tree of liberty,—strong, fragrant, giant-flowered, flaunting, defiant, yet dignified and steadfast.

A very intelligent old man, who in his youth was a great bear- and panther-hunter, has often told me how the black bear and the tawny catamount used to choose the ample "forks" of the tulip-tree for their retreats when pursued by his dogs. The raccoon has superseded the larger game, and it was but a few weeks ago that I found one lying, like a striped, fluffy ball of fur, in a crotch ninety feet above ground. "Our white-wood" lumber has grown so valuable that no land-owner will allow the trees to be cut by the hunter, and hence the old-fashioned 'coon-hunt has fallen among the things of the past, for it seems that the 'coon is quite wise enough to choose for the place of his indwelling the costliest tulip of the woods. I have already casually mentioned the fact that the tulip-tree's bloom is scarcely known to exist by even intelligent and well-informed Americans. Every one has heard of the mimosa, the dogwood, the red-bud, and the magnolia, but not of the tulip-bearing tree, with its incomparably bold, dashing, giantesque flower, once so common in the great woods of our Western and Middle States. I have not been able to formulate a good reason for this. Every one whose attention is called to the flower at once goes into raptures over its wild beauty and force of coloring, and wonders why poems have not been written about it and legends built upon it. It is a grander bloom than that which once, under the same name, nearly bankrupted kingdoms, though it cannot be kept in pots and greenhouses. Its colors are, like the idiosyncrasies of genius, as inimitable as they are fascinating and elusive. Audubon was something of an artist, but his tulip-blooms are utter failures. He could color an oriole, but not the corolla of this queen of the woods. The most sympathetic and experienced water-colorist will find himself at fault with those amber-rose, orange-vermilion blushes, and those tender cloudings of yellow and green. The stiff yet sensitive and fragile petals, the transparent sepals, with their watery shades and delicate washing of olive-green, the strong stamens and peculiarly marked central cone, are scarcely less difficult. All the colors elude and mock the eager artist. While the gamut of promising tints is being run, he looks, and, lo! the grand tulip has shrivelled and faded. Again and again a fresh spray is fetched in, but when the blooming-season is over he is still balked and dissatisfied. The wild, Diana-like purity and the half-savage, half-æsthetic grace have not wholly escaped him, but the color,—ah I there is the disappointment.

I have always nursed a fancy that there is something essential to perfect health in the bitters and sweets of buds and roots and gums and resins of the primeval woods. Why does the bird keep, even in old age, the same brilliancy of plumage and the same clearness of eye? Is it because it gets the elixir vitæ from the hidden reservoir of nature? Be this as it may, there are times when I sincerely long for a ball of liquidambar or a mouthful of pungent spring buds. The inner bark of the tulip-tree has the wildest of all wild tastes, a peculiarly grateful flavor when taken infinitesimally, something more savage than sassafras or spice-wood, and full of all manner of bitter hints and astringent threatenings: it has long been used as the very best appetizer for horses in the early spring, and it is equally good for man. The yellow-bellied woodpecker knows its value, taking it with head jauntily awry and quiet wing-tremblings of delight. The squirrels get the essence of it as they munch the pale leaf-buds, or later when they bite the cones out of the flowers. The humming-birds and wild bees are the favored ones, however, for they get the ultimate distillation of all the racy and fragrant elements from root to bloom.

The Indians knew the value of the tulip-tree as well as its beauty. Their most graceful pirogues were dug from its bole, and its odorous bark served to roof their rude houses. No boat I have ever tried runs so lightly as a well-made tulip pirogue, or dug-out, and nothing under heaven is so utterly crank and treacherous. Many an unpremeditated plunge into cold water has one caused me while out fishing or duck-shooting on the mountain-streams of North Georgia. If you dare stand up in one, the least waver from a perfect balance will send the sensitive, skittish thing a rod from under your feet, which of course leaves you standing on the water without the faith to keep you from going under; and usually it is your head that you are standing on. But, to return to our tree, I would like to see its merits as an ornamental and shade tree duly recognized. If grown in the free air and sunlight, it forms a heavy and beautifully-shaped top, on a smooth, bright bole, and I think it might be forced to bloom about the fifteenth year. The flowers of young, thrifty trees that have been left standing in open fields are much larger, brighter, and more graceful than those of old gnarled forest-trees, but the finest blooms I ever saw were on a giant tulip in a thin wood of Indiana. A storm blew the tree down in the midst of its flowering, and I chanced to see it an hour later. The whole great top was yellow with the gaudy cups, each gleaming "like a flake of fire," as Dr. Holmes says of the oriole. Some of them were nearly four inches across. Last year a small tree, growing in a garden near where I write, bloomed for the first time. It was about twenty years old. Its flowers were paler and shallower than those gathered at the same time in the woods. It may be that transplanting, or any sort of forcing or cultivation, may cause the blooms to deteriorate in both shape and color, but I am sure that plenty of light and air is necessary to their best development.