houfc, with a few noble trees on the fore- 

 ground, is not only, at all times, a better pic- 

 ture ; but is alfo more agreeably varied by the 

 occafional incidents of light and weather, of 

 which the other is not capable. 



In a part of the fkreen, which divides 

 thefe grounds from the road, we have an 

 opportunity of remarking the difagreeable effect 

 of trees planted alternately. The eye is 

 difgufted with looking firft on a fir, fecondly 

 on an elm; thirdly 011 a fir; fourthly on an 

 elm again, and fo on. And yet this tire- 

 fome monotony, under the name of variety, 

 is one of the commoner! modes of planting. 

 In planting, we fhould certainly endeavour 

 at leaft to plant like nature, which gives 

 us the beft criterion of beauty. This alter- 

 nacy is a direct, and ftudied oppofition to 

 all her pleafing forms of compofition. It 

 not only fhews the hand of art; but of 

 the moft taflelefs art. How much more 

 beautiful would fuch a fkreen appear, made 

 up of different kinds of trees in malTes of 

 each; or in an indifcriminate mixture of 

 all together? 



The 



