236 Gilpin's fobest scenery. 



deavoiir, by amplification, to make the ideas 

 contained under it as distinct as I can. 



We distinguish, then, two kinds of clumps ; 

 the smaller and the larger ; confining the former 

 chiefly to the foreground, and considering the 

 latter as the ornament of a dista,nce. 



With regard to the smaller clum.p its chief 

 beauty arises from contrast in the parts. We 

 have seen that in single trees each must have its 

 characteristic beauty; it has nothing else to 

 depend on. But in combination the beauty of the 

 individual is not required; the tvliole clump 

 together must produce the effect. 



To enumerate all the sources of beautiful con- 

 trast which contribute to produce this effect 

 might be difficult. I shall cursorily suggest a few. 



In the first place the relative situation of trees 

 with regard to each other should be considered. 

 Three trees, or more, standing in a line, are formal. 

 In the natural wood you rarely see this formality ; 

 and yet even three trees in a line will be greatly 

 assisted by the different directions of the several 

 trunks, and by the various forms, distances, and 

 growth of the trees. 



