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tions are every whero so various, that there never can be a sarieness, while the “ispostion of the cround is studied and followed, and every incident of view turned to advantace.
In the mean time how rich, how cay, how picturesque the face of the country! The demolition of walls laying open each improvement, every Journey is made throuch a succession or pêutures; ; and even where taste is wanting in the spot improved, the ceneral view is imbellished by variety. If no relapse to barbarisma, fornality, and seclusion, is made, what landskips will disnify every quarter of our island, when the daily plantations that are naking have attained venerable raturity! A specimen of what our cardens will he, may be seen at Petworth, where tho portion of the park nearest the house has been allotted to the modern style. It is a farden of oaks two hundred years old. If there is a fault in so auclist a fra ment of inproved nature, it is, that the size of the trees are out of all proportion to the shrubs and accompaniments. In truth, shrubs should not only be reserved for particular spots and home delicht, but are passed their beauty in less than twonty years.
Enough has been done to establish such a school of landskip, as cannot be found on the rest of the clobe. If we have the seeds of a Claud or a Gasper amongst us, he rust come forth. If wood, water, crovos, vallies, clades, can inspire or poet or painter, this is the country, this is the ace to produce then. The flocks, the herds, that now are ad itted tato now crace on the borders of our cultivated plains, are ready before the painter's eyes, and croupe themselves to animate his picture. One misfortune in truth there is that throws a difficulty on the artist. A principal beauty in our gardons is the lawn and soothness of turf: in a picture it becomes a dead and uniform spot, incapable of chiaro scuro, and to be broken insipidly by children, dors, and other unmeaninc ficures. Vide Lora Orford on Modern Cardening.
which rise superior to all regulations, and perhaps owe part of their force to their deviation fron them. Singularity causes at least surprise, and surprise is allied to astonishment. These effects are not, however, attached merely to objects of enormous size; they frequently are produced by a croatness of style and character, within such an extent as ordinary labour may wodify, and the compass of a carden include. The caution therefore may not be useless wit' in these narrow bounds; but naturo proceeds still further, beyond the utmost verge to which art can follow; and in scenes licentiously wild, not content with contrast, forcs even contradictions to unite. The Erotosque discordant shapes, which are often thore oonfusedly tumbled together, nicht sufficiently justify the remark. But the caprice does not stop here: to mix with such shapes a form perfectly refilar, is still nore extravacant; and yet the offect is 3omotinos so wonderful, that we cannot with the extravagance corrected. It is not unsual to Soo a conical hill standinc out from a lonc, irregular, nountainous ridce, und creatly improving the view: but at Ilan* such a hill is thrown into the sidst of the rudest scene, and almost fills up an abyss, sunk a ons hure, bare, mishapen hills, whose unwieldy parts and uncouth forus, cut by the capering lines of tho cone, appear nore savace from the opposition; and the effect would evidently be stronger, were the sicure nore couplete:
The seat of lr, rorte, near ushbourne in Derbyshire.