the course of the descent. These powers are of use in the larger scenes where the several great parts often lie in several directions; and if they are thereby too strongly contrasted, or led towards points too widely asunder, every art should be exerted to bring them nearer to gether, to assimilate, and to connect them. As scenes encrease in extent, they become more impatient of controul: they are not only less manageable, but ought to be less restrained; they require more variety and contrast. But still the same principles are applicable to the least, and to the Createst, though not with equal severity: neither ought to be rent to pieces; and though a small neglect, which would distract the one, may not disturb the other, yet a total disregard of all the principles of union, is alike productive of confusion in both.

VI. The style also of every part must be accommodated to the character of the whole: for every piece of ground is distinguished by certain properties: it is either tame or bold; gentle or rude; continued or broken; and if any variety, inconsistent with those properties, be obbruded, it has no other effect than to weaken one idea, without raising another. The insipidity of a flat is not taken away by a few scattered hillocks; a continuation of uneven ground can alone cive the idea of inequality. large, deep abrupt break, anong easy swells and falls, seems at the best but a piece left unfinished, and which ought to have been softened: it is not more natural, because it is more rude; noture forms both the one and the other, but seldom mixes them together. On the other hand, a small fine polished form, in the midst of rough, mishåpen ground, though more elebant than all about it, is generally no better than a patch, itself disgraced, and disfiguring the scene. A tho sand instances might be adduced to shew, that the prevailing idea ought to pervade every part, so far at least indispensably as to exclude wh tever distracts it; and as much further as possible to accommodate the character of the round to that of the scene it belongs to.

On the same principle, the proportion of the parts may often be adjusted; for though their size must be very much governed by the extent of the place; and a feature which would fill un a small spot, may be lost in a large one: though there are forms of a particular cast, which appear to advantage only within certain dimensions, and ought not therefore to be applied, where they have not room enough, or where they must Occupy more space than becomes them; ; et independent of these considerations, a character of greatness belongs to some scenes, which is not measured by their extent, but raised by other properties, sometimes only by the proportional largeness of its parts. On the contrary, where elegance characterises the spot, the parts should not only be small, but diversified besides with subordinate inequalities, and little delicate touches every where scattered about them. triking effects, forcible impressions, whatever seens to require effort, disturbs the enjoyment of a scene intended to use and to please.

In other instances, similar considerations will determine rather the number than the proportion of the purts. place may be distinguished by its simplicity, w ich many divisions would destroy; another spot without any pretensions to elegance, Lay be arkable for an appearance of richness: a multiplicity or objects will give that appearance, and a number of parts in the ground will contribute to the profusion. A scene of gaiety is improved by the suo moans; the objects and the parts may iffer in style, but they must be numerous in both. Bareness is dull; the purest simplicity can at the most render a place composed of large parts placid; the sublimest ideas only make it striking; it is always