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space behind ther, and that space, seen betwen their stens, they in return throw into an acreeable perspective. un inf;rior lace of the same kind may be often introduced, only by distincuishine the boles or some trees in the wood itself, and keeping down the thicket beneath them. There even this cannot be well executed, still the outline may be lilled with such trees and shrubs as swell out in the middle of their growth and diminish at both ends; or with such as rise in a slender cone; with those whose branches tend upwards; or those base is very small in proportion to their height; or which are very thin of boughs and of leavs. In & confined carden scene, which wants room for the errect of detached trees, the outline will be heavy, if these little attentions are disregarded.

XX. The prevailing character of a wood is gonerally l'endeur; the principal attention t erefore which it requir s, is to prevent the excess of trat character, to diversify the unifority of its extent, to lighten the unwieldiness of its bulk, ani to blend tracos with creatness. But the character of a prove is beauty; fine trees are lovely objects; a Erove is an assenblage of them; in which every individual retains inuch of its own peculiar elegance; and whatever it loses, is transferred to the superior beauty of the whole. To a Erove, therefore, whic!! alinits of endless variety in the disposition or the trees, differences in their shapes and their creens are seldo:a very important, and societines they are detrimental. Strong contrasts scatter trees which are thinly planted and which have not the connexion of underwood; they no longer form one plantation; they are a number of sinele trees. is thick Erove is not indeed exposed to this mischief, ani certain situations may recovend different shapes and different creens for their effects upon the surface; but in the outline they are seldon much recarded. The eye attracted into the depth of the crore, passes by little circumstances at the entranee; even varieties in the form of the line do not alirays enage the atiention; they are not so apparant as in a continued thiciet, and are scarcely seen, if they are not considerable.

XXI. But the surface and the outline are not the only circunstances to be atienied to. Thouch a grove be beautiful as an object, it is besides delightful as a spot to walk or to fit in; and tire choice and the disposition of the troes for effects within, are therefore a principal consideration, Lere irregularity alone will not please; strict order is there more acreeable than absolute confusion; and sole neanine better than none. a recular plantation has a decree of beauty; but it cives no satisfaction, because we know that the same nurber o 2 trees wirht be more beautifully arranged, A disposition, however, in which the lines only are bz oken, without varying the distances, is less natural than any; for thouch we cannot find strait lines in a forest, we are habituated to then in the hedge-rows of fields; but neither in wild nor in cultivated nature do we ever see trees equidistant fron cac'ı other: that regularity belon's to art alone. he distances therefore should be strikinrly different: the trees should rather into troupes, or stand in various irrecular lines, and describe several lifures: the intervals between then should be contrastea both in shape and in dimensions: a large space should in some places be quite open; in others the trees shoilà de so close together, as hardly to leave a passare between then; and in others as far apart as the connexion will allow. In the fores and the varieties of these groupes, these lines, and these openings, principally consists the interior beauty of a grove.

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