'Monasticon' and expresses his delight in surveying the records of 'cloister'd piety'— Nor rough, nor barren, are the winding ways Of hoar Antiquity, but strewn with flowers. In another he wishes to know whether 'his pipe can aught essay to reach the ear' of that 'divine bard' Mr. Gray, for whose 'Elegy' and 'Bard' he expresses the warmest admiration. The similarity of taste shown by the Wartons and Gray does not appear to have led to personal intercourse. They were divided by that broad, though to the outward world invisible, gulf which still separates Oxford from Cambridge. Gray's most enthusiastic disciple, Mason, had come under his influence at Cambridge, and his first performance led to a passage of arms with Tom Warton. Mason attacked the Jacobitism of Oxford in a poem called 'Isis,' stating, of course in a purely poetical sense, that Oxford men held 'infernal orgies' to the foes of freedom. Warton replied in verses which Mason admitted to be better than his own. Modesty, however, was not Mason's strong point. Years afterwards, when riding into Oxford, he remarked that he was glad that it was already dark; otherwise, as he intimated, a mob would naturally have gathered to avenge his insults to the University. Mason's odes and choruses are so obviously an echo of Gray's that one is rather surprised to find Gray praising them in language which implies that he was not aware of his responsibility. Mason himself was cordially proud of the relationship, though he took amazing liberties as an editor of his master's letters, and occasionally gave himself airs of equality, or even patronage, which strike one as a little absurd. A more distant, but perhaps still more enthusiastic, admirer of Gray was Beattie, whose early odes (which he judiciously endeavoured to suppress) are feebler echoes than Mason's of the same model, and who reverently submitted his best poem, the 'Minstrel,' to Gray's correction and, more wonderful to relate, accepted one or two of his critic's emendations. And, finally, we must include in the school of Gray the man whose levity and coxcombry has blinded many readers to his very remarkable ability. Horace Walpole, who quarrelled with Gray as with many others of his friends, for a time, and who, unlike Gray, was thoroughly immersed in the central current of London society, was no poet, but was in thorough sympathy with Gray's antiquarian tastes, and by the 'Castle of Otranto' and the sham Gothic of Strawberry Hill did more than profounder antiquarians to restore an interest in mediæval art.