PART VII. 



PICTURESQUE IMPROVEMENT. 



389 



harmony in form, colour, and disposition *, are produced, in 

 place of monotony or discord : the second is, that this mode 

 prevails in nature. Intricacy, variety, and harmony, are pro- 

 duced in the outline by making the small parts irregular ; con- 

 siderably so in some places, and less so in others, according to 

 the kind of water — in the ground, by producing breaks close to 

 and also at some distance from the water— by shewing the 

 naked or various coloured earth and gravel interspersed among 

 abruptnesses, smooth slopes, levels, and by every form and dis- 

 position of surface ; it is farther heightened by the introduction 

 of stones of different shapes, and placed in varied or intricate 

 disposition— and also by roots, decaying trunks, or branches of 

 trees. Another fruitful source of these beauties is plants, 

 grasses, low growths, shrubs, and trees. Plants and grasses 

 may be used both for clothing such parts of the surface as are 

 smooth, for varying others, and assisting disposition. Shrubs 



*■ When I mention any of these or the other terms used in the essay on Taste^ 

 I always suppose that the reader has attended to that essay, and consequently that 

 he considers that these words are used technically, and with a determinate meaning, 

 in opposition to the common vague manner of using all words significant of the 

 beauty of objects. Superficial readers, and those who have not considered taste or 

 its objects in that comprehensive and abstract view, will derive little advantage from 

 that essay ; but those who are conversant with the subject will probably view it as 

 not the least important part of this volume ; for nothing has occasioned so much 

 confusion, or has so much retarded the progress of art, as the erroneous applica- 

 tion of the terms there explained. Unless that essay be attended to, some parts of 

 this work will appear obscure, and the full force of others will not be perceived. 



