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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 than 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 requize more variety and contrast. But still the same principles are applicable to the least, and to the Greatest, though not with equal severity: noither ought to bo ront to pieces; and though a small neglect, which would distruct the one, hay not disturb the other, yot 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 accomodated to the character of the whole: for every piece of ground is distinguished by cortain properties: it is either tae or bold; gentle or rude; continued or broken; and if any variety, inconsistent with those properties, be obtruded, 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 round can alone rive the idea of inequality. large, anep abrupt break, a long easy swells and falls, sces 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; nature forms both the one and the oth, but seldom mixes them together. On the other hand, a small fine polished for, in the midst of rough, mishopen ground, though ore elebant than all about it, is onerally no better than a patch, itself disgraced, and disfiguring the scene. A thousand instances might be adduced to show, that the prevailing idea ought to pervade every part, s fur at least indispensibly as to exclude whatever distracts it; and as uch 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 mu t be very uch governed by the extent of the place; and a feature which would fill un a small spot, Luy be lost in a large one: though there are forms of a particular cast, which appear to advantage only within certain dioncions, and ought not therefore to be applied, where they have not room enough, or who. they must Occupy more space than becomes them; yet independent of theso considerations, a character of greatness belongs to come 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 characgerisos the spot, the parts should not only be small, but diversified bosides with subordi te inequalities, and little delicate touches every where scattered about then. Striking effects, forcible inpressions, whatever seems to require effort, disturbs the enjoyment of a scene intended to aruste and to please.

In other instances, si..ilar considerations will deter..ine rather the number than the proportion of the parts. place ay be distinguished by its simplicity, w ich any divisions would destroy; another sppt without any pretensions to elence, my boonsrkable for an appearance of richness: a multiplicity of objects will give that appearance, and a number of parts in the ground will contribute to the profusion. A scone of gaiety is improved by the sale moans; the objects and the parts may differ in style, but they must be numerous in both. Sameness 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

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