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Calls in the Country, catches op’ning glades,
Joins willing woods, and varies 1hades 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 anfwering parts shall slide into a whole,
Spontaneous beauties all around advance,
Start ev'n from Difficulty, Atrike from Chance ;
Nature small join you ; Time shall make it

A Work to wonder at perhaps a Srow.

Without it, proud Versailles ! thy glory falls;
And Nero's Terraces desert their walls :
The vaft Parterres a thousand hards (all make,
Lo! COBHAM comes, and floats them with a Lake :

First the Genius of the place tells the waters, or only lim. ply gives directions: Then he belps th' ambitious bill, or is a fellow-labourer : Then again he scoops the circling I beatre, 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 facred, 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,

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Much in the same manner as the plastic Nature is supposed to do, in the work of human generation.

Ver. 70. The feat and gardens of the Lord Viscount Cobham in Buckinghamshire,


Or cut wide views thro' Mountains to the Plain, 75,
You'll wish your hill or shelter'd seat again.
Ev’n in an ornament its place remark,
Nor in an Hermitage set Dr. Clarke.

Behold Villario's ten-years toil complete ;
His Quincunx darkens, his Espaliers meet;
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 filver-quiv'ring rills mæander'd o'er
Enjoy them, you ! Villario, can no more;
Tird 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 shade,

90 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 Vista loves, Foe to the Dryads of his Father's groves;

VER: 75, 76. Or cut wide views thro' Mountains to the 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 5000 l. 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 defended by beautiful woods.

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

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 stupendous air,
Soft and Agreeable come never there.
Greatness, in Timon, dwells in such a draught
As brings all Brobdignag before your thought.
To compass this, his building is a Town,

105 His pond an Ocean, his parterre a Down : Who but muft laugh, the Mafter when he sees, A puny infect, shiv'ring at a breeze !

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Ver. 95. The two extremes in parterres, which are equally faulty ; a boundless Green, large and naked as a field, or a flourish'd carpet, where the greatness and nobleness of the piece is lefsened by being divided into too many parts, with scrollid 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 tonsile) as to destroy the nobler Forest-trees, to make way for such little orna. ments 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.

a!! Brebdigaag] A region of giants, in the satires of Gulliver,

VER, 104


Lo, what huge heaps of littleness around !
The whole, a labour'd Quarry above ground,
Two Cupids [quirt before : a Lake behind
Improves the keenness of the Northern wind.
His Gardens next your admiration call,
On ev'ry side 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.
The fuff’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;

I 20

Ver. 117, 118. Grove nods at Grove, each Alley bas a brother, And half the platform just reflects the other.] This is exactly the two puddings of the citizen in the foregoing fable, only served up a little more magnificently : But both on the same absurd principle of wrong taste, viz. that one can never have too much of a good thing.

Ibid. Grove nods at grove, etc.] The exquisite humour of this expression arises solely from its fignificancy. These groves that have no meaning, but very near relationship, can express themselves only like twin-ideots by nods ;

nutant ad mutua Palma


as 'the Poet fays, which just ferves to let us understand, that they know one ano:her, as having been nursed, and brought up by one common parent.

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 foft — by regular approach - not yet First thro’ the length of yon hot Terrace sweat : 13@ And when up teníteep slopesyou've drag'd your thighs, Just at his Study-door he'll bless your eyes.

His Study! with what Authors is it ftord ? In Books, not Authors, curious is


Lord; To all their dated backs he turns you round ; 135 These Aldus printed, those Du Sueïl bound. Lo some are Vellom, and the rest as good For all his Lordship knows, but they are Wood.

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 Taste 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 bind. ing; some have carried it so far, as to cause the upper Thelves 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 one they do


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