From these combinations, the agreements between particular tints may be known. A light green may be next either to a yellow or a brown green and a brown to a dark green; all in considerable quantities; and a little rim of dark green may border on a red or a light green. Further observations will shew, that the yellow and the white er ens connect easily but that large quantities of the light, the yellow, or the white greens, do not mix well with a large quantity also of the dark green; and that to form a pleasing mass, either the dark green must be reduced to a meer edging, or a brown, or an intermediate green must be interposed: that the red, the brown, and the intermediate greens agroe among 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 green near it; nor does it seem 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 growth of the plants, will not spoil them.

XV. A small thicket is generally Lost agreeable, when it is one fine mass of well-mixed greens: that mass gives to the whole a unity, which fan by no means be so perfectly expressed. when 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 pleasing effects, strong effects may, on the other hand, be sometimes, produced by their disagreements. Opposites, such, for instance, as the dark and light greens in large quantities close together, break to pieces the surface upon which they meet; and an outline which cannot be sufficiently varied in form, may be in appearance, by the Lanagement of its shades. Every opposition of tints is a break in a continued linc: the depth of recesses may be deepened by darkening the greens as they retire. A tree which stands out from a plantation ay 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. Clumps 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 morning, or the glow of an evening sky, cannot be unknown to any who was ever delighted with a picture of Claude, or with the more beautiful originals in nature.

Another effect attainable by the aid of the different tints, is founded on the first principles of perspective. Objects grow faint as they retire from the eye; a detached clump, or a single tree of the lighter greens, will, therefore, soen farther off than one equidistant of a darker hue; and a regular gradation from one tint to another will alter the apparent length of a continued plantation, according as the dark or the light greens begin t'e gradation. 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 generally unknown; but ex