are to be seen in Much Marcle church, Walford, near Ross, and other places. He wrote out his own pedigree on parchment, commencing in the reign of Henry the Seventh, now in Mr. Hutcheson's possession; and it is a very accurate and methodical arrangement. A good picture of him was at the inn, which had been his dwellinghouse, but not an original, which the innkeeper, Ball, removed. There is an original picture in the possession of Mrs. Jones. There are several little stories amongst the old people in the country, as to the plain attire of the "Man of Ross," and the consequent mistakes of persons seeing him in such, and their surprise when they approached his hospitable mansion to partake of his liberality, and witness his mode of living. This general outline, I submit, is fully sufficient to verify the truths which run through the whole of Pope's lines, in praise of the character which, from all I have learned, was only exaggerated by the elegance of the poetical writing. "NEVER was protection and great wealth,"* says an able judge of the subject, "more generously and judiciously diffused than by this great person (Lord Burlington), who had every quality of a genius and artist, except envy. Though his own designs were more chaste and classic than Kent's, he entertained him in his house till his death, and was more studious to extend his friend's fame than his own. As we have few samples of architecture more antique and imposing than the colonnade within the court of his house in Piccadilly, I cannot help mentioning the effect it had on myself. I had not only never seen it, but had never heard of it, at least with any attention, when, soon after my return from Italy, I was invited to a ball at Burlington-house. As I passed under the gate by night, it could not strike me. At day-break, looking out of the window to see the sun rise, I was surprised with the vision of the colonnade that fronted me. It seemed one of those edifices in Fairy tales, that are raised by genii in a night's time." Pope having appeared an excellent moralist in the foregoing Epistles, in this appears to be as excellent a connoisseur, and has given not only some of our first, but our best rules and observations on architecture and gardening, but particularly on the latter of these useful and entertaining arts, on which he has dwelt more largely, and with rather more knowledge of the subject. The following is copied verbatim from a little paper which he gave to Mr. Spence: "Arts are taken from nature; and, after a thousand vain efforts for improvements, are best when they return to their first simplicity. A sketch or analysis of the first principles of each art, with their first consequences, might be a thing of most excellent service. Thus, for instance, all the rules of architecture might be reducible to three or four heads; the justness of the openings; bearings upon bearings; the regularity of the pillars, &c. That which is not just in buildings is disagreeable to the eye (as a greater upon a lesser, &c.), and this may be called the reasoning of the eye. In laying out a garden, the first and chief thing to be considered is the genius of the place. Thus at Riskins, now called Piercy Lodge, Lord * * * should have raised two or thrée mounts, because his situation is all a plain, and nothing can please without variety." 1 * Mr. Walpole, p. 108. Anecdotes of Painting, vol. iv. Mr. Walpole, in his elegant and entertaining History of Modern Gardening, has clearly proved that Kent was the artist to whom the English nation was chiefly indebted for diffusing a taste in laying out grounds, of which the French and Italians have no idea. But he adds, much to the credit of our author, that Pope undoubtedly contributed to form Kent's taste. The design of the Prince of Wales's garden at Carlton House was evidently borrowed from the Poet's at Twickenham. There was a little affected modesty in the latter, when he said, of all his works he was most proud of his garden. And yet it was a singular effort of art and taste, to impress so much variety and scenery on a spot of five acres. The passing through the gloom from the grotto to the opening day, the retiring and again assembling shades, the dusky groves, the larger lawn, and the solemnity of the termination at the cypresses that lead up to his mother's tomb, are managed with exquisite judgment; and though Lord Peterborough assisted him "To form his quincunx, and to rank his vines,” those were not the most pleasing ingredients of his little perspective. I do not know whether the disposition of the garden at Rousham, laid out by General Dormer, and, in my opinion, the most engaging of all Kent's works, was not planned on the model of Mr. Pope's, at least in the opening and retiring " shades of Venus's Vale." It ought to be observed, that many years before this Epistle was written, and before Kent was employed as an improver of grounds, even so early as the year 1713, Pope seems to have been the very first person that censured and ridiculed the formal French, Dutch, false and unnatural mode in gardening, by a paper in the Guardian, No. 173, levelled against capricious operations of art, and every species of verdant sculpture and inverted nature; which paper abounds with wit as well as taste, and ends with a ridiculous catalogue of various figures cut in evergreens. Neither do I think that these four lines in this Epistle, " Here Amphitrite sails thro' myrtle bowers; do at all excel the following passage in his Guardian: " A citizen is no sooner proprietor of a couple of yews, but he entertains thoughts of erecting them into giants, like those of |