Switzer (as appears from the Preface to his Iconologia) was so struck with the business and pleasures of a country life, that he collected, or meant to collect, whatever he could respecting this subject, scattered up and down as they were in loose irregular papers and books; but this work, we regret to say, never made its appearance. That he would have done this well, may be guessed at from so many of his pages recording what he calls "the eternal duration" of Virgil's works, or those of "the noble and majestic" Milton:-- Flowers worthy of Paradise, which no nice art In beds, and curious knots, but nature boon Pour'd forth profuse on hill, and dale, and plain. Though prim regularity, and "parterres embroidered like a petticoat," were in his time in high vogue, yet his pages shew his enlarged views on this subject, and the magnificent ideas he had formed, by surrounding them by rural enclosures, (probably by reading Mr. Addison), perfumed with blossoms, and bespangled with the rich tufts of nature. Nothing, he says, is now so much wanted to complete the grandeur of the British nation, as noble and magnificent gardens, statues, and water-works; long extended shady walks, and groves, and the adjacent country laid open to view, and not bounded by high walls. The pleasant fields, and paddocks, in all the beautiful attire of nature, would then appear to be a part of it, and look as if the adjacent country were all a garden. Walls take away the rural aspect of any seat; wood, water, and such like, being the noble and magnificent decorations of a country villa. Switzer calls water the spirit and most enchanting beauty of nature. He is so struck with "the beautifulness and nobleness of terrace walks," and particularly with that truly magnificent and noble one, belonging to the Right Honourable the Earl of Nottingham, at _Burleigh-on-the-Hill_, that "for my own part I must confess, that that design creates an idea in my mind greater than I am well able to express." In his chapter of "Woods and Groves," he enforces "a particular regard to large old oaks, beech, and such like trees; in which case, one would as soon fire one's house, as cut them down, since it is the work of so many years, I may say ages, to rear them; those ancient trees which our forefathers had all along preserved with much care."[41] In some of the romantic embellishments which he proposed in the midst of a grove, or coppice, he hints at having "little gardens, with caves, little natural cascades and grotts of water, with seats, and arbors of honeysuckles and jessamine, and, in short, with all the varieties that nature and art can furnish." He advises "little walks and paths running through such pastures as adjoin the gardens, passing through little paddocks, and corn fields, sometimes through wild coppices, and gardens, and sometimes by purling brooks, and streams; places that are set off not by _nice art_, but by luxury of