From these combinations, the acroenents between particular tints ray be known. A light creen may be next either to a yellow or a b.own green and a brown to a dark green; all in considerable quantities; and a little rim of dark green may border on a red or a light green. Further observations will shew, that the yellow and the white cr ens connect easily but that large quantities of the light, the yellow, or the white groens, do not mix well with a large quantity also of the dark croon; and that to form a pleasing mass, either the dark green must be reduced to a moer edging, or a brown, or an intermediate green must be interposed: that the rod, the brown, and the intermediate greens aroo among themselves; and that either of them may be joined to any other tint; but that the red green will boar a larger quantity of the light than of the dark groen near it; nor does it see. so proper a mixture with the white groen as with the rest.

In massing the e tints, an attention Lust be constantly kept up to their forms, that they do not lie in large stripes one beyond another; but that either they be quite interingled, or, which is generally nore pleasing, that considerable pieces of different tints, cach a beautiful figure, be, in different proportions, placed near together. xactness in the shapes must not be attempted, for it cannot be preserved; but if the great outlines be well drawn, little variations, afterwards occasioned by the growth of the plants, will not spoil them.

XV. A small thicket is generally ost agreeable, when it is one fine mass of well-mixed greens: that mass gives to the whole a unity, which Can by no means be so perfectly expressed. Then more than one is necessary for the extent of the plantation, still if they are not too much contrasted, if the cradations from one to another are easy, the unity is not broken by the variety.

While the union of tints is productive of pleasing effects, strong effects may, on the other hand, be soneti os, produced by their disagreements. Opposites, such, for instance, as the dark and light cros in large quantities close together, break to pieces the surface upon which they meet; and an outline which cannot be sufficiently varied in form, may be in appearance, by the manage.ont of its shades. very opposition of tints is a break in a continued lino: the depth of recesses may be deepened by darkoning the roons as they retire. A tree which stands out from a plantation ay be separated by its tint as much as by its position. The appearance of solidity or airiness in plants depends not solely on the thickness or thinness, but partly on the colour of the leaves. Clumps at a distance may be rendered more or less distinct by their greens; and the fine erract of a dark green tree, or groupe of trees, with nothing behind it but the s lendor of a orning, or the low of an evening sky, cannot be unknown to any who was ever delighted with a picture of Claude, or with the more beautiful originals in nature.

Another effect attainable by the aid of the different tints, is ⚫ founded on the first principles of perspective. Cbjects grow faint as they retire fro the eye; a detached clump, or a single tree of the lighter greens, will, therefore, sco.. further off than one equidistant of a darker hue; and a regular cradation from one tint to another will alter the apparent length of a continued plantation, according as the dark or the light greens begin to gradation. In a straight line this is obvious; in a broken one, the fallacy in the appearance is soldom detected, only because the real ex.ent is conorally unimown; but ex