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Or helps th' ambitious Hill the heav'ns to scale,
Or scoops in circling theatres the Vale;
Calls in the Country, catches op'ning glades,
Joins willing woods, and varies shades from shades;
Now breaks, or now directs, th' intending Lines ;
Paints as you plant, and, as you work, designs.

Still follow Sense, of ev'ry Art the Soul,
Parts answ'ring parts shall slide into a whole,
Spontaneous beauties all around advance,
Start ev’n from Difficulty, strike from Chance;
Nature shall join you; Time shall make it grow
A Work to wonder at-perhaps a Stow.

70 Without it, proud Versailles! thy glory falls ; And Nero's Terraces desert their walls :


First the Genius of the place tells the waters, or only fimply gives directions: Then he helps th' ambitious hill, or is a fellowlabourer: Then again he scoops the circling Theatre, or works alone, or in chief. Afterwards, rising fast in our idea of dignity, he calls in the country, alluding to the orders of princes in their progress, when accustomed to display all their state and magnificence: His character then grows sacred, he joins willing woods, a metaphor taken from one of the offices of the priesthood ; 'till at length, he becomes a Divinity, and creates and presides over the whole :

Now breaks, or now directs th' intending lines,

Paints as you plant, and, as you work, designs. Much in the same manner as the plastic Nature is supposed to do, in the work of human generation,

VER. 70. The seat and gardens of the Lord Viscount Cobham in Buckinghamshire,

The vast Parterres a thousand hands shall make,
Lo! COBHAM comes, and floats them with a Lake:
Or cut wide views thro' Mountains to the Plain, 75
You'll with your hill or shelter'd seat again.
Ev’n in an ornament its place remark,
Nor in an Hermitage fet Dr. Clarke.

Behold Villario's ten-years toil complete;
His Quincunx darkens, his Espaliers meet; 80
The Wood supports the Plain, the parts unite,
And strength of Shade contends with strength of

Light; A waving Glow the bloomy beds display, Blushing in bright diversities of day, With silver-quiv'ring rills mæander'd o'er- 85 Enjoy them, you ! Villario, can no more; Tir'd of the scene Parterres and Fountains yield, He finds at last he better likes a Field.

Thro' his young Woods how pleas'd Sabinus stray'd, Or fat delighted in the thick’ning Inade, ço

VER. 75, 76. Or cut wide views thro' Mountains to ibe Plain, You'll wish your bill or shelter'd seat again.] This was done in Hertfordshire, by a wealthy citizen, at the expence of above goool, by which means (merely to overlook a dead plain) he let in the north-wind upon his house and parterre, which were before adorned and defer.ded by beautiful woods,

Ver. 78. - sct Dr. Clarke.] Dr. S. Clarke's busto placed by the Queen in the Hermitage, while the Dr. duely frequented the Court. P. But he should have added with the innocence. and disinterestedness of an Hermit.

With annual joy the red'ning shoots to greet,
Or see the stretching branches long to meet !
His Son's fine Taste an op'ner Vifta loves,
Foe to the Dryads of his Father's groves ;
One boundless Green, or flourish'd Carpet views, 95
With all the mournful family of Yews;
The thriving plants, ignoble broomsticks made,
Now sweep those Alleys they were born to shade.

At Timon's Villa let us pass a day,
Where all cry out,

" What sums are thrown away! So proud, fo grand; of that ftupendous air, Soft and Agreeable come never there. Greatness, with Timon, dwells in such a draught As brings all Brobdignag before your thought.


VER 95. The two extremes in parterres, which are equally faulty; a boundless Green, large and naked as a field, or a flouris'd carpet, where the greatness and nobleness of the piece is: lessened by Leing divided into too many parts, with scroll?d works: and beds, of which the examples are frequent.

Ver. 96. mournful family of Yews;] Touches upon the ill taste of those who are so fond of Ever-greens (particularly Yews, which are the most tonfile) as to destroy the nobler Forest-trees, to make way for such little ornaments as Pyramids of dark-green continually repeated, not unlike a Funeral procession.

VER. 99. At Timon's Villa] This description is intended to comprize the principles of a false Taste of Magnificence, and to exemplify what was said before, that nothing but Good Sense can attain it,

- all Brobdignag] A region of giants, in the satires of Gulliver,

VER. 104

To compass this, his building is a Town, 10;
His pond an Ocean, his parterre a Down:
Who but must laugh, the Master when he sees,
A puny infect, fhiv'ring at a breeze!
Lo, what huge heaps of littleness around!
The whole, a labour'd Quarry above ground, 110
Two Cupids squirt before : a Lake behind
Improves the keenness of the Northern wind.
His Gardens next your admiration call,
On ev'ry fide you look, behold the Wall!
No pleasing Intricacies intervene,
No artful wildness to perplex the scene ;
Grove nods at grove, each Alley has a brother,
And half the platform just reflects the other.

Ver. 117, 118. Grove nods at grove, each Alley ka: brother, And half the platform just reflects the other.] This is exactly the two puddings of the citizen in the foregoing fatke. only served up a little more magnificently : But both on same absurd principle of wrong taste, viz. that one can ner have too much of a good thing.

Ibid. Grove nods at grove, etc.] The exquisite humour of expression arises solely from its significancy. These groves et: have no meaning, but very near relation-ship, can express ther: selves only like twin-idects by nods;

nutant ad mutua Palma

Fædera as the Poet says, which just serves to let us understand, et they know one another, as having been nursed, and brought by one common parent.

I 20

The suff'ring eye inverted Nature fees,
Trees cut to Statues, Statues thick as trees;
With here a Fountain, never to be play'd ;
And there a Summer-house, that knows no shade;
Here Amphitrite fails thro' myrtle bow'rs;
There Gladiators fight, or die in flow'rs;
Un-water'd see the drooping sea-horse mourn, 125
And swallows rooft in Nilus' dusty Urn.

My Lord advances with majestic mien,
Smit with the mighty pleasure, to be seen:
But soft-by regular approach---not yet-
First thro' the length of yon hot Terrace sweat ; 130
And when up ten steep slopes you've drag'd your

thighs, Just at his Study-door he'll bless your eyes.

His Study! with what Authors is it stor'd? -In Books, not Authors, curious is



Ver. 124. The two Statues of the Gladiator pugnans and Gladiator moriens.

VER. 130. The Approaches and Communication of house with -garden, or of one part with another, ill judged, and inconvenient,

VER. 133. His Study! etc.] The false Tafte in Books ; a satire on the vanity in collecting them, more frequent in men of Fortune than the study to understand them. Many delight chiefly in the elegance of the print, or of the binding ; some have carried it so far, as to cause the upper shelves to be filled with painted books of wood; others pique themselves so much upon books in a language they do not understand, as to exclude the most useful in ane they do,

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