All these gardeners and aesthetic critics who busied themselves with wild nature were aiming at an ideal which had been expressed in many painted landscapes, and had been held up as the top of admiration by one of the greatest English poets. The influence of Milton on the new landscape interest must be held to be not less than the influence of his contemporaries, Salvator Rosa and Claude. His descriptions of Paradise did more than any painting to alter the whole practice of gardening. They are often appealed to, even by the technical gardeners. In garden-lore Milton was a convinced Romantic. He has two descriptions of the Garden of Eden; the slighter of the two occurs on the occasion of Raphael's entry, and merely resumes the earlier and fuller account: Their glittering tents they passed, and now is come Into the blissful field, through Groves of Myrrhe, And flowering Odours, Cassia, Nard, and Balme; A Wilderness of Sweets; for Nature here Wantoned as in her prime and plaid at will Her Virgin Fancies, pouring forth more sweet, Wilde above rule or art; enormous bliss. Coleridge has some remarks, in his _Table Talk_, on Milton's disregard of painting. There are only two pictures, he says, in Milton; Adam bending over the sleeping Eve, and the entrance of Dalilah, like a ship under full sail. Certainly the above lines are no picture; but they are more exciting than any clear delineation could be; they are full of scent, and air, and the emotions of ease and bliss. The other passage has more of architectural quality in it, and describes what first met Satan's gaze, when he entered the Garden and sat, perched like a cormorant, upon the Tree of Life.