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From these combinations, the acreenents between particular tints ray be nown. A light green may be next either to a yellow or a brown creen and a brown to a dark green; all in considerable quantities; and a little rin of dark green nay border on a red or a licht green. Further observations will shew, that the yellow and the white cr ens connect easily but that large quantities of the light, the yellow, or the white creens, do not mix well with a large quantity also of the dark green; and that to form a pleasing mass, either the dark green rust be reduced to a meer edging, or a brown, or an interiediate creen must be interposed: that the red, the brown, and the intermediate creens acroe anons themselves; and that either of them may be joined to any other tint; but that the red green will bear a larger quantity of the light than of the dark creen near it; nor does it seen so proper a mixture with the white green as with the rest.
In massing the: e tints, an attention must be constantly kept up to their forms, that they do not lie in large stripes one beyond another; but that either they be quite intermingled, or, which is generally more pleasing, that considerable pieces of different tints, each a beautiful figure, be, in different proportions, placed near together. Exactness in the shapes must not be attempted, for it cannot be preserved; but if the great outlines be well drawn, little variations, afterwards occasioned by the Erowth of the plants, will not spoil them.
A small thicket is Eenerally rost agreeable, when it is one fine mass of well-mixed greens: that mass cives to the whole a unity, which tan by no means be so perfectly expressed. "hen more than one is necossary for the extent of the plantation, still if they are not too much contrasted, if the gradations from one to another are easy, the unity is not broken by the variety.
While the union of tints is productive of pleasinc effects, strong effects may, on the other hand, be someties, produced by their disagreements. Opposites, such, for instance, as the dark and licht (loen s in large quantities close together, break to pieces the surface upon which they neet; and an outline which cannot be sufficiently varied in form, may be in appearane, by the Lanacerent or its shades. very opposition of tints is a break in a continued line: the depth of recesses may be deepened by darkening the creens as they retire. À tree which stands out from a plantation way be separated by its tint as much as by its position. The appearance of solidity or airiness in plants depends not solely on the thickness or thinness, but partly on the colour of the leaves. Clups at a distance may be rendered more or less distinct by their greens; and the fine effect of a dark green tree, or croupe of trees, with nothing behind it but the splendor of a rornine, or the clow of an evening sky, cannot be un nown to any who was ever delichted with a picture of Claude, or with the more beautiful oricinals in nature.
Another effect attainable by the aid of the different tints, is founded on the first principles of perspective. Objects cror faint as they retire from the eye; & detached clump, or a single tree of the lichter greens, will, therefore, seen further oir than one equidistant of a darker hue; and a recular cradation from one tint to another will alter the apparent length of a continued plantation, aucording as the dark or the light creens begin t'e cradation. In a straight line this is obvious; in a broken one, the fallacy in the appearance is seldom detected, only because the real extent is cencrally un.nown; but ex