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hillock evidently thrown up on purpose to be crowned with a clump, is artificial to a degree of disgust: some of the trees should therefore be planted on the sides, to take off that appearance. The same expedient may be applied to clumps placed on the brow of a hill, to i torrupt its sameness: they will have less ostentation of design, if they are in part carried down either declivity. The objection already made to planting many along such a brow, is on the sa o principle: a single clump is less suspected of art; if it be an open one, there can be no finer situation for it, than just at the point of an abrupt hill, or on a promontory into a lake or a river. It is in either a beautiful termination, distinct by its position, and enlivened by an expanse of sky or of water, about and beyond it. Cuch advantages ry ballance li tlo efects in its form; but they are lost if other clumps are planted near it: art then intrudes, and the whole is disploes ing.

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XXIV. But though a multiplicity of clumps, when ouch is an indepenlant object, seldom seens natural; yot a nu. bor or then may, without any appearance of art, be admitted into the same scene, if they bear a relation to each othor: if by their succession they diversify a continund outline of wood; if between them they form beautiful lades; if all together they cast an extensive lawn into an agroouble shape, tho effect prevents any scrutiny into the means of producing it. ut when the reliance on that offect is so reat, every other consideratlan must cive way to the beauty of the whole. The figure of the glade, of the lawn, or of the wood, are principally to be attended to: the finest clumps, if they do not fall oasily into the great lines, are blemishes: their connections, theri contrasts, are more important than their forms.

A line of clumps, if the intervals be closed by others beyond thon, hes the appearance of a wood, or of a grove; and in one respect the senblance has an advantage over the reality. In different points of view, the relations betw on the clumps are changed; and a variety of forms is produced, which no continued wood or grove, however broken, can furnish. These forms cannot all be equally agreeable; and too anxious a solicitude to make them every whore pleasing, may, perhaps, prevent their being over beautiful. The effect must often be left to chance; but it should be studiously consulted from a few principal points of view; and it is easy to make any recess, any prominence, any figure in the outline, by clumps thus advancing before, or retiring behind one another.

But amidst all the advantages attendant on this species of plantation it is often exceptionable when conunded from a neighbouring cninence; clumps below the eye lose some of their principal beauties; and a munber of them betray the art of which they are always liable to be suspected: they compose no surface of wood; and all effects arising from the relations between them are entirely lost. prospect spotted with any clumps can hardly be great: unless they are so distinct as to be objects or so distant as to unite into ne mass, they are seldon an inprovint of a view.

*XXV. The proper situations for single trees are frequently the same as for clumps; the choice will often be doter inod, solely by the considThe introduction of foreign trees and planes, Mich wo ove principally to Archibald duke of Argyle, contributed essentially to the richness of The mixture of various colouring so peculiar to our modern landskip.

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