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the course of the descent. These powers are or use in the larger scenes where the several creat parts often lie in several directions; and if they are thereby too stion ly contrasted, or led towards points too widely asunder, every art should be exerted to brin" thuil nearer to cether, to assimilate, and to connect then. S scenes encrease in extont, they beconie hore impatient of controll: they are not only 1.033 rianageable, but ought to be less restrained; they requise bore variety and contrast. ut still the same principlos are applicable to the le'ist, and to the Cifutest, though not with equal severity: neither ought to be ront to pieces; and though a small necloct, which woull distruct the one, tay not disturb the other, yet a total disrocurd of all the principles of union, is alike productive of confusion in both.

VI. The style also of every part must be accomodat:d to the character of the whole: for every piece of cround is distinguished by cortain properties: it is either tale or bold; gentle or rude; continued or broken; and if any variety, inconsisůent with those proportios, be obtruded, it has no other effect than to weaken one idet, without raisins another The insipidity of a flat is not taken uway by a few scattered hillocks; a continuation of unovon round can alone cive the idea of inequality. . larse, Qcep abrupt bra!, a 1018 easy swells and falls, sees at the best but a piece left unfinished, ani which ouxht to leve been softened: it is not lore natural, because it is more rude; nature fonias both the one ani ühe oth it, but seldom mixes then tocetlier.

On the other hand, a suali iine polisiei fom, in the midst of rouch, mishopen crounil, thouch more elebant then all about it, is onerally no better than a paichi, ilself disciüceli, and disfigurine the scene, tho sand instancas licht be adduced to show, that the prevuiling idea ol1cht to pervade VI, part, 37 or at leasi, indispens: bly ES to exclude whtsver distructs it; and as well further as possible to accommodate the character of the round 'to that on the scene it belongs to.

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On the sanie principle, the proportion of the parts my ollen be adjusted; for though their size mu: 't be very l!ich covoined by the extent of the place; and a felture ihiu jould fill us a shall spot, lay be lost in a large ono: t:0 181 thee UC forlis Oi particular cost, which appear to advantace only within certain dinasions, uni o'lcht not therefore to be applied, where they have not I'oon enough, or whe: o tiicy rust Occupy more space than becories then; ,'ot inäependeni on these consiieration, a character of Cret:100w belongs to 0.10 scenes, which is not measured by their extent, but Iaised by other properties, somoiinies only by the proportional largeness of its parts. 011 tire contrary, were elecance clarecserises the spot, the parts shou'd not only bo suall, but diversified besides with subordi uute inequalities, and little delicate toucus every wiero seutture about üle.i, Ctrikine eilects, forcible inpressions, whatever see us to require crrort, disturbs the enjoyricnt of a 30 ne intended to a iuste and to please.

In other instances, siilar considerations will cietorine rutlier the number than the proportion or the parts. piace may be distincuished by its siriplicity, w ich wiany divisions would ciestroy; another spot without any piete:11.0113 to ele live, nu.y to joitable for an appearance of richness: a multiplicity or objects will give that appearance, and a nunber of parts in the tro’ind will contribute to the profusion. À scone of caiety is ijaproved by the Sündmis; le objects ani tie puits nay differ in style, but they must be numerous in both. Saneness is dull; the purest simplicity can at the most render a place coposed or large parts placid; the sublimest ideas only nake it striking; it is always

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