still in the elementary stage described by Sylvanus Urban in August, 1765, that is to say, it exhibited 'a beautiful landscape in perspective, with a miller's house, a water-mill, and a cascade.' At the proper moment this last presented the exact appearance of water flowing down a declivity, rising up in a foam at the bottom, and then gliding away. Beyond the terminal temple which served as the approach to the water-works a sweep of pavilions led back to the Grand Walk. In the last of these was a picture of Gay's 'Black-Eyed Susan,' taken apparently at that affecting moment when, returning to shore from her faithful William, she 'waved her lily hand.' A little higher the Grand Walk was intersected at right angles by the Grand Cross Walk, which, as already stated, traversed the gardens. To the right this was terminated by the Druid's Walk and a statue of Apollo; to the left, by one of the 'favourite illusions of the place, a large painting representing ruins and running water. In this part of the garden, as far as it is possible to make it out from the descriptions, extending on the left towards the bottom, were, on one side, a Wilderness, on the other Rural Downs 'with several little eminences... after the manner of a Roman camp.' These were 'covered with turf, and pleasingly interspersed with cypress, fir, yew, cedar, and tulip trees.' On one of these heights, the attentive spectator soon discovered, like Pastor Moritz, the statue (in lead) of Milton which the guide-books attribute to Roubiliac. At night this statue was lighted with lamps. From the downs, say the old guide-books, you had a good view of Lambeth, Westminster, and St. Paul's. It was in this part of the garden also, from some of the bushes of the Roman camp, that proceeded the subterranean entertainment known as the 'Fairy Music.' But this 'lodging on the eold ground,'--to quote the old Caroline song,--was found 'prejudicial to the instruments,' probably also to the instrumentalists, and it was eventually discontinued.