one end of the table, and the queen in perpetual youth at the other." But it was the vigorous and creative imagination of MILTON, superior to the prejudices of his times, that exhibited in his EDEN, the first hints and outlines of what a beautiful garden should be; for even his beloved ARIOSTO and TASSO, in their luxuriant pictures of the gardens of ALCINA and ARMIDA, shewed they were not free from the unnatural and narrow taste of their countrymen; and even his master, SPENSER, has an artificial fountain in the midst of his bowre of bliss. I cannot forbear taking occasion to remark in this place, that, in the sacred drama, intitled, L'Adamo, written and published at Milan, in the year 1617, by GIO. BATTISTA ANDREINI, a Florentine, which Milton certainly had read, (and of which Voltaire has given so false and so imperfect an account, in his Essay on the Epic Poets,) *How astonishing, that his spirit could not be diminished or crushed by poverty, danger, blindness, disgrace, solitude, and old age! Poets,) the prints that are to represent Paradise are full of clipt hedges, square parterres, strait walks, trees uniformly lopt, regular knots and carpets of flowers, groves nodding at groves, marble fountains, and water-works. And yet these prints were designed by CARLO ANTONIO PROCCACHINI, a celebrated landscape painter of his time, and of the school of the CARRACHES: many of those works are still admired at Milan. To every scene of this drama is prefixed a print of this artist's designing. And, as the book is very curious and uncommon, I intend to give a specimen and analysis of it in the Appendix to this volume. It hence appears, that this enchanting art of modern gardening, in which this kingdom claims a preference* over every nation in Europe, chiefly owes its origin and its improvements to two great poets, MILTON and POPE. May I be suffered to add, in behalf of a favourite author, and who would N 2 * In CASTELL'S Villas of the Ancients Illustrated, folio, London, 1728, may be seen how much the celebrated Tuscan villa resembled our gardens, as they were planned a few years ago. Pliny's villa was like his genius. would have been a first-rate poet, if his style had been equal to his conceptions, that the Seasons of THOMSON have been very instrumental in diffusing a general* taste for the beauties of nature and landscape? 24. To build, to plant, whatever you intend, The best comments that have ever been given on these sensible and striking precepts, are, Painshill, Hagley, the Leasowes, Persefield, Woburn, Stourhead, and Blenheim; all of them exquisite scenes in different styles, and fine examples of practical poetry. 25. Consult It is only within a few years that the picturesque scenes of our own country, our lakes, mountains, cascades, caverns, and castles, have been visited and described. + Ver. 47.. 25. Consult the GENIUS* of the place in all, Or helps th' ambitious hill the heav'ns to scale, Calls in the country, catches op'ning glades, Joins willing woods, and varies shades from shades. Would it not give life and vigour to this noble prosopopæia, if we were to venture to alter only one word, and read, in the second line, He tells the waters N 3 instead * Dr. Warburton's discoveries of some latent beauties in this passage, seem to be fanciful and groundless, and never thought of by the author. "First, the Genius of the place (says this commentator) tells the waters, or simply gives directions: then, he helps th' ambitious hill, or is a fellow-labourer: then again, he scoops the circling theatre, or works alone, and 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 priest. hood; till, at length, he becomes a divinity, and creates and presides over the whole. Now breaks, or now directs--&c," + Ver. 57, instead of That tells-? Our author is never happier than in his allusions to painting, an art he so much admired and understood. So below, at verse 81, The wood supports the plain, the parts unite, And strength of shade contends with strength of light. Indeed, the two arts in question differ only in the materials which they employ. And it is neither exaggeration, or affectation, to call Mr. BROWN a great painter; for he has realized Whate'er LORRAIN light-touch'd with softening hue, 26. Still follow sense, of ev'ry art the soul; grow I must *Castle of Indolence, st. 38. † Ver. 65. |