rave; to enliven it, numbers are wanting.

30

VII.

But ground, is seldom beautiful or natural without var even without contrast; and the precautions which have been give further than to prevent variety from degenerating into incons and contrast into contradiction. Within the extremes, nature st an inexhaustible fund; and variety thus limited, so far from des improves the general effect. Each distinguished part makes a se impression; and all bearing the same stamp, all concurring to t end, every one is an additional support to the prevailing idea: multiplied; it is extended; it appears in different shapes; it several lights; and the variety illustrates the relation.

But variety wants not this recommendation; it is always desi: it can be properly introduced; and it is distinguished from eve If the scene be mild and quiet, he will place together those whi differ widely; and he will gradually depart from the similitude scenes, the succession will be less regular, and the transitions den. The character of the place must determine the degree of d between forms which are contiguous. Besides distinctions in the of ground, differences in their situations and their dimensions sources of variety. The position will alter the effect, though ure be the same; and for particular effects, a change only in th may be striking. If that be considerable, a succession of simil sometimes occasions a fine perspective: but the diminution will marked, that is, the effect will be less sengible, if the forms nearly alike. We take more notice of one difference, when there other. Sometimes a very disagreeable effect, produced by too c resemblance of shapes, may be remedied only by an alteration in If a steep descends in a succession of abrupt falls, nearly equa have the appearance of steps, and are neither pleasing nor wild they are made to differ in height and length, the objection is 1 and at all times a difference in the dimensions will be found to greater effect, than in speculation we should be inclined to as it, and will often disguise a similarity of figure.

VIII. It also contributes, perhaps more than any other circ to the perfection of those lines, which the eye traces along the a piece of ground, when it glances over several together. No v form compensates for the want of it. An undulating line, compos parts all elegant in themselves, all judiciously contrasted and united, but equal the one to the other, is far from the line of A long strait line has no variety at all; and a little deviation curve if there be still a continued uniformity, is but a triflin ment. Though ground all falling the same way requires every at its general tendency, yet the eye must not dart down the whole immediately in one direction, but should be insensibly conducted the principal point with some circutty and delay. The channels hillocks ought never to run in strait, nor even in regularly cu but winding gently among them, and constantly varying in form a mensions, should gradually find their way. The beauty of a lar especially when seen from below, is frequently impaired by the

_nuation of its brow. An attempt to break it by little knoles uccessful; they seem separate independent hillocks, artificiall

intended effect may indeed be produced by a large knole desc some places lower than in others, and rooted at several point he hill. The same end may be attained by carrying some channel 1 the side upwards, till it cut the continued line; or by bring row forward in one place, and throwing in back in another; or b secondary ridge a little way down the side, and casting the gr t into a different, though not opposite direction to the general ither of these expedients will at least draw the attention off efect; but a greater would be substituted in its stead, if the o divide the line into equal parts; another uniformity would be ithout removing the former; for regularity always suggests a su f artifice; and artifice detected, no longer deceives. Our ima ould industriously join the broken parts, and the idea of the c ine would be restored.

IX. Whatever break be chosen, the position of it must be obl he line which is to be broken. A rectangular division produces here is no contrast between the forms it divides; but if it be hile it diminishes the part on one side, it enlarges that on the Parallel lines are liable to the same objection as those at righ hough each by itself be the perfect line of beauty, yet if they pond, they form a shape between then, whole sides want contrast. same principle, forms will sometimes be intorduced, less for the sic than their occasional merit, in contrasting happily with tho chem: each sets off the other; and together they are a more agr position than if they had been more beautiful, but at the same t similar.

One reason why tame scenes are seldom interesting, is, that t often admit of many varieties, they allow of few, and those only trasts. We may be pleased by the number of the former, but we ca struck only by the force of the latter. These ought to abound i larger and bolder scenes of a garden, especially in such as are an aseemblage of many distinct and considerable parts thrown tog as when several rising grounds appear one beyond another, a fine seen above a slanting sweep which runs before it, has a beautiful which a nearer resemblance would destroy: and (except in particul stances) a close similarity between lines which either cross, or rise behind one another, makes a poor, uniform, disagreeable com

X. The application of any of the foregoing observations to t greater scenes of nature, would carry me at present too far; nor well be made, before the other constituent parts of those scenes water, rocks, and buildings, have been taken into consideration. rules which have been given, if such hints deserve the name of r chiefly applicable to ground which may be managed by a spade; an there they are only general, not universal: few of them are with ception; very few which, on particular occasions, may not be dis with. Many of the above remarks are, however, so far of use in the furthest from our reach, as they may assist in directing our those parts which are in our power to shew, or to conceal, thoug alter. But in converting them to this purpose, a caution, which than once been alluded to, must always be had in remembrance; ne suffer general considerations to interfere with extraordinary gr The more we exact novelty, the sooner our taste will be vitiate