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the last very defective in comparison of the former; for though they may sometimes appear as beautiful or strange, they can have nothing in them of that vastness and immensity which afford so great an entertainment to the mind of the beholder. The one may be as polite and delicate as the other, but can never show herself so august and magnificent in the design. There is something more bold and masterly in the rough careless strokes of nature, than in the nice touches and embellishments of art. The beauties of the most stately garden or palace lie in a narrow compass, the imagination immediately runs them over, and requires something else to gratify her; but in the wide fields of nature, the sight wanders up and down without confinement, and is fed with an infinite variety of images, without any certain stint or number. For this reason, we always find the poet in love with the country life, where nature appears in the greatest perfection, and furnishes out o those scenes that are most apt to delight the imagination.

Scriptorum chorus omnis amat nemus, et fugit urbes.
HoR. EPIST. ii. 2.77.

— To grottoes and to groves we run, To ease and silence, every Muse's son.

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Hic secura quies, et mescia fallere vita,
Dives opum variarum; hic latis otia fundis,
Speluncae, vivique lacus; hic frigida Tempe,
Mugitusque bowm, mollesque sub arbore somni.
v1RG. GEORG. ii. 467.

Here easy quiet, a secure retreat,
A harmless life that knows not how to cheat,
With home-bred plenty the rich owner bless,
And rural pleasures crown his happiness.
Unvex'd with quarrels, undisturb’d with noise,
The country king his peaceful realm enjoys:
Cool grots, and living lakes, the flowery pride
Of meads, and streams that through the valley glide;

And shady groves that easy sleep invite, And, after toilsome days, a soft repose at night, DRY DEN. But though there are several of these wild scenes that are more delightful than any artificial shows, yet we find the works of nature still more pleasant the more they resemble those of art : for in this case our pleasure rises from a double principle; from the agreeableness of the objects to the eye, and from their similitude to other objects. We are pleased as well with comparing their beauties, as with surveying them, and can represent them to our minds either as copies or originals. Hence it is that we take delight in a rospect which is well laid out, and diversified with #. and meadows, woods and rivers; in those accidental landscapes of trees, clouds, and cities, that are sometimes found in the veins of marble ; in the curious fretwork of rocks and grottoes; and, in a word, in any thing that hath such a variety or regularity as may seem the effect of design in what we call the works of chance. If the products of nature rise in value according as they more or less resemble those of art, we may be sure that artificial works receive a greater advantage from their resemblance of such as are natural; because here the similitude is not only pleasant, but the pattern more perfect. The prettiest landscape I ever saw, was one drawn on the walls of a dark room, which stood opposite on one side to a navigable river, and on the other to a park. The experiment is very common in optics. #. you might discover the waves and fluctuations of the water in strong and proper colours, with the picture of a ship entering at one end, and sailing by degrees through the whole piece. On another there appeared the green shadows of trees waving to and fro with the wind, and herds of deer among them in miniature, leaping about upon the

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wall. I must confess the novelty of such a sight may be one occasion of its pleasantness to the imagination; but certainly the chief reason is its nearest resemblance to nature, as it does not only, like other pictures, give the colour and figure, but the motion of the things it represents.

We have before observed, that there is generally in nature something more grand and august than what we meet with in the curiosities of art. When, therefore, we see this imitated in any measure, it gives us a nobler and more exalted kind of pleasure than what we receive from the nicer and more accurate productions of art. On this account, our English gardens are not so entertaining to the fancy as those in France and Italy, where we see a large extent of ground covered over with an agreeable mixture of garden and forest, which represent every

where tificial rudeness, much more charming than that neatness and elegancy which we meet with in those of our own country. It might indeed be of ill consequence to the public, as well as unprofitable to private persons, to alienate so much ground from pasturage and the plough, in many parts of a country that is so well peopled, and cultivated to a far greater advantage. But why may not a whole estate be thrown into a kind of garden by frequent plantations, that may turn as much to the profit as the pleasure of the owner ? A marsh overgrown with willows, or a mountain shaded with oaks, are not only more beautiful but more beneficial than when they lie bare and unadorned. Fields of corn make a pleasant prospect ; and if the walks were a little taken care of that lie between them, if the natural embroidery of the meadows were helped and improved by some small additions of art, and the several rows of edges set off by trees and flowers that the soil was capable of receiving, a man might make a pretty landscape of his own possessions.

Writers who have given us an account of China tell us the inhabitants of that country laugh at the plantations of our Europeans, which are laid out by the rule and line; because they say, any one may place trees in equal rows and uniform figures. They choose rather to shew a genius in works of this nature, and therefore always conceal the art by which they direct themselves. They have a word, it seems, in their language, by which they express the particular beauty of a plantation, that thus strikes the imagination at first sight, without discovering, what it is that has so agreeable an effect. Our British gardeners, on the contrary, instead of humouring nature, love to deviate from it as much as possible. Our trees rise in cones, globes, and pyramids. We see the marks of the scissors upon every F. and bush. I do not know whether I am singular in my opinion, but, for my own part, I would rather look upon a tree in all its luxuriancy and diffusion of boughs and branches, than when it is thus cut and trimmed into a mathematical figure: and cannot but fancy that an orchard in flower looks infinitely more delightful, than all the little labyrinths of the most finished parterre. But, as our great modellers of gardens have their magazines of plants to dispose of, it is very natural for them to tear up all the beautiful plantations of fruit-trees, and contrive a plan that may most turn to their own profit, in taking off their evergreens, and the like moyeable plants, with which their shops are plentifuss, stocked.

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No. 415. THURSDAY, JUNE 26, 1712.

PAPER V.
ON THE PLEASURES OF THE IMAGINATION.

CONTENTS.

Of architecture, as it affects the imagination. Greatness in architecture relates either to the bulk or to the manner. Greatness of bulk in the ancient oriental buildings. The ancient accounts of these buildings confirmed, 1. From the advantages for raising such works, in the first ages of the world, and in eastern climates; 2. From several of them which are still extant. Instances how greatness of manner affects the imagination. A French author's observations on this subject. Why concave and convex figures give a greatness of manner to works of architecture. Every thing that pleases the imagination in architecture, is either great, beautiful, or new.

Adde tot egregias, urbes, operumque laborem.
VIRG. GEORG. ii. 155.
Witness our cities of illustrious name,
Their costly labour, and stupendous frame.
DRYDEN.

HAviNG already shown how the fancy is affected by the works of nature, and afterwards considered in general both the works of nature and of art, how they mutually assist and complete each other in forming such scenes and prospects as are most apt to delight the mind of the beholder, I shall in this paper throw together some reflections on that particular art, which has a more immediate tendency, than any other, to produce those primary pleasures of the imagination which have hitherto been the subject of this discourse. The art I mean is that of architecture, which I shall eonsider only with regard to the light in which the

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