sometimes allowing the rudest waste to add its soil to the richest theatre, he realized the compositions of the greatest masters in painting. There objects were wanting to animate his horizon, his taste as an architect could bestow immediate termination. His buildings, his seats, his temples, were more the works of his pencil than of his compasses. We owe the restoration of Creece, and the diffusion of architecture, to his skill in landskip.

Put of all the beauties he added to the face of this beautiful country none surpassed his manago.ent of water. Adieu to canals, circular basons and cascades tumbling down marble steps that last absurd magnificence of Italian and French villas. The forced elevation of cataracts was no more. The gentle stream was taught to serpentize seemingly at its pleasure, and where discontinued by different levels, its course appeared to be concealed by thickets properly interspersed, and glittered again at a distance where it might be supposed naturally to arrive. Its borders were smoothed but preserved their waving irregularity. A fow trees scattered here and there on its edges sprinkled the tame bank that accompanied its meanders; and when it disappeared among the hills, shades descending from the heights leaned towar s its progress and framed the distant point of light under which it was lost, as it turned aside to either hand of the blue horizon.

Thus dealing in none but the colours of nature, and catching its most favourable features, men saw a new creation opening before their eyes. The living landskip was chastened or polished, not transformed. Freedom was given to the forms of trees; they extended their branches unrestricted and where any eminent oak, or master beech had escaped aiming and survived the forest, bush and bramble was removed, and all its honours were restored to distinguish and shade the plain. Where the united plumage of an ancient wood extended wide its undulating canopy, and stood venerable in its darkness, Kent thinned the foremost ranks, and left but so many detached and scattered trees, as softened the approach of gloom, and blended a chequered light with the thus lengthened shadows of the remaining columns. Vide the late Earl of Orford on Modern Gardening.

III. A plain is not, however, in itself interesting; and the least deviation from the uniformity of its surface, changes its nature; as long as it remains a flat, it depends on the objects around for all its variety and all its beauty; but convex and concave fors are generally pleasingnd the number of degrees and combinations into which they may be cast is infinite: those forms only in each which are perfectly regular must be avoided; a semicircle can never be tolerable: small portions of large circles blended together; or lines gently curved, which are not parts of any circle; a hollow sinking but little below a level; a swell very much flattened at the top; are commonly the most agreeable figures.

In ground which lies beautifully, the conca e will renerally prevail; within the same compass it shows more surface than a swell; all the sides of the latter are not visible at the same time, except in a few particular situations; but it is only in a few particular situations that any part of a hollow is concealed; earth seems to have bon accumulated to raise the onge, and taken away to sink the ot`er. The concave, therefore, appears the lighter, and for the most part it is the Lore elegant shape; even the slopes of a swell can hardly be brought down, unless brol.en now