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the course of the descent. These powers are of use in the larcer scenes where the several creat parts often lie in several directions; and it they are thereby too stroncly contrastod, or led towards points too widely asuncer, every art should be exerted to bring thon nearer to ether, to assinilate, and to connect them. As scenes encrease in extent, they become wore impatient of controul: they are not only 1053 renaccable, but ought to be less rostrained; they require oro varisty and conta'ast. But still the samo principles are applicable to the least, and to the cieatest, though not with equal severity: neither ou ht to be rent to pieces; and though a shall necloct, which would distruct the one, hay not disturb the other, yet a total disrecard of all the principles of union, is alike productive of confusion in both.

VI. The style also of every part must be a 2001.odated to the charactor of the whole: for every piece of ground is distinuished hy certain Properties: it is either tong or bold; rertle or rudo; continues or broken; and if any variety, inconsistent with those proporties, be obtruded, it has no other effect than to weaken ono idea, without raising another. The insipidity of a flat is not talten uvay by a few scattered hillocks; a continuation of uneven (round can alone cive the idia of inequality. i larce, deep abrupt break, a on easy swells and falls, seems at the best but a piece left unfinished, and which oucht to have boen softened: it is not rore natural, because it is more rude; nature forras both the one and the other, but seldom mixes then tocother. On the other hand, a small fine polishel forn, in the midst of rouch, nishapen cround, though roro elebant than all alout it, is een rally no better than a patcli, itsell dis "izced, and dislicuring the scene, thousand instances wicht be adduced to show, that the prevailine iloa oucht to pervade every part, so far at least indispensably as to exclude yhtever distracts it; and us auci further as possible to accomodato the character o. the round to that of the scene it beloncs to.

on the same principle, the proportion on the parts may often be adjusted; for though their size rust be very inch coverned by the extent of the place; and a reuture rich would fill u? Q will spot, ill be lost in a larco ono: thouch thero dil'e 1or or a particular cast, wich appear to advantace only within certain linensions, ont not therefore to be applied, whore they have not rooni enoilch, or where they just Occupy 1101e space than becomes then; yet indenendent of these consi CIUtions, a character of Creatnaw belona9 to come se 105, which is 100 i10asured by their extont, rut raised lvy Othr proporties, Siires only by the proportional larceness 01 its parts. On the contrary, were closance charucgerises the spot, the parts should not o'ly be stall, but diversified besides with subordinate inequalities, and li't'e celicate touches every where scattered about then. Striking effects, forcible 1xpressions, whatever seens to require orrort, cisturbs tho enjoyrrnt of a score intonaed to wuste and to rloase,

In other instances, sinilor considerations will dotering rather the number than the proportion 01 tbe parts. a pleco y be distinguished by its simplicity, which many civisions wall destroy; another spot withoit any pictensions to 02.04700, T10 lable for an arpegranc? or richnoss: a multiplicity od objects will fire that appearance, and a number or parts in the ground will contribute to the profusion. scone of caiety is improved by the saio bawans; ile objouts and the parts ray differ in style, but they must be morous in both. Saneness is dull; the purest simplicity can at the most render a plaje composed of larce parts placid; the sublimest ideas only nałe it striking; it is always

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