“A cave there is, wherein those nymphs reside, Who all the realms of sense and fancy guide; Nay, some affirm, that in the deepest cell Imperial Reason’s self does not disdain to dwell. With living reed it’s thatch’d and guarded round, Which, moved by winds, emit a silver sound. Two crystal fountains near its entrance play, Wide scattering golden beams, which ne’er decay; Two labyrinths behind, harmonious sounds convey. Chiefly, within, the room of state is famed, Of rich Mosaic work divinely framed; Of small extent to view, ’twill all things hide; Heaven’s azure arch itself not half so wide. Here all the arts their sacred mansion choose, Here dwells the mother of the heaven-born muse, With wondrous mystic figures round ’tis wrought, Inlaid with fancy and anneal’d with thought. What was, or is, or labours yet to be, Within the womb of dark futurity, May stowage in this wondrous storehouse find, Yet leave unnumber’d empty cells behind. Whate’er within this sacred hall you find, Let judgment sort, and skilful method bind; And as from these you draw your ancient store, Daily supply the magazine with more.”—(Page 3.) No sooner was the “Epistle concerning Poetry” out of hand, than Samuel Wesley devoted himself to a much larger poetic work, entitled “The History of the Old and New Testament, attempted in Verse, and adorned with three hundred and thirty Sculptures. Written by S. Wesley, A.M.; the Cuts done by J. Sturt. London: Printed for C. Harper.” Dr Clarke says the first edition of this work was published in 1701; but the earliest edition with which the writer is acquainted was published in 1704, and is in three volumes, of about three hundred and fifty pages each. Another edition was published in 1717, and was dedicated to “the Most Honourable the Lady Marchioness of Normanby;”—a lady “ennobled by birth, beauty, and fortune, but more by piety and virtue.”