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XVIII. when in a romantic situation, very broken cround is overspread with wood, it may be proper on the surface of the wood, to mark the inequalities of the cround. hudeness, not creatness, is the prevailing idea; and a choice directly the reverse o t'at which is productive of unity, will produce it; strong contrasts, even oppositions, ray be elegible; the aim is rather to disjoint then to connect; a deep hollow any sink into dark croens; an abrupt bani. may be sown by a risine stace of aspirine trees; a sharp ridce by a narrow line of conical shapes: firs are of creat use upon such occasions; their tint, their form, their singularity, recoinend them.

A hancine wood, thin of forest trees, and sien from below, is seldom pleasinc: those few trees are by the perspective broucht near tocother) it loses the beauty of a thin wood, and is defective as a thick one; the most obvious improvement therefore is to thicken it. But when sen fror an errinence, a thin wood is often a lively and elerait circunstance in a view; it is full of objects; and every separate tree shews its beauty. To encrease that vivacity, which is the peouliar excellence of a thil wood, the trees should be characteristically distincuished both in their tints and their shapes; and such as for their airiness have been proscribed in a thick wood, are frequently the most eligible here. Differences also in their crowths are a further source of variety; cach should be considered as a distinct object, unless where a small number are crouped together; and then all that couspose the little cluster must agree; but the groupes themselves, for the same reason as the separate trees, should be strongly contrusted; the continued underwood is their only connexion; and that is not affeuted by their variety.

IX. Thouch the surface of a wood, when commanded, deserves all these attentions, yet the outline 1.lore frequently calls for our recard; it is also more in our power; it lay Sometimes be treat, and riay always be beautiful. The first requisite is inrocularity. That a nixture of trees and underwood should form a lonc strait line, can never be natural; and a succession of easy Sweeps and contle rounds, each a portion of a creator or less circle, C01 Os & altogether a line literally serpentine, is, il possible worse. It is but a nuriber of regularities put together in a disorderly manner, and equally distant from the beautiful both of art and of nature. Die toue bauty of an outline onsists more in breaks than in sweeps; rather in uncles than in rounds; in variety not in succession.

The outline of a wood is a continued line, ani suall variations do not save it from the insipidity of seeness: one doop recess, ons bold proninence, has more effect than twenty little i recularities. et one divides the line into parts, but no breach is thereby nade in its unity; a continuation of wood always remains; the form of it only is altered, and the extent is encreased. 120 eye, which hurries to the extienity of whatever is uniform, delichts to trace a varied line through all its intricacies to pause from stare to state, and to lengthen the pro ress. The parts riust not, however, on that account be ultiplied, till they are too minute to be intcrostine, and so numerous as to create confusion. A few large parts should be strongly distincuished in their forns, their directions, and their situations; each of these ray afterwards lie decorated with subordinate varieties; and the more crowth of the plants will occasion some irregularity; on many occasions more will not be required.

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