Every variety in the outline of a wood must be a prominenco, or a recess. Breadth in either is not so important as length to the one, and depth to the other. If the former ends in an angle, the latter diminishes to a point, they have more force than a shallow dent, or a dwarf excrescence, how wide soever. They are creator deviations from the continued line which they are intended to break; and their effect is to enlarge the wood itself, which seems to stretch from the most advanced point, back beyond the most distant to which it retires. The extent of a large wood on a flat, but not commanded, can by no circumstance be so manifestly shewn, as by a deep recess; especially if that recess wind so as to conceal the extremity, and leave the 1 agination to pursue it. On the other hand, the poverty of a shallow wood might sometimes be relieved by here and there a prominence, or clumps, which by thoir apparent junction should seem to be prominencies from it. A ddepor wood with a continuod outline, except when comandel, would not appear no considerable.

An inlet into a wood sees to have been cut, if the oppo ite points of the entrance tally; and that show of art depreciates its Lerit: but a difference only in the situation of those points, by bringing one pore forward than the other, prevents the appearance, though their forms he similar. Other points, which distinguish the great parts, should in general be strongly marked; a short turn has more spirit in it than a tedious circuity; and a line broken by angles has a precision and firmness, which in an undulated line are wanting: the angles sho la indood commonly be a little softened; the rotundity of the plant which for: s then is metines sufficient for the purpose; but if they are hollowed down too much, they lose all caning. Three or four large parts thus boldly distinguished, will break a very long outline; more may be, and often ou ht to be, thrown in, but seldom are necessary: and when two woods are opposed on the sides of a narrow lado, neither has so mch occasion for variety in itself, as if it were single: if they are very different from each other, the contrast supplies the deficiency to euch, and the interval between them is full of variety. The form of that interval is indeed of as much consequence as their own: though the outlines of both the woods be soparately beautiful, yet if together they do not cast the open space into an agreeable figure, the whole scene is not pleasing;, and that figure is never agreeable, when the sides too closely correspond; whother they are exactly the same, or exactly the reverse of each other, they equally appear artificial.

very variety of ontline hitherto mentioned, may be traced by the underwood alone; but frequently the same effects my be produced with ore ease, and with much more beauty by a few trees sta ding on from the thicket, and belonging, or sooling to belon to the wood, 30 us to take a part of its figure. ven whore they are not wanted for that pu ore, detached trees are such agroeable objects, so distinct, so light won compared to the covert about them, that skirting along it in so.o rants, and brending it in others, they civo an una. fetolace, which an no otherwise be given to the outline. They have a till father ofrost, when they stretch across the whole breadth of an i.lt, or before part of a recess into the wood: they are themselves chewn to advantage by the