From the use of the plural 'walks,' it may be that the prohibition also included the numerous wildernesses which occupied the north of the inclosure,--wildernesses so intricate that, even in the prehistoric era of the place, the most experienced mothers--to use the expressive words of Tom Brown 'of facetious memory'--often 'lost themselves in looking for their daughters.' And this brings us to the final item in our catalogue, the walk which bounded the garden on the north, closing and terminating the four great promenades that traversed it from top to bottom. This, shaded like the rest by trees, had at each end one of the favourite 'scenes.' That to the east was a view in a Chinese garden; that to west, a building with a scaffold and a ladder before it, which at a distance 'often deceived the eye very agreeably.' History has neglected the artist of these ingenious performances. But Hayman had begun with stage decoration, and may perhaps have executed them. Or they may have been from the brush of George Lambert, the well-known scene-painter of Covent Garden, who, like Hayman, was a friend of Hogarth, and is reported to have borne his part in the beautifying of the place. In the foregoing sketch we have endeavoured to revive some specific idea of the aspect of a forgotten place of amusement, rather than to produce that indefinite patchwork of anecdote which, with a judicious sprinkling of shoe buckles and periwigs, of hoops and gipsy-hats, so often does duty for 'a picture of the time.' But a last word must certainly be devoted to the proprietor and presiding spirit, Jonathan Tyers. Little seems to be known of him before he acquired the site of the old Spring Garden of the 'Spectator' in March, 1728, from one Elizabeth Masters, of London, upon a thirty years' lease. Even then it must have had many of the appurtenances of a public resort, for the deed enumerates a Ham-room and a Milk-house, and there were already primitive alcoves in the shape of tiled arbours entitled Royal George, Ship, Eagle, Phoenix, Checker, and the like. Nay, there were already lofty trees which dated from the seventeenth century and the days of an earlier possessor, the Sir Samuel Morland of Pepys's Diary. The rent whieh Tyers paid was £250. He added music; then by degrees the orchestra and organ, the statues, the pictures, and the other adornments. He opened the garden in June, 1732, with illuminations and a _Ridotto al' fresco_, at which Frederick, Prince of Wales, was present; and the company, numbering four hundred, wore masks, dominoes, and lawyers' gowns. Order was kept by a detachment of footguards, and the admission ticket was designed by Jack Laguerre, son of the Louis whose muscular saints sprawl, in Pope's verse, upon the ceilings of 'Timon's Villa.' Payment was subsequently made at the gate; but in 1738, apparently with a view to render the attendance somewhat more select, a thousand silver season tickets were issued. In 1752 Tyers