“The palace of Nonsuch,” said Hentzner in 1598, “is encompassed with parks full of deer, delicious gardens, groves ornamented with trellis-work, cabinets of verdure (summer-houses, or seats cut in yew), and walls so embowered with trees, that it seems to be a place pitched upon by pleasure herself to dwell in along with health. In the pleasure and artificial gardens are many columns and pyramids of marble; two fountains that spout water, one round, the other like a pyramid, upon which are perched small birds that stream water out of their bills. In the grove of Diana is a very agreeable fountain, with Actæon turned into a stag, as he was sprinkled by the goddess and the nymphs, with inscriptions. Here is, besides, another pyramid of marble full of concealed pipes, which spurt upon all who come within their reach.” In the gardens of Lord Burleigh, at Theobalds, he tells us are nine knots, artificially and _exquisitely_ made, one of which was set for the likeness of the king’s arms. One might walk two miles in the walks before he came to the end. In Hampton-Court, was a fountain with syrens and other statues by Fanelli. At Kensington were bastions and counterscarps of clipped yew and variegated holly, being the objects of wonder and admiration under the name of the siege of Troy. At Chatsworth the temporary cascade, the water-god, the copper-tree, and the jets-d’eau, still remain in all their glory. The hands of Bridgman, Kent and Brown, and the pens of Addison, Pope, and Walpole, have put all this ancient glory of Roman style to the flight; and driven us, perhaps, into danger of going too far after nature. The winding walks, the turfy lawns, the bowery shrubberies, the green slopes to the margin of waters, the retention of rocks and thickets where they naturally stood,--all this is very beautiful, and many a sweet elysian scene do they spread around our English houses. But in imitating nature we are apt to imitate her as she appears in her rudest places, and not as she would modify herself in the vicinity of human habitations. We are apt to make too little difference between the garden and the field; between the shrubbery and the wood. We are come to think that all which differs from wild nature is artificial, and therefore absurd. Something too much of this, I think, we are beginning to feel we have had amongst us. It has been the fashion to cry down all gardens as ugly and tasteless, which are not shaped by our modern notions. The formalities of the French and Dutch have been sufficiently condemned. For my part, I like even them in their place. One would no more think of laying out grounds now in this manner, than of wearing Elizabethan ruffs, or bag-wigs and basket-hilted swords; yet the old French and Dutch gardens, as the appendages of a quaint old house, are in my opinion, beautiful. They are like many other things--not so much beautiful in themselves, as beautiful by association--as memorials of certain characters and ages.