Architecturally applied, it would seem to be the principle on which Chambers developed his designs for a score of buildings after the manner of the Romans, Chinese, Moors, and of other nations, erected at Kew Gardens by the time the Treaty of Paris was signed in 1763.[8] In this concern he seconded but went beyond the hopes of Horace Walpole and William Mason that "this whole kingdom might soon become one magnificant vast Garden, bounded only by the sea" (below, page 133). The syntax of Lewis Mumford seems apposite: of Frederick Law Olmsted, the designer of New York's Central Park just a century later, Mumford has remarked that "By making nature urbane he naturalized the city."[9] At Kew, by making the garden cosmopolitan, Chambers helped to globalize the capital of empire and proposed the world as Enlightened Eden. It was not, of course, such national or global edenic visions which chiefly exercised readers of Chambers' 1757 essay "Of the Art of Laying Out Gardens Among the Chinese" and brought down upon his 1772 _Dissertation_ the ridicule which prompted the "Explanatory Discourse." Rather, it was the lurid details through which both accounts maintained that "The Chinese artists, knowing how powerfully contrast operates on the mind, constantly practise sudden transitions, and a striking opposition of forms, coulours, and shades." Though this principle earned sympathetic response from theorists like Burke and Karnes at home and Delille on the Continent, Chambers pressed his luck too far when he described what he claimed to have observed, or heard from Chinese observers, of "three different species of scenes, to which they give the appellations of pleasing, horrid, and enchanted." Particularly vulnerable were the programmed _frissons_ of "their scenes of horror": "some miserable huts dispersed in the mountains serve, at once to indicate the existence and wretchedness of the inhabitants."[10] By 1772 the _Schadenfreude_ has deepened: "Their scenes of terrour are composed of gloomy woods, &c. gibbets, crosses, wheels, and the whole apparatus of torture are seen from the roads. Here too they conceal in cavities, on the summits of the highest mountains, foundries, lime-kilns, and glass-works, which send forth large volumes of flame, and continued columns of thick smoke, that give to these mountains the appearance of volcanos." This was the sort of opening which William Mason exploited in his _Heroic Epistle to Sir William Chambers_ of March, 1773: Now to our lawns of dalliance and delight, Join we the groves of horrour and affright; This to achieve no foreign aids we try, Thy gibbets, Bagshot! shall our wants supply; Hounslow, whose heath sublimer terrour fills, Shall with her gibbets lend her powder mills.[11]