_By Thomas Smith_] Kent’s most important gardens come between 1730 and 1748. One of the first of those incited by the beauty of his “Elysian scenes” to make over their own domains was Lord Lyttleton. His estate, Hagley, was a _ferme ornée_ much admired in its own day, and an excellent illustration of the new style. The accompanying print shows that the forest trees come close to the house and grow unfettered. There are open glades ornamented by temples and seats, and enlivened by the presence of animals, which, according to the new scheme of beauty, had at last come into their own as ornamental elements of a landscape. Philip Southcote’s “Wooburn Farm” is another early _ferme ornée_. Charles Hamilton’s “Pain’s Hill,” in Surrey, shows a somewhat different type, which Walpole calls “the forest or savage garden.” In this garden, continues Walpole, “all is great and foreign and rude; the walks seem not designed, but cut through the wood of pines; and the style of the whole is so grand and conducted with so serious an air of wild and uncultivated extent, that when you look down on this seeming forest you are amazed to find it contain a very few acres.” The approximate date of “Wooburn Farm” and “Pain’s Hill” is determined by the fact that in 1761, in Dodsley’s “London and its Environs,” they are spoken of as “but lately laid out,” and so not very much advanced in growth, but yet “very beautiful and extremely well worth seeing.”[553] The most famous eighteenth-century “ferme ornée” was Shenstone’s estate, known as “Leasowes,” and this is also somewhat earlier in date, for a poetical tribute dated 1754 calls it “that new-form’d Arcadia.” Eight other poetical eulogies show the place of Leasowes in popular esteem. Dodsley published a map of the place with thirty pages of minute description of the arrangement of the grounds.[554] There was a prescribed order in viewing the estate, the path leading from surprise to surprise, a gay, lively scene being immediately succeeded by one “cool, gloomy, solemn, and sequestered.” Various scenes were sentimentally suited to particular persons, or to especial trains of thought. One glade was devoted to lovers, another to fairies; one spot was set apart for reflections on death, another for communion with the spirit of Virgil. Each separate portion had its rocks, waters, trees, and shrubs, arranged according to a ruling idea, the idea being brought into prominence by a suggestive inscription, and further emphasized by a seat so placed that from it the idea could present itself with cumulative effect. Shenstone paid great attention to artistic combinations. In his “Unconnected Thoughts on Gardening,”[555] 1764], he said concerning the art of “distancing and approximating,”