Drought Tolerant Plants: Yellowhorn

A drought tolerant garden doesn’t have to be treeless. While the pickings are slim, there is a selection of trees that, once established, are well adapted to deal with extended bouts of little to no water. One such tree is yellowhorn, a species that demands to be considered for any waterwise landscape. Yellowhorn is rare in cultivation – and also restricted in its natural distribution – but perhaps that will change as word gets around about this beautiful and resilient tree.

Xanthoceras sorbifolium is native to several provinces in northern China and has been cultivated in a number of places outside of China since at least the 1800’s. Its ethnobotanical value is well understood in China. Its leaves, flowers, and seeds are edible and medicinal, and the high oil content of its seeds make them useful for the production of biofuels. Researchers are also investigating the use of yellowhorn for ecological restoration in arid habitats where desertification is a concern.

yellowhorn in bloom

Yellowhorn is the only species in the genus Xanthoceras, but is one in a long list of trees and shrubs in the Sapindaceae family – a family that now includes maples and horse chestnuts. It is considered both a large shrub and a small, multi-stemmed tree. It reaches a maximum height of about 25 feet, but arrives there at a relatively slow pace. It tolerates a variety of soil types, but like most other drought tolerant plants, it prefers soils that don’t become waterlogged easily. Its leaves are long, glossy green, and compound, consisting of 9 – 17 leaflets. The leaves persist late into the year and turn yellow in the fall. However, late spring, when the tree is covered in flowers, is when this tree puts on its real show.

Large white flowers with yellow-green centers that turn maroon or red-orange as they age are produced on racemes at the ends of branches. Small, yellow, hornlike appendages between each of the five petals of the flowers are what gives the tree its common name. Flowering lasts for a couple weeks, after which fruits form, which are about 2.5 inches wide, tough, leathery, and somewhat pear shaped. In my experience, most of the fruits are eaten by squirrels long before they get a chance to reach maturity. The ones the squirrels don’t get will persist on the tree, harden, and eventually split open to reveal several large, dark, round seeds nestled in chambers within the fruit.

To truly appreciate this tree, it must be seen in person, especially in bloom. At that point you will demand to have one (or more) in your garden. The seeds are said to be delicious, so you should give them a try if you can beat the squirrels to them. For a more thorough overview of yellowhorn, check out this article from Temperate Climate Permaculture, and for more photos of yellowhorn in bloom, check out this post from Rotary Botanical Gardens.

Squirrel nesting in yellowhorn, getting ready to go after more fruits.

All photos in this post were taken at Idaho Botanical Garden in Boise, Idaho.

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Awkward Botanical Sketches #3: The Ginkgo Edition

For most of my life, ginkgo has been a meaningful tree to me. I remember first learning about it as a fourth grader. Our teacher had assigned us each to make a leaf collection. My grandparents heard about my assignment and sent me a ginkgo leaf from a tree growing in their front yard. It was unlike any other leaf in my collection, and it had a fascinating back story. Not only is it the only living tree in its genus and family, it’s also the only extant species in its division (Ginkgophyta). It was around during the time of the dinosaurs, and is considered a living fossil. I felt honored to have it, especially when I learned that I was the only kid in the class that had one.

Since then I’ve considered Ginkgo biloba to be one of the best trees. It continues to fascinate me. It’s a beautiful tree with captivating foliage, and it’s resiliency is amazing. It’s no wonder that depictions of ginkgo are so common across many cultures.

Since I love looking at ginkgo leaves, I decided to try to draw them. If you’ve been following this series of posts, you’ll remember that my drawing skills are severely lacking. A shape as simple as a ginkgo leaf should be easy to draw, but not for me. I resorted first to tracing leaves that I had pressed, and then going from there. Below are some of my results.

Ginkgo biloba leaf rubbing inspired by a page in Gayla Trail’s book, Grow Curious. After several attempts, this was the best I could do.

Finally, a freehand drawing of a cluster of ginkgo leaves in my pocket notebook in celebration of Staple Day.

Some ginkgo leaves I mailed to the Smithsonian for their Fossil Atmospheres research project.

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Field Trip: Green Spring Gardens and Meadowlark Botanical Gardens

Last month, Sierra and I were in Washington D.C. for the American Public Gardens Association annual meeting. We didn’t get to visit nearly as many gardens as I would have liked. Time was limited, and rain spoiled things a bit. However, we did get a chance to take an all day field trip to a few gardens in nearby Virginia. A couple of the gardens we visited on that trip were Green Spring Gardens in Alexandria, VA and Meadowlark Botanical Gardens in Vienna, VA.

Both gardens are quite large – Green Spring is over 30 acres and Meadowlark covers over 90 acres – and there wasn’t time to get the full experience at either location. Thus, my photos are scant and obviously not fully representative of either place. Either way, we had a good time visiting both gardens.

Green Spring Gardens

The Fairfax County Parks Authority owns and operates Green Spring Gardens. Among other partnerships, they receive considerable support from a non-profit organization called Friends of Green Spring. Although it was the wrong time of year to see them in bloom, Green Spring Gardens has a nationally accredited witch hazel collection that I’m sure would be worth checking out in the winter months. I enjoyed walking through the native plant garden, seeing the newly planted crevice garden, and learning about magnolia bogs from a friendly and enthusiastic volunteer.

the pink form of smooth azalea (Rhododendron arborescens) in the Virginia Native Plant Garden

jewelweed (Impatiens capensis) in the Virginia Native Plant Garden

bush honeysuckle (Diervilla lonicera) in the Virginia Native Plant Garden

hornbeam inflorescence (Carpinus sp.)

newly planted crevice garden

rain lily (Zephyranthes sp.) in the crevice garden

Meadowlark Botanical Gardens

Meadowlark is owned and operated by NOVA Parks. Its immense size made it difficult to decide what to check out in the little time we had, but we were happy with our decision to stop by the wetlands (to see the knees on the Taxodium distichum) and walk through the forested nature trail. We also had fun watching all the bumblebees lumber about from flower to flower.

lichen on Yoshino cherry (Prunus x yedoensis)

bumblebee on common milkweed (Asclepias syriaca)

bumblebees climbing inside leatherflower blossoms (Clematis viorna)

scarlet beebalm (Monarda didyma)

A small peak into what was a very large Fairy Garden

blue leaf form of dusty zenobia (Zenobia pulverulenta)

bear’s breeches (Acanthus sp.)

Armenian cranesbill (Geranium psilostemon)

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Awkward Botanical Sketches #1

At the beginning of the year I unveiled my plan to share some of my sketches with you as I learn how to draw. This is to make up for not writing quite as many posts so that I can spend time working on some other projects. It also serves as a great motivator to actually draw, which isn’t something I do very often. Turns out that if you want to get better at something, you actually have to do it.

To help me in my quest, I collected a few books. Some are instructional and others simply feature inspirational artwork. I’ve included links to a few of these books with my drawings below. If you have any books you would like to recommend, particularly a book that has helped you learn to draw, please let me know in the comment section below.

And now on to my dumb drawings…

My first drawing in Drawing Nature by Jill Bliss

Drawing of a hibiscus flower with help from Illustration School: Let’s Draw Plants and Small Creatures by Sachiko Umoto

A sketch inspired by Carcassonne: Over Hill and Dale

Sketch of an old tree inspired by a drawing in Clare Walker Leslie’s book, Drawn to Nature

Sketch of agave in bloom inspired by an image on the back of some guy’s shirt at Treefort Music Fest

Sketch of a tiny tuft of grass I was trying to identify. It’s still a bit of a mystery.

Moving Your Ecosystem Forward – An Arborist’s Application of Ecological Principles in the Urban Landscape

This is a guest post by Jeremiah Sandler.

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Ecosystems are everywhere – interconnected and interdependent systems of biology, climate, ecology, and geography. The inside of your house is an ecosystem with its own micro-climate, life (including but not limited to you), and topography. Everywhere you go, you’re in some kind of ecosystem.

The same is more obviously true about your landscape. In my area of the U.S. (southeast Michigan), forests and wetlands are often removed to build suburbs. Both the appropriate soil and ecologically relevant plants are removed from the site. After construction, these areas are re-planted with genetically inadequate plants in poor soil. The ecosystem is modified at a rate faster than most organisms can adapt. Landscape designs common in the suburbs are inadequate in maintaining biodiversity and healthy, natural ecosystems.

In some lucky areas, there are communities doing their best to maintain a strong and natural forest canopy. Leaving secondary forests relatively untouched during construction should be the standard when developing areas for humans.

Ecosystems evolve and change, and one can argue that human-caused mass deforestation is simply another driver of ecosystem evolution. While this may be true, it is a driver that influences the ecosystem at a much greater magnitude than other factors. It just so happens to be mitigable or avoidable altogether.

What can cause an ecosystem to change?

Let’s use the trees in a natural forest ecosystem as an example. Disturbances in any ecosystem drive biological adaptation and behavioral changes in the organisms within it. Disturbances such as fire, wind events, floods, drought, and pathogens alter the forest canopy. Fire may kill smaller trees and wind events can blow trees over. Such disturbances open the canopy and allow dormant seeds to germinate in the new sunlight, which gives additional genetic material a shot in the world.

Ecological disturbance is vital to plants, animals, and microbes because it keeps their genetic material up-to-date with evolving pathogens and changing environments. Up-to-date trees need less work. They are more prepared for their environment and its diseases, as evidenced by their parents successfully reproducing.

We can’t control all ecological disturbances, but in the urban environment we do our best to avoid major ones. Understandably, right? We aren’t fond of wildfire, nor do we want flooding anywhere near our homes.

Applied ecosystem principles on the job

Oftentimes in large, human constructed landscapes, only upper and middle canopies exist; sub-canopy layers are missing. This is surprisingly common in forest ecosystems, especially in suburban areas. Forests like this are considered to have a closed canopy.

Closed-canopy forests are naturally occurring and are not necessarily bad. The thick shade cast by the upper canopy is very dense and prevents most understory growth. Over time closed-canopy forests will evolve and change – large trees or limbs come down in the wind, flooding occurs, lightning strikes, or diseases are introduced. Whatever the disturbance, the newly opened canopy once again helps move the ecosystem forward.

Disturbance by pruning

A client of ours lives on a beautiful property in a dry-mesic southern forest (a closed-canopy forest). Due to all the trees on the property, this client sought advice from arborists. The client’s smart choice lead us to an important solution.

Various large species of both white and red oaks dominate the overstory and upper emergent layers of the canopy. The trunks of these towering trees are far apart. Below these titan trees are some slightly shorter oaks, an american beech, and a few hickory species residing in the midstory. About 40 feet below are various types of moss, some stunted sedges, violets, forest grasses – a sparse herbaceous understory. Beyond that there were several patient serviceberries here and there, and a single red maple, about 1.5 inches in diameter and 15 feet tall at most.

Allegheny serviceberry (Amelanchier laevis) – via wikimedia commons

The area has been undisturbed for a long time (it doesn’t even get mowed), and with the presence of oak wilt in southeast Michigan, we steered away from planting anywhere in the root zone, as it poses a risk for oak wilt infection. Sure, we could plant an over-designed landscape to be manicured, but we had other ideas in mind.

Direct application with two solutions

We asked the client how long ago the red maple and serviceberries volunteered themselves into their landscape. Together we traced the germination back to a wind event that knocked a large limb down years ago. The red maple and serviceberries popped up as a result of new sunlight, yet according to the client, these plants hadn’t grown much in height during the last decade or so. Why might this be? A mature plant can close holes in the canopy faster than lower story plants can, so they no longer receive as much light as they once had.

The next time a limb falls, the maple and serviceberries will have another explosive growth spurt. There are also other dormant seeds to germinate every time a disturbance like that occurs. This is an example of another natural phenomenon called forest succession. It is another way forest ecosystems change.

Planting foreign species in place of the native ones takes away important food sources and habitat for surrounding wildlife. So rather than planting cultivar clones and ecologically useless plants – plants that don’t support other lifeforms – into the existing ecosystem, we proposed we could either do strategic crown thinning or just wait for mother nature to do it for them.

Course of action

My associates and I operate on a “less is more” approach. Not touching this ecosystem is our alternative to modifying the canopy. Like a human patient undergoing surgery, cutting open any organism exposes it to infection. In time, either a natural disturbance will come through to modify the canopy, or the trees will naturally shed lower limbs on their own – a process called cladoptosis.

Strategic branch removal will open up the canopy, allowing more sunlight to the ground below, while keeping the trees looking true to their natural form. The climbing team would be using a type of pruning called refracturing. The openings will simulate a wind event disturbance. As a result, the plants that germinate will be the most competitive, hardy, resistant, and genetically up-to-date plants. This truly is “right plant, right place,” provided no invasive buckthorns pop up.

If the customer does want to go forward with disturbance-by-pruning, the proposal is to open the canopy during winter, as most of the canopy are oak trees. The risk of infecting these trees is reduced significantly by pruning in the winter when the vectors for oak wilt are dormant.

The canopy holes would be placed where the homeowner wants more trees. One benefit of pruning the trees is that disturbance is controlled, rather than a wind disturbance causing a chaotic breakage into the house, for example.

Observation would begin early the following spring. We will watch for germination; it’s expected that the plants that do germinate won’t survive the competition.

What’s important about any of this?

The arborist-homeowner relationship highlighted above is an exemplar of proper arboriculture. We offered expertise along with our services. The exchange saved the homeowner hundreds of upfront costs from the installation of a landscape, as well as future maintenance costs.

Assuming it isn’t under human-induced stress, no forest needs human intervention. In this project, we would want to see natural phenomena form the landscape in this client’s yard. It is our preference to leave the current closed-canopy forest alone.

The benefits of using naturally occurring trees are plentiful. In general, up-to-date trees are more prepared for your ecosystem and support the wildlife that co-evolved with them. An ever-increasingly displaced wildlife population will happily occupy new habitat; they’re here too, after all.

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Jeremiah Sandler lives in southeast Michigan, has a degree in horticultural sciences, and is an ISA certified arborist. Follow him on Instagram: @jeremiahsandler

Charles Darwin and the Phylogeny of State Flowers and State Trees

This is a guest post by Rachel Rodman. Photos by Daniel Murphy.

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Every U.S. state has its own set of symbols: an official flower, an official tree, and an official bird. Collectively, these organisms form the stuff of trivia and are traditionally presented in the form of a list.

But, lists…well. As charming as lists can sometimes be, lists are rarely very satisfying.

So I decided to try something different.

I am not, of course, the first person to be unhappy with the eclectic, disordered nature of many biological assemblages. In the 18th century, Linnaeus developed a classification system in order to make sense of that untidiness. Kingdom, Phylum, Class, and so on.

In the 19th century, Darwin set biodiversity into an even more satisfying intellectual framework, outlining a model that linked organisms via descent from a series of common ancestors. And, as early as 1837, he experimented with a tree-like structure, in order to diagram these relationships.

Following Darwin’s lead, I’ve worked to reframe the state flowers and state trees in terms of their evolutionary history (*see the methods section below). And today, in honor of Darwin’s 209th birthday, I am delighted to present the results to you.

Let’s start with the state flowers.

In this tree, Maine’s “white pine cone and tassel” forms the outgroup. Among all the state “flowers,” it is the only gymnosperm—and therefore, in fact, not actually a flower.

Notice, also, that the number of branches in this tree is 39—not 50. Most of this stems from the untidy fact that there is no requirement for each state to select a unique flower. Nebraska and Kentucky, for example, share the goldenrod; North Carolina and Virginia share the dogwood.

With the branch labeled “Rose,” I’ve compressed the tree further. The state flowers of Georgia, Iowa, North Dakota, New York, and Oklahoma are all roses of various sorts; with my data set (*see methods below), however, I was unable to disentangle them. So I kept all five grouped.

This is a rich tree with many intriguing juxtapositions. Several clades, in particular, link geographical regions that are not normally regarded as having a connection. Texas’ bluebonnet, for example, forms a clade with Vermont’s red clover. So, similarly, do New Hampshire’s purple lilac and Wyoming’s Indian paintbrush.

Texas bluebonnet (Lupinus texensis) – the state flower of Texas

The second tree—the tree of state trees—is similarly rewarding. This tree is evenly divided between angiosperms (19 species) and gymnosperms (17 species).

Iowa’s state tree is simply the “oak”—no particular species was singled out. To indicate Iowa’s selection, I set “IA” next to the node representing the common ancestor of the three particular oak species: white oak, red oak, and live oak, which were selected as symbols by other states.

Arkansas’ and North Carolina’s state tree, similarly, is the “pine,”—no particular species specified. I’ve indicated their choice in just the same way, setting “AR” and “NC” next to the node representing the common ancestor of the eight particular pine species chosen to represent other states.

In this tree of trees, as with the tree of flowers, several clades link geographical regions that are not usually linked—at least not politically. Consider, for example, the pairing of New Hampshire’s white birch with Texas’ tree, the pecan.

Another phylogenetic pairing also intrigued me: Pennsylvania’s eastern hemlock and Washington’s western hemlock. It evokes, I think, a pleasing coast-to-coast symmetry: two states, linked via an east-west cross-country bridge, over a distance of 2,500 miles

The corky bark of bur oak (Quercus macrocarpa). Oak is the state tree of Iowa.

In this post, I’ve presented the U.S. state flowers and U.S. state trees in evolutionary framework. The point in doing that was not to denigrate any of the small, human stories that lie behind these symbols—all of the various economic, historical, and legislative vagaries, which led each state to select these particular plants to represent them. (Even more importantly, I have no wish to downplay the interesting nature of any of the environmental factors that led particular plants to flourish and predominate in some states and not others.)

The point, instead, was to suggest that these stories can coexist and be simultaneously appreciated alongside a much larger one: the many million year story of plant evolution.

With Darwin’s big idea—descent with modification—the eclectic gains depth and meaning. And trivia become a story—a grand story, which can be traced back, divergence point by divergence point: rosids from asterids (~120 mya); eudicots from monocots (~160 mya); angiosperms from gymnosperms (~300 mya), and so on and so on.

So today, on Darwin’s 209th, here, I hope, is one of the takeaways:

An evolutionary framework really does make everything—absolutely everything: U.S. state symbols included—more fun, more colorful, more momentous, and more intellectually satisfying.

Thanks, Darwin.

*Methods:

To build these two trees, I relied on a data set from TimeTree.org, a website maintained by a team at Temple University. At the “Load a List of Species” option at the bottom of the page, I uploaded two lists of species in .txt format; each time, TimeTree generated a phylogenetic tree, which served as a preliminary outline.

Later, once I’d refined my outlines, I used the “Get Divergence Time For a Pair of Taxa” feature at the top of the page in order to search for divergence time estimates. As I reconstructed my trees in LibreOffice, I used these estimates to make my branch lengths proportional.

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Rachel Rodman has a Ph.D. in Arabidopsis genetics and presently aspires to recontextualize all of history, literature, and popular culture in the form of a phylogenetic tree. Won’t you help her?

Botany in Popular Culture: Laura Veirs

I love music for its ability to conjure up emotions, create a mood, and inspire action. The music of Laura Veirs has always inspired me to get out into nature and be more observant of the wild things around me. Her music is rich with emotions, and I feel those, too. However, when I think of her music, I can’t escape images of the natural world and the creatures that inhabit it.

Found within her nature-centric lyrics are, of course, numerous botanical references. After all, plants and their actions make excellent subject matter for all types of art. And with that in mind, Veirs asks rhetorically in the song Rapture, “Doesn’t the tree write great poetry?”

When it comes to botanical references, the song that jumps first to mind is Lonely Angel Dust, starting off right away with these lyrics: “The rose is not afraid to blossom / though it knows its petals must fall / and with its petals fall seeds into soil / Why toil to contain it all? / Why toil at all?” Plants produce seeds in abundance, as mentioned in Shadow Blues: “Thousand seeds from a flower blowing through the night.” And, as in Where Are You Driving?, they’re seeking a suitable spot to plant themselves: “Through clouds of dandelions / seeds sailing out on the wind / hoping you’ll be the one to plant yourself on in.”

 

Flowers come up often in the songs of Laura Veirs. In White Cherry, “cherry trees take to bloom.” In Nightingale, “her heart a field in bloom.” In Make Something Good, “an organ pipe in a cathedral / that stays in tune through a thousand blooms.” In Sun is King, “innocent as a summer flower.” In Cast a Hook, “with watery cheeks down flowered lanes.” In Life Is Good Blues, “Messages you sent to Mars came from a crown of flowers.” Grass and weeds get a few mentions, too. In Summer Is the Champion, “let’s get dizzy in the grass.” In Life Is Good Blues, “tender green like the shoots of spring / unfurling on the lawn.”

Trees are the real stars, though. Veirs makes frequent references to trees and their various parts. This makes sense, as trees are real forces of nature. So much happens in, on, and around them, and images of the natural world can feel barren without them. First there is their enormousness, as in Black Butterfly, “evergreen boughs above me tower / were singing quiet stories about forgiveness, ” and Don’t Lose Yourself, “we slept in the shadow of a cedar tree.” Then there is their old age, as in Where Are You Driving?, “tangled up in the gnarled tree,” and When You Give Your Heart, “falling through the old oak tree.” There is also their utility, mentioned in Make Something Good, “I wanted to make something sweet / the blood inside a maple tree / the sunlight trapped inside the wood / make something good.” And then, of course, there is the fruit they bear, as in July Flame, “sweet summer peach / high up in the branch / just out of my reach,” and then in Wandering Kind, “a strange July / a storm came down / from the North and pulled out the salt / and it tore out the leaves from the pear tree / my canopy.”

Many of Veirs songs create scenes and tell stories of being in the wilderness among rivers, lakes, mountains, and caves. Chimney Sweeping Man, for example, is a “forest resident” who “walks[s] quiet through the forest like a tiny, quiet forest mouse.” In Snow Camping, Veirs tells a story about sleeping in a snow cave in the forest, where “a thousand snowflakes hovered,” “a distant songbird [was] singing,” and “the weighted trees” were her “only home.” But sometimes those forests burn, which is captured in Drink Deep: “Now the raging of the forest fires end / and all the mammals fled / I smell in the charred darkness / a little green / a little red.” Later in the song: “the fire closed his eyes / tipped his flame hat and slipped through the dire rye / we wandered romantic / we scattered dark branches / with singing green stars as our guide.”

Nature can also be empowering, and Veirs often refers to things in the natural world as metaphors or similes for the human experience. In Cast a Hook, Veirs adamantly asserts, “I’m not dead, not numb, not withering / like a fallen leaf who keeps her green.” This line comes up again in Saltbreakers: “You cannot burn me up / I’m a fallen leaf who keeps her green.” In Lake Swimming, Veirs addresses change and how some of life’s changes may wound us but we can still shine – “shucking free our deadened selves / like snakes and corn do / … / Old butterfly / I’ll dance with you / though our wings may crumble / we can float like ash / broken but the edges still shine.”

 

The botanical references Veirs makes in her songs are not the only things that excite me. Birds, insects, mammals, fish, and worms all find a place in Veirs’ lyrics. This is why, after more than a decade of listening to her songs, I find myself coming back to them again and again. There is a sort of kinship we feel for each other when we share in common a love of the natural world. I find that in the music of Laura Veirs.

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