the course of the descent. These powers are of use in the larger scones 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 them nearer to gether, to assimilate, and to connect them. As scenes encrease in extent, they become more impatient of control: they are not only less manageable, but ought to be less restrained; they require more variety and contrast. But still the same principles are applicable to the least, and to the Coatest, though not with equal severity: neither ought to be rent to pieces; and though a small neglect, which would distract the one, nay not disturb the other, yet 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 certain properties: it is either tale or bold; rentle or rudo; continued or broken; and if any variety, inconsistent with those properties, be obtruded, it has no other effect than to weaken ono idea, without raising another. The insipidity of a flat is not taken away by a few scattered hillocks; a continuation of uneven ground can alone give the idea of inequality. A large, deep abrupt break, along easy swells and falls, seems at the best but a piece left unfinished, and which ought to have been softened: it is not more natural, because it is Lore rude; nature forms both the one and the other, but seldom mixes them together. On the other hand, a small fine polished form, in the midst of rough, nishapen ground, though more elebant than all about it, is generally no better than a patch, itself disgraced, and disfiguring the scone. thousand instances might be adduced to shew, that the prevailing idea ought to pervade every part, so far at least indispensably as to exclude whatever distracts it; and as auch 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 must be very much governed by the extent of the place; and a feature which would fill un a gull spot, my be lost in a large ono: though there are forms of a particular cast, which appear to advantage only within certain dimensions, and ought not therefore to be applied, where they have not roon enough, or where they ust occupy more space than becomes them; yet independent of these consi crations, a character of greatness belongs to come semes, which is not measured by their extent, ut raised by other properties, solotines only by the proportional larcenous of its parts. On the contrary, were clogance characterises the spot, the parts should not o ly be mall, but diversified besides with subordinate inequalities, and little delicate touches every where scattered about them. Striking effects, forcible inpressions, whatever seens to require effort, disturbs the enjoyment of a scone intended to amuse and to please.

In other instances, sinilor considerations will dotem.ine rather the number than the proportion of the parts. place ay be distinguished by its simplicity, which any divisions would destroy; another spot without any pretensions to costco, my be parlable for an appearance of richness: a multiplicity of objects will give that appearance, and a number of parts in the grond will contribute to the profusion. A scone of quiety is improved by the sa..o asans; the objects and the parts may differ in style, but they must be morous in both. Sameness is dull; the purest simplicity can at the most ronder a place composed of large parts placid; the sublimest ideas only make it striking; it is always