WHITE-KNIGHTS. 
 
Attitttytfre Account 
 
 MANSION AND GARDENS 
 
 OF 
 
 WHITE-KNIGHTS, 
 
 A SEAT OF 
 
 HIS GRACE THE DUKE OF MARLBOROUGH. 
 BY MRS. HOFLAND. 
 
 ILLUSTRATED WITH TWENTY-THREE ENGRAVINGS, FROM PICTURES TAKEN ON THE SPOT BY 
 
 T. C. HOFLAND. 
 
 O! LOVELY SCENE— BEYOND WHATF.'ER THE MUSE 
 HATH OF ACHAIA OR HESPERIA SUNG." 
 
 LONDON : 
 
 BY W. WILSON, GREVILLE-STREET, HATTON-GAKDEN. 
 
©rate 
 
 GEORGE SPENCER CHURCHILL, 
 DUKE OF MARLBOROUGH, 
 
 PRINCE OF 
 THE HOLY ROMAN EMPIRE, 
 MARQUESS OF BLANDFORD, 
 EARL OF SUNDERLAND, 
 BARON SPENCER OF WORM-LEIGHTON, 
 
 AND 
 
 BARON CHURCHILL OF SANDRIDGE, 
 
 THIS 
 
 DESCRIPTION OF WHITE-KNIGHTS 
 
 IS MOST HUMBLY DEDICATED, 
 BY HIS GRACE'S OBLIGED AND OBEDIENT HUMBLE SERVANTS, 
 
 T. C. AND B. HOFLAND. 
 
INTRODUCTION. 
 
INTRODUCTION. 
 
 A here are few subjects of more general attraction and interest than those scenes 
 presented to the mind under the general denomination of Gardens. Our first 
 most endearing and most sacred associations are connected with them ; our most 
 simple and most refined perceptions of beauty are combined with them ; and 
 the very condition of our being compels us to the cares, and rewards us with 
 the pleasures attached to them. 
 
 On a subject so immediately united with the beautiful scenery the following- 
 pages will attempt to describe, it cannot be considered impertinent to offer such 
 opinions as arise from a just appreciation of the objects before us ; especially as 
 it is generally allowed that within a few years extraordinary improvement has 
 taken place in this branch of Art, and that this country has developed a finer 
 taste than any other in the display of natural or acquired beauty. 
 
 Yet whilst the passionate admirers of Landscape Gardening have justly 
 consigned to oblivion the yew-clipped hedges, trim borders, and various puerile 
 absurdities, which disgusted us in the formal inclosures of former days, it must 
 be allowed that their enthusiasm has frequently exceeded the limits which wis- 
 
 u 
 
2 INTRODUCTION. 
 
 dom prescribed and taste allowed, and like other innovators, they have rooted 
 out " the wheat with the tares." 
 
 How often has the stately avenue, which at once designated and protected 
 the mansions of our English noblemen, been sacrificed to the demands of 
 fashion rather than genius, whose imperious mandate thus swept away with 
 unrelenting hand forms of lofty grandeur and venerable antiquity, but ill atoned 
 for by modern substitutes. In a country so highly picturesque as ours, 
 innumerable beauties may be enjoyed within a short distance, without destroy* 
 ing those fostering groves, those home embellishments, which having " grown 
 with die growth, and strengthened with the strength" of the possessor, become 
 the vernal tenants of his domain, and the companions of his sweetest hours. 
 To this we must add, that the sense of elegant retirement, the enjoyment of 
 luxurious vegetation, the combination of graceful forms, the succession of 
 natural and the cultivation of exotic productions, are the first pleasures of a 
 garden, and can never be rejected with impunity. 
 
 Having met with an admirable essay on this subject, written by Thomas 
 Hope, Esq. which appears to the author in perfect unison with the taste 
 displayed by the noble possessor of White-Knights, she is induced to transcribe 
 it entirely, under the full persuasion that the judicious reasoning and profound 
 knowledge of the subject evinced by that gentleman, will not fail to give 
 pleasure to the enlightened, and carry conviction to the uninformed, but 
 candid enquirer. 
 
INTRODUCTION. 
 
 3 
 
 ON THE ART OF GARDENING. 
 
 " It has been much the fashion of late years, in this country, to commend no 
 feature in that production of human industry, a Garden, which should not appear 
 as if still remaining the mere spontaneous work of unassisted Nature. It is 
 become a very general custom, indiscriminately to condemn, in the laying out 
 of grounds, every marked trace of the hands of man ; and above all, every 
 modification of intentional and professed symmetry. 
 
 " Perhaps a more methodical inquiry than has hitherto been made, into the 
 purposes for which a garden is destined, and into the character which, in 
 conformity with these purposes, it ought to display, might have preven ted its form 
 and embellishments from being subjected to rules so confined and so narrow. 
 
 " What was, in the earliest times, the origin of the garden ? The wish that 
 certain esculent plants and fruits, which, in the waste field and the wide forest, 
 are scattered at great distances, in small quantities, intermixed with useless 
 vegetables and fruits, precarious in their appearance and stinted in their growth, 
 difficult to collect, and scarce worth the gathering, might in a nearer, a smaller, 
 and a more accessible spot, be better secured, more abundantly produced, kept 
 clearer of the noxious herbs and weeds which destroy their mitriment and impede 
 their growth. This was, in its origin, the sole object of the entire garden ; this, 
 
4 INTRODUCTION. 
 
 to the present hour, continues to be the principal purpose of that essential 
 portion of the garden, devoted to the uses of the kitchen and the table. 
 
 " In these parts of the garden then, which are destined immediately for the 
 gratification not of the eye, but merely of the palate, it is only in proportion as 
 we more fully deviate from the desultory and confused dispositions of simple 
 nature — firstly, by separating the different species of esculent plants, not only 
 from their useless neighbours, but from each other — and, secondly, by con- 
 fining the vegetables thus classed in those symmetric and measured compart- 
 ments, which enable us with greater ease to discover, to approach, and to im- 
 prove each different species in the precise way, most congenial to its peculiar 
 requisites, that we more fully attain that first of intellectual beauties, which, 
 in every production, whether of nature or of art, resides in the exact corres- 
 pondence between the end we purpose, and the means we employ. Nay, if 
 it be true that contrast and variety of colours and of forms are among the most 
 essential ingredients of visible beauty, we may say that even this species of 
 sensible charm is greatly increased in the aspect of a country by the opposition 
 to the more widely diffused, but more vague shades and outlines of the unsym- 
 metrised surrounding landscape, offered by the more vivid hues and more 
 distinct forms of the gay Mosaic work of nicely classed and symmetrised vege- 
 tables which clothe these select spots. 
 
 " Even where the general unadorned scenery is as bold and majestic as in 
 Switzerland, or as rich and luxuriant as in Sicily, the eye with rapture beholds 
 the variety, and enjoys the relief from the vaster and sublimer features of rude 
 Nature, offered by the professed art of a neat little patch of ground, whether 
 
INTRODUCTION. 5 
 
 field, orchard, or garden, symmetrically distributed. It looks like a small but 
 rich gem — a topaz, an emerald, or a ruby, sparkling amidst vast heaps of ruder 
 ore ; or rather like a rich carpet, spread out over a corner of the valley. It 
 appears thus incontrovertible, that in that part at least of the garden which is 
 immediately intended for utility, we incidentally produce not only greater 
 intellectual, but greater visible beauty, by not confining ourselves to the 
 desultory forms of unguided Nature, but by admitting the more symmetric 
 outlines of avowed art ; and it therefore only remains to be enquired, whether 
 in that other and different part of the artificial grounds, in later times added 
 to the former, which is directly intended for beauty, and which we therefore 
 call the pleasure-grounds, we shall really produce more beauty, intellectual or 
 visible, or, in other words, more pleasure to the mind or eye, by only employ- 
 ing the powers of art in a covert and unavowed way ; in still only preserving the 
 closest resemblance to the indeterminable and irregular forms of mere nature, 
 or by adhibiting her additional resources in a more open and avowed manner ; 
 in contrasting these more indeterminate and desultory features of pure nature, 
 with some of those more determinate and compassed outlines, which, indeed, on 
 a small scale, are already found in many of the spontaneous productions of 
 Nature herself; but which, on a more extended plan, are only displayed in 
 the works of art. I say, more pleasure to the mind or eye ; for the portion of 
 the garden here alluded to, no less than the one before mentioned, professes 
 itself to be a piece of ground wrested from Nature's dominion by the hand 
 of man, for purposes to which Nature alone was inadequate ; and thence, 
 contending that there is the least necessity or propriety in rendering this 
 district, appropriated by art, a fac simile of pure Nature, independent of any 
 consideration of superior beauty which this imitation may offer to the eye or 
 
 c 
 
g INTRODUCTION. 
 
 mind, and merely because, to form a garden, we use materials supplied by nature 
 — such as air, water, earth, and vegetables, would be absurd in the extreme. 
 As well might we contend, that every house, built of stone, should resemble a 
 cavern, and every coal made of wool, a sheep-skin. Every production of human 
 industry whatsoever, must, if we trace it to its origin, arise out of one or more 
 definite ingredients of pure nature ; and unless, therefore, by the same rule, 
 every production of human industry whatsoever be obliged everlastingly to 
 continue wearing the less regular forms of those peculiar objects of nature, 
 (uit of which it is wrought, we cannot with more justice arraign gardens in their 
 capacity as aggregates of mere natural substances and productions, for assuming 
 the artificial forms of a terrace or a jet-d'eau, an avenue or a quincunx, than 
 we can condemn opera-dancers and figurantes, in their capacity of compounds 
 of natural limbs and features, for exhibiting the artificial movements of the 
 minuet and the gavot, the entrechat and the pas-grave. 
 
 " If then the strict resemblance to the desultory forms of rude nature be not 
 indispensibly requisite in the artificial scenery of pleasure-grounds, on account 
 of any invariable reasons of propriety or consistency, inherent in the very essence 
 of such grounds, this resemblance of studious art to wild nature, in the gardens 
 that adorn our habitations, can only be more eligible on account of some superior 
 pleasure which it gives the eye and mind, either in consequence of certain 
 general circumstances connected with the very nature of all imitation, or only 
 in consequence of certain more restricted effects, solely and exclusively produced 
 by this peculiar species of imitation ; namely, of natural landscapes through 
 artificial grounds. 
 
INTRODUCTION. 7 
 
 " Now, with regard to the former of these two considerations, I allow that 
 a faithful imitation, even of a deformed original, is capable of affording great 
 intellectual pleasure to the beholder, provided that imitation, like those displayed 
 in painting and sculpture, he produced through dint of materials, or tools, so 
 different from those of which is composed the original imitated, as to evince in 
 the imitator extraordinary ingenuity and powers ; but the imitation of a natural 
 landscape, through means of the very ingredients of all natural scenery ; namely, 
 air, earth, trees, and water, (and which imitation will in general offer greater 
 truth in proportion as it is attained through greater neglect) cannot possess that 
 merit which consists in the overcoming of difficul ties and the display of genius ; 
 unless, indeed, it be an imitation of such a species of wild scenery as is totally 
 foreign to the genius of the locality in which it is produced ; unless it consist in 
 substituting mountains to plains, waterfalls to puddles, and precipices to flats ; 
 and in that case, on the contrary, the attempt at imitation will become so 
 arduous as to threaten terminating in a total failure, by only offering, instead 
 of a sublime and improved resemblance, a most paltry and mean caricature. 
 Since then in a garden, the imitation of the less symmetric arrangements of 
 rude nature can afford little or no peculiar gratification to the mind, in their 
 sole capacity as imitations, the question becomes restricted within a very narrow 
 compass ; and all that remains to be enquired into is, whether, in that garden, 
 the exclusive admission of the mere un-symmetric forms of simple nature, or 
 their mixture with a certain proportion of the more symmetric forms of professed 
 art, will give more intense and more varied pleasure to the eye ? And, when 
 thus stated, I should think the question would be nearly answered in the same 
 way by every unprejudiced person. I should think it would be denied by none, 
 that if, on the one hand, the most irregular habitation, still, through the very 
 
ESS 
 
 -n 
 
 8 
 
 INTRODUCTION. 
 
 i 
 
 nature of its construction and purposes, must ever necessarily remain most 
 obviously symmetric and formal ; if not in its whole, at least in its various details, 
 of doors, windows, steps, entablatures, &c. ; and if, on the other hand, as I take 
 it, all beauty consist in that contrast, that variety, that distinctness of each of the 
 different component parts of a whole, from the remaining parts, which render 
 each individually a relief to the remainder, combined with that harmony, that 
 union of each of these different component parts of that whole with the remain- 
 ing parts, which renders each a support to the remainder, and enables the eye 
 and mini! to glide over and compass the whole with rapidity and with ease, 
 fewer striking features of beauty will be found in a garden, where, from the 
 very threshold of the still ever symmetric mansion, one is launched, in the most 
 abrupt manner, into a scene wholly composed of the most unsymmetric and 
 desultory forms of mere nature, totally out of character with those of that 
 mansion ; and where the same species of irregular and indeterminate forms, 
 already prevailing at the very centre, extend, without break or relief, to the ut- 
 most boundaries of the grounds, than will be presented in another garden, where 
 the cluster of highly-adorned and sheltered apartments that form the mansion, 
 in the first instance, shoot out, as it were, into certain more or less extended 
 ramifications of arcades, porticoes, terraces, parterres, treillages, avenues, and 
 other such still splendid embellishments of art, calculated by their architec- 
 tural and measured forms, at once to offer a striking and varied contrast with, 
 and a dignified and comfortable transition to, the more undulating and rural 
 features of the more extended, more distant, and more exposed boundaries ; 
 before, in the second instance, through a still further link, a still further con- 
 tinuance of this same gradation of hues and forms, these limits of the private 
 domain are again made in their turn, by means of their less artificial and more 
 
 1 
 
 mmmmm 
 
 MS ■ 
 
INTRODUCTION. 9 
 
 desultory appearance, to blend equally harmoniously, on the other side, with 
 the still ruder outlines of the property of the public at large. 
 
 " No doubt, that, among the very wildest scenes of unappropriated nature, 
 there are some so grand, so magnificent, that no art can vie with, or can enhance 
 their effect. Of this description are the towering rock, the tremendous precipice, 
 the roaring cataract, even the dark, gloomy, impenetrable forest. Of such, if 
 we be fortunate enough to possess any specimens in the more distant parts of 
 our domain, let us take great care not to destroy, or to diminish the grandeur 
 by paltry conceits or contrivances of art. But even these are such features as, 
 from certain conditions unavoidably attendant on them, we would not wish to 
 have permanently under our eyes and windows; or even if we wished it, could not 
 transport within the narrow precincts which immediately surround the mansion. 
 A gentleman's country residence, situated in the way it ought to be, for health, 
 for convenience, and for cheerfulness, can only have room in its immediate 
 vicinity for the more concentrated beauties of art. In this narrow circle, if we 
 wish for variety, for contrast, and for brokenness of levels, we can only seek it 
 in arcades and in terraces, in steps, balustrades, regular slopes, parapets, and 
 such like ; we cannot find space for the rock and the precipice. Here, if we 
 admire the fleeting motion, the brilliant transparency, the soothing murmur, 
 the delightful coolness of the chrystal stream, we must force it up in an erect 
 jet-d'eau, or hurl it down in an abrupt cascade ; we cannot admit so near us the 
 winding torrent, dashed at wide intervals from rock to rock. Here, if we desire 
 to collect the elegant forms, vivid colours, and varied fragrance of the choicest 
 shrubs and plants, whether exotics, or only mere natives, oranges, magnolias, 
 and rhododendrons, or mere roses, and lilies, and hyacinths ; we still must con- 
 
 D 
 
10 INTRODUCTION. 
 
 fine them in the boxes, the pots, or the beds of some sort of parterre ; we 
 cannot give them the appearance of spontaneously growing from amongst weeds 
 and briars. Here, in fine, if we have a mind to secure the cool shade and the 
 convenient shelter of lofty trees, we can only plant an avenue, we cannot form 
 a forest. And for what reason, since we admire, even to an excess, symmetry 
 of lines and disposition in that production of art called a house, we should abhor 
 these attributes in the same excess in that other avowed production of art, the 
 immediate appendage of the former, and consequently the sharer in its purposes 
 and character, namely, the garden, I do not understand. There is between 
 the various divisions of the house and those of the grounds, this difference, that 
 the first are more intended for repose, and the latter for exercise ; that the first 
 are under cover, and the latter exposed. This difference should make a cor- 
 responding difference in the nature of the materials, and in the size and delicacy 
 of the forms ; but why it should occasion, on the one side, an unqualified 
 admission, and on the other, as unqualified an exclusion of those attributes of 
 symmetry and correspondence of parts, which may be equally produced in 
 coarser as in finer materials, on a vaster as on a smaller scale, I cannot conceive. 
 The outside of the house is exposed to the elements as well as the grounds ; 
 and why, while columns are thought invariably to look well at regular distances, 
 trees should be thought invariably to look ill in regular rows, is what I cannot 
 comprehend. Assuredly the difference is as great between the eruptions of 
 Etna, or of any other volcano, and artificial fireworks, as it is between the 
 falls of the Niagara or of any other river, and artificial waterworks. Why then, 
 while we gaze with admiration on a rocket, should we behold with disgust a 
 jet-d'eau ? And why, while we are delighted with a rain of fiery sparks, 
 should we be displeased with a shower of liquid diamonds, issuing from a beau- 
 
INTRODUCTION. 
 
 11 
 
 tiful vase, and again collected in as exquisite a bason 2 If the place be appro- 
 priate, if the hues be vivid, if the outlines be elegant, if the objects be varied 
 and contrasted, in the name of wonder, how should, out of all these partial 
 elements of positive, unmixed beauty, arise a whole positively ugly ? No, there 
 can only arise a whole as beautiful as the parts ; and so, those travellers who 
 have not allowed any narrow and exclusive theories to check or destroy their 
 spontaneous feelings, must own they have thought many of the suspended gar- 
 dens within Genoa, and of the splendid villas about Rome ; so they have 
 thought those striking oppositions of the rarest marbles to the richest verdure ; 
 those mixtures of statues, and vases, and balustrades, with cypresses, and pinas- 
 ters, and bays ; those distant hills seen through the converging lines of 
 lengthened colonnades ; those ranges of aloes and cactuses growing out of vases 
 of granite and of porphyry, scarce more symmetric by art than these plants are 
 by nature ; and finally, all those other endless contrasts of regular and irregular 
 forms, every where each individually increasing its own charms, through their 
 contrast with those of the other, exhibited in the countries, which we consider as 
 the earliest schools, where beauty became an object of sedulous study. 
 
 " But the truth is, that, in our remoter climes, we carry every theory into the 
 extreme. Once, that very symmetry and correspondence of parts, of which a 
 certain proportion ever has, to all refined ages and nations, ancient and modern, 
 appeared a requisite feature of the more dressy and finished parts of the 
 pleasure-garden, prevailed in our English villas with so little selection, and at 
 the same time, in such indiscreet profusion, as not only rendered the different 
 parts insipid and monotonous with respect to each other, but the whole mass a 
 most formal, unharmonious blotch with regard to the surrounding country. 
 
12 INTRODUCTION. 
 
 Surfeited at last with symmetry carried to excess, we have suddenly leaped into 
 the other extreme. Dreading the faintest trace of the ancient regularity of 
 outline as much as we dread the phantoms of those we once most loved, we have 
 made our country residences look dropped from the clouds, in spots most 
 unfitted to receive them ; and, at the expense, not only of all beauty, hut of all 
 comfort, we have made the grounds appear as much out of harmony, viewed in 
 one direction with the mansion, as they formerly were, viewed in the opposite 
 direction with the country at large. Through the total exclusion of all the 
 variety, the relief, the sharpness, which, straight, or spherical, or angular, or 
 other determinate lines and forms might have given (o unsymmetric and ser- 
 pentining forms and surfaces, we have, without at all diminishing the appearance 
 of art, (which in a garden can never totally be eradicated,) only succeeded in 
 rendering that art of the most tame and monotonous description ; like that 
 languid and formal blank verse which is equally divested of the force of poetry 
 and the facility of prose. Nature, who, in her larger productions, is content 
 with exhibiting the more vague beauties that derive from mere variety and play 
 of hues and forms ; — Nature herself, in her smaller and more elaborate, and, if I 
 may so call them, choicer bits of every different reign, superadds those features 
 of regular symmetry of colours and shapes, which not only form a more strik- 
 ing contrast with the more desultory modifications of her huger masses, but 
 intrinsically in a smaller space, produce a greater effect than the former can 
 display. Examine the radii of the snow-spangle, the facettes of the chrystal, 
 the petals of the flower, the capsules of the seed, the wings, the antennas, the 
 rings, the stigmata of the insect and the butterfly ; nay, even in man and beast, 
 the features of the face, and the configuration of the eye, and we shall find in 
 all these more minute, more finished, and more centrical productions of the 
 
INTRODUCTION. 
 
 13 
 
 mineral, the vegetable, and the animal kingdoms, reigns the nicest symmetry of 
 outline and correspondence of parts. And if art, which can only be founded 
 upon, only spring out of nature ; if art, I say, should ever only be considered as 
 the further developement of nature's own principles, the compliment of nature's 
 own designs, assuredly we best obey the views of nature, and best understand 
 the purposes of art, when, leaving total irregularity to the more extended, more 
 distant, and more neglected recesses of the park, we give some degree of symme- 
 try to the smaller and nearer, and more studied divisions of the pleasure ground. 
 This principle of proportioning the regularity of the objects to their extent, the 
 Greeks well understood. While in the Medici Venus the attitude of the body 
 only displays the unsymmetrie elegance of simple nature, the hair presents all 
 the symmetry of arrangement of the most studious art ; and unless this prin- 
 ciple also become familiar among us there is great danger that, unable to make 
 the grounds harmonise witli the mansion, we attempt to harmonise the man- 
 sion with the grounds, by converting that mansion itself into a den or a quarry. 
 
 " Economy, no doubt, may sometimes be alledged as an unanswerable reason 
 for leaving even the most important and dignified of our country mansions en- 
 tirely destitute of the accompaniments of covered walks, terraces, balustrades, 
 parterres, berceaux, and such like works of art and nature combined ; but that 
 taste should be made the pretence for wholly discarding those numerous addi- 
 tional means of encreasing the splendour and the variety of the scene, is an abuse 
 of terms as egregious as it seems inconceivable." 
 
 1! 
 
14 
 
 INTRODUCTION. 
 
 To a review of this subject, so copious and discriminating as the foregoing, I 
 have little to add, except a general observation (which, as the reader proceeds, 
 lie will find exemplified) that the grounds of White-Knights exhibit every speci- 
 men of Gardening (in the most extensive sense of the term) with all the peculiar 
 characleristics and appropriate embellishments which belong to each, and that 
 they were laid out solely by the fine taste, and under the immediate inspection 
 of the Duke of Marlborough, whose principal residence was at White-Knights 
 for many years, where, under his fostering eye, they have grown into the per- 
 fection they now display. 
 
 The difficulty of impressing upon the mind any just sense of objects intended 
 for the sight, will be admitted by all who have observed' the general inadequacy 
 of language thus employed, even by writers whose established characters war- 
 rant us in forming high expectations of their powers and decided reliance upon 
 their veracity. Under this impression, the following work is offered witli the 
 humility of conscious inefficiency, as the medium of successively leading the 
 reader to the various views which embellish the work. In these faithful 
 delineations the scenes are displayed with the severity of truth, yet not therefore 
 deprived of that ideal grace which the fortuitous circumstances of light and 
 shade, the changes of seasons and elements, permit, and which distinguish the 
 painter of genius from the mere mechanist of art. 
 
HISTORICAL ACCOUNT 
 
 WHITE-KJYIGHTS. 
 
HISTORICAL ACCOUNT 
 
 OF 
 
 WHITE-KNIGHTS. 
 
 The earliest accounl we have of the mansion called Arley, or Erley White 
 Knights, mentions it as a house attached to the Hospital of Lepers, instituted at 
 Reading-, hy Aucherius, the second abhot of that noble monastery, whose 
 extensive ruins still claim the attention of the antiquary, and whose records 
 evince the great consequence and wealth formerly attached to it, and the pecu- 
 liar circumstances of despotism and cruelty, which marked its downfall and 
 dissolution. 
 
 Aucherius died in 1134, and had then so far established his charitable pur- 
 pose, that we find in the 1st of Henry V. three hundred acres of land were 
 allowed for the support of this appendage to the parent institution, together 
 with two large ells of white russet cloth for a cloak, and a half ell of the same 
 for hose, to each of the knights-pensioners resident at Arley, or Erley, in the 
 parish of Sunning : hence probably arose the name of the present house. 
 
18 HISTORICAL ACCOUNT OF 
 
 From Vol. I. of the Magna Britannia, under the article of Sunning, we have 
 the following notice of White-Knights. 
 
 " The Survey of Domesday mentions two manors of Herlei, in the Hundred 
 " of Charlton, and another manor of Hurlei, in the Hundred of Reading, 
 " besides Herlei, in the Hundred of Bernesh (now Hurley), between 
 " Maidenhead and Henley : the three former, it is probable, all apply to 
 " the Earleys in this parish. The Erles, an ancient family in the reign of 
 " Edward I. possessed one of these manors, from whence they seem to 
 " have taken their name. In or about the year 1392, John Shelford, 
 " who became possessed of a life-interest in the manor of Erlegh Whyte 
 " Knights by marrying the widow of Henry Aldryngton, purchased the 
 " inheritance. Being vested in the crown in 1412, King Henry IV. 
 " granted it, with the custody of a free chapel there, which had belonged 
 " to the hospital of lepers, at Reading, to John Beke. Sir Thomas Beke 
 " died seized of it in 1547 : it appears on record that some years before 
 " his death he had dissolved the free chapel of Arley without the king's 
 " leave." 
 
 Agreeable to this information, we find this entry in the reign of Henry VIII. 
 
 " Arley White Knights, a free chapel within the manor of Reading, two 
 " miles from Sunning church (by whom founded is unknown) was 
 " dissolved by Thomas Beke, Feb. 4th, 27th Henry VIII. without the 
 " king's licence. 
 
 " Yearly value, 26*. 8d. Ornaments, 26s. 8d." 
 
WHITE-KNIGHTS. 
 
 19 
 
 To which we add the copy of a record, May 17th, Edward VI. from the 
 Augmentation Office. 
 
 The Fre Chappell of 
 Arley Whyte Knyghts, < 
 in Sonning. 
 
 COMITAT. BERKS. 
 
 Founded by the aiincestors of Thomas Beke, within his-) 
 manor of White Knyghts, whereunto appleyneth 3 pid- 
 dels of arrable lande, containing by Eslimacon 5 acres, 
 one acre of arrable lande, lying in Erley Felde, and all 
 theTythes of the said manor of White Knights, with the 
 appurtences now in the tenure of Hughe Beke incumbent, 
 havinge nothinge els towardes his lyvinge, is of the clere 
 .yearelie value of -- ----- 
 
 33 .. 4 j. 
 
 M d . there is neither Lcade, Bells, Chalice, nor other ornaments, by the 
 testimony of the Incumbent, and others upon theire othes. 
 
 Ex d - per me, RO. AMYCE. 
 
 17°' die Maii Anno. Sedo 
 
 Rc s - Edw. 6"" pro. 
 Henrico Polslede de Chil- ■ 
 worth, in Com. Surr. 
 Generos. 
 
 Tlie clcare yearelie value of the premises - - - 
 Which rated at 26 yeares purchase amountethe to 
 
 S3 1 ' 4 d - 
 
 43 6 8 
 
 The King's Majestic to dischardge the purchaser of all Incumbrances 
 excepte Leases and the Covenants in the same. 
 The tenure in Soccage or free Burgage. 
 The Purchaser to have the Issues from Easter last. 
 Memor. To take a Bonde for the Woodes. 
 
 The Leade and Bells to be excepted. 
 
 WA. MILDMAY— ROB T - KEYLWEY. 
 
 This is a true copie of the 
 Rccorde remayninge in the 
 A ngmentacon Office at Westm. 
 
20 
 
 HISTORICAL ACCOUNT OF 
 
 From further perusal of the ancient deeds relative to the manor and free 
 Chapel of White-Knights, we learn that Edward VI. on receiving a considera- 
 tion of 382/. 7*. paid into the treasury of the augmentation, granted the chapel 
 lands, with all their rights of tythe, &c. to Henry Polsted and William Moore, 
 in consequence of an agreement to that effect between these persons and Mar- 
 maduke and Hugh Becke, the heirs of the before-named Thomas Becke. 
 
 In the 13th of Queen Elizabeth it is certified, that Marmaduke Becke, having 
 died without heirs, his cousin, Henry Becke, became possessed of all his lands 
 and tenements ; that the said Henry Becke left this property to Elizabeth, his 
 only child and heir. 
 
 1st March, 3d James I. licence was granted to Hugh Speake, who had 
 married the said Elizabeth, to alienate the said lands to Sebastian Harvey, and 
 others ; and in the 28th of the same year, 1606, the manor of White-Knights 
 was purchased for the sum of 7500/. by Francis Englefield, esq. and William 
 Woolascot, esq. 
 
 In the 16th of the same reign, Francis, now Sir Francis Englefield, baronet, 
 on paying the further sum of 5600/. to the said W. Woolascot, became sole 
 proprietor of the estate (except the right that the said W. Woolascot had to 
 Parton's Eyett.) 
 
 Sir Francis Englefield dying in 1633, left this estate to his third son, Anthony, 
 for whose benefit he had always intended it eventually ; and it appears to have 
 descended from him with few interruptions to the present Sir Henry Englefield, 
 
WHITE-KNIGHTS. 21 
 
 bart. to whose more immediate ancestor, Mr. Henry Englefield, we find an 
 excellent letter on the subject of the tythes, written, as it appears, by his then 
 father-in-law, Benjamin Poole, esq. of the Middle Temple, from which we make 
 such extracts as may cast light on the more early history of the place. 
 
 " Sonn Englefield, 
 
 " I have perused all your deeds and evidences belonging 
 " to the free chapel of Early, which you recommended to my perusal, and find 
 " that that chapel was a very ancient chapel, and dedicated to St. Nicholas, 
 " erected by the lords of the mannor of White-Knights, and in all probability 
 " was so built longe before England was divided into parishes, or the mannor 
 " of White-Knights was granted out into services. 
 
 " For before the Council of Laterani, held anno 1215, any man might con- 
 " secrate his tithe to what church he pleased. And when, after the Reforma- 
 " tion, King Edward VI. resolved to suppress the popish chappels, chauntryes, 
 " &c. commissioners were appointed to enquire, who certified as followeth, viz. 
 " ' That the free chapel of Early Whi te-Knights was founded by the ancestors 
 " ' of Thomas Becke, within his mannor of Whi te-Knights, and endowed with 
 " ' three piddles of arable land lying in Early field,' &c. &c. 
 
 *********** 
 
 " I am of opinion that all the tythe arising, increasing, or renewing not only 
 
22 HISTORICAL ACCOUNT OF 
 
 " demesne lands of the said mannor, lull of all the other lands held of that 
 " mannor, do belong to you ; and that if you sue for them you may recover 
 " them," &c. &c. 
 
 The manor of White-Knights, after remaining in the family of the Englefields 
 for nearly two hundred years, was sold by the present baronet of that name, 
 something more than twenty years since, to Richard Byam Martin, esq. from 
 whom the Duke of Marlborough, then Marquis of Blandford, purchased it in 
 1798. 
 
 From the abundance of fine wood found on this estate, we must consider that 
 it has been fortunate in its possessors time out of mind, and the taste and know- 
 ledge of Sir Harry Englefield are too well known for it to be doubted that he 
 improved the abode of his ancestors, and added to the riches of those groves 
 which have been the growth of ages : but to its present noble possessor, White- 
 Knights unquestionably owes that peculiar character of varied lovebness and 
 splendid decoration, which commands admiration and ensures celebrity. 
 
 The site of the chapel of White-Knights, so frequently adverted to in its early 
 annals, is in the higher part of the park, now the entrance from the London 
 road, and is visible from many of the principal rooms in the house. The front 
 of the ancient walls has been restored in that style of architecture called the 
 ornamented Gothic, which obtained generally in this country during the 
 period when the institution of the White-Knights flourished. This restored 
 
WHITE-KNIGHTS. 23 
 
 building is almost covered by the most luxurious ivy, and nearly surrounded 
 by a grove of various trees, whose tints contrast with the mellow hue of the 
 stone, as their youthful foliage does with the ancient character its form assumes, 
 and render it an object of singular interest and beauty, in whatever point of 
 view it is considered. 
 
E 
 
 m 
 
 i 
 
 4 
 
 1 
 
 s 
 
 1 
 
 I 
 
DESCRIPTION 
 
 OF 
 
 WHITE-KIVIGHTS. 
 
 Here the most daintie Paradise on ground, 
 Itselfc doth offer to the sober eye, 
 In which all pleasures plenteously abownd, 
 The painted flowres, the trees upshooting hye, 
 The dales for shade, the hills for breathing space, 
 The trembling groves, the christall running by ; 
 And that, which all faire works doth most aggrace, 
 
 The art which all had wrought appeared in no place. Spenser. 
 
 The road to White-Knights, from the Metropolis, branches off to the left, 
 about two miles before we reach the Borough of Reading, and brings us be- 
 neath an umbrageous path, of about a quarter of a mile to the lodge, after 
 which we immediately enter the Park by a gateway of three arches. 
 
 The . Park is here thickly shaded by trees of every description; but as we 
 proceed, it becomes more open, and, to the right and left, exhibits every 
 beautiful variety of surface and ornament of foliage ; immense oaks, tall elms, 
 and graceful limes, are seen in broad masses and beautiful clumps, varied with 
 the snowy birch and the silvery larch. Numerous groupes of cattle, remark- 
 
28 
 
 DESCRIPTION OF 
 
 able for their beauty, people this domain, and in their picturesque forms and 
 brilliant colouring, enliven the surrounding landscape. 
 
 As we advance, the road by a bold sweep presents us with a view of a most 
 noble piece of water, (which in this place assumes the form of a river), beyond 
 which we behold the house (a handsome modern structure) in two of its prin- 
 cipal fronts. On the right hand, the ruins of an ancient chapel appear, half veiled 
 in a coppice of various trees ; and proceeding towards the house, we cross the 
 
 BRIDGE. 
 
 This is a handsome stone bridge, of three bold arches, rusticated, over a 
 span of water about 140 feet wide. Near the bridge, a group of abele 
 poplars of singular beauty, wave their long branches, and cast a soft shadow 
 over the stream, which is here enamelled by water lilies, and inhabited by 
 beautiful swans, which, proudly floating on their glassy empire, appear to give 
 the stranger a stately welcome to the scene on which he more immediately 
 enters, as a gentle ascent now leads him to the 
 
 LAWN. 
 
 This beautiful and highly ornamented portion of the grounds which more 
 immediately surrounds the house, is divided from the park by a fence of iron- 
 work, which, although strong, is so light, and painted of so natural a green, 
 
WHITE-KNIGHTS. 2 g 
 
 that at a very short distance it assimilates completely with the surrounding 
 verdure. The eye of course soon loses all traces of it, and from the house 
 beholds the wide expanse of garden, lawn, grove, and woodland, without one 
 intervening line to check the progress of vision, or destroy that fulness of enjoy- 
 ment which arises from the sense of continuity. 
 
 Before we reach the house a new object of attention is presented to the 
 left, in 
 
 THE ROAD TO READING. 
 
 This lies through a noble avenue of elms, whose tall heads nearly meet at an 
 immense height, and between whose branches the chequering light and shadow 
 agreeably conducts the eye through a fine vista to a handsome stone entrance of 
 three arches ; beyond which another, but less regular avenue, crossing the new 
 park, leads to the turnpike road, by which Reading is visited at an easier distance 
 than that already specified. Leaving this for the present, we enter upon the 
 lawn by a green iron gate, corresponding with the fence already mentioned, 
 and proceed to the house, of which the principal entrance is in the centre of the 
 South Front. 
 
 Along the whole of this front runs a beautiful veranda, supported by light, 
 iron pillars from the ground. The most rare and fragrant exotics growing in 
 classical vases of the finest forms, are placed the whole length of the veranda, 
 interspersed with China barrel seats. The beauty of this balcony claims the 
 
30 DESCRIPTION OF 
 
 attention, and charms the senses of every visitor, whilst it displays the botanical 
 knowledge and interesting pursuits of the noble possessor. 
 
 The glass doors by which we enter the hall (and indeed every other window) 
 is level with the lawn. On the left hand is the billiard-room ; on the right the 
 Grecian room, which, with the anti-room, drawing-room, and dining-room, 
 form a complete range en suite, which occupy three sides of the house. 
 
 From the windows of these splendid rooms the eye gazes in rapturous 
 surprise on the surrounding scenery, which compels us to resign all contempla- 
 tion of interior elegance, whether displayed in pictures, furniture, or decoration, 
 until we have taken a general survey of the smiling landscape around us ; we 
 shall, therefore, before entering upon the house, endeavour to lead the reader 
 around it, beginning with the view from 
 
 THE SOUTH FRONT. 
 
 The view from hence is not extensive, but exquisitely beautiful, being princi- 
 pally that of garden-ground in the highest state of cultivation : the lawn is of the 
 purest emerald hue, enriched with plots adorned with fragrant flowers, rare 
 shrubs, and light trees of every graceful form, which lead the eye by fine grada- 
 tions to those distant clumps of massy foliage in the park, which bound the view 
 to the right, and leave the left open to the eye as you pass to the 
 
WHITE-KNIGHTS 
 
 81 
 
 EAST FRONT. 
 
 This front of the house possesses the advantage of two noble bow windows, 
 from whence we perceive the lawn softly descend to the water, which here 
 appears a noble river, from which, on the opposite bank, the park rises boldly, 
 though not precipitously, and as it gently recedes from the eye, we perceive it 
 crowned in one part by the ruin already mentioned, of which the annexed plate 
 is a faithful picture. 
 
 Here every variety of verdure, from the dark hues of the elm and beech to 
 the transparent acacia, is seen in all the beauty of harmony and the spirit of 
 contrast, and every leafy form, from the stately lignum vitas to the tremulous 
 aspen, mingles in the scene, and unobtrusively contributes to heighten its effect. 
 The bridge and the road, partially intercepted by groups of lofty trees, are fine 
 features of the landscape here, and give an agreeable diversity both in form and 
 colour. 
 
 NORTH FRONT 
 
 The view from this side of the house adds all the charms of novelty to the 
 attractions of beauty ; here we behold the lately admired river expand into the 
 appearance of a beautiful lake, on whose calm bosom the powers of vision repose 
 with new delight. Thickly foliaged and lofty trees to the left, in their dark 
 
32 
 
 DESCRIPTION OF 
 
 masses, form a majestic contrast to the shining waters, and give a bold outline 
 to the picture. On the right we perceive the undulating banks forming bays 
 and verdant slopes, where the weeping willow, the birch, the majestic elm, 
 the oak, and picturesque pine, unite to decorate the sylvan grounds, in which 
 we gain glimpses of grass walks and seats, whose situation invites us to explore 
 them. To the front, we catch a view of the distant country above the 
 poplars that fringe the upper part of the lake, and which bounds the horizon in 
 a softly waving line, while the more immediate objects which conduct the eye to 
 the water, are the flower-tufted lawn and a fine portion of the sheep-walk. The 
 annexed view was taken from this side of the house, and will convey an idea of 
 its character better than any description. 
 
 THE HOUSE. 
 
 We will now take a short survey of the house, observing generally upon the 
 rooms we have enumerated, that they are perhaps unrivalled in their character 
 of combining comfort with magnificence. All here is elegant, appropriate, 
 splendid, and yet useful ; the most fastidious admirer of simplicity, could not 
 find one object which he could denominate gaudy ; nor the lover of grandeur, 
 one circumstance which indicated deficiency : every thing is rich, dignified, and 
 graceful, yet chaste and unobtrusive : the fine taste which conceived and regu- 
 lated all, is displayed in every part. 
 
WHITE-KNIGHTS. 
 
 33 
 
 THE HALL. 
 
 This is a handsome entrance, 11 feet wide and 25 feet long. On each 
 side are two ornamental pedestals, crowned at some periods by classic figures 
 in bronze ; at others, by rare productions from the Botanic gardens. Opposite 
 the entrance is the principal staircase, which, after the first flight, branches 
 into two semi-circular ascents ; this, with the Grecian lamps which light, and 
 the pictures that adorn it, form a very pleasing coup-d'ceil from the first open- 
 ing. Turning to the right, we first enter the 
 
 GRECIAN ROOM. 
 
 This room derives its name from its decorations; it is admirably painted to 
 represent verde antique columns of the Ionic order, upon a ground of Sienna 
 marble. The chimney-piece, of white marble, is handsomely wrought; and the 
 stove, of a new and elegant form, in bronze, with appropriate Grecian ornaments, 
 together with the rich gilt fender, screens, &c. are strikingly beautiful. This 
 part of the room, ever an object of attention, is further beautified by a noble 
 looking-glass, rich china jars, and an exquisite marble bust of Artemis. The 
 curtains, Ottomans, chaises longues, and chairs, are covered with a gold and 
 silver India chintz, An upright pianoforte, and a beautiful cabinet of the finest 
 French China, correspond on each side of the first door, together with various 
 stands, on which are placed noble jars of gilt Dresden China, silver fillagree 
 
34 DESCRIPTION OF 
 
 ornaments, covered with glass, and most beautiful urns of alabaster, with bronze 
 masks : tables, with books and drawings, complete the air of polished luxury 
 and refined enjoyment which seems to reign in this classical apartment, which 
 enjoys from one of the bow-windows to the east, and from two other windows 
 to the south, those fine prospects described as belonging to each. Leaving this, 
 we enter the 
 
 ANTI ROOM. 
 
 This room is plainly and substantially furnished with all library appendages, 
 and from a large Venetian window, which forms the recess between the bow- 
 windows, enjoys a most beautiful prospect. A fine time-piece and some valuable 
 Egyptian idols enrich the chimney-piece, over which is a long painting, in 
 imitation of bas-relief, which is absolutely deceptive. Through this room we are 
 led to the 
 
 DRAWING ROOM. 
 
 This splendid room is in size the counterpart of the Grecian room, being 21 
 feet wide and 41 feet long, and enjoys the eastern and northern views, which 
 we have endeavoured to describe, and are partly presented in the two last 
 plates. It is completely filled with the most valuable pictures from the old 
 masters, which are all in high preservation. The walls are hung with a pale 
 peach-blossom coloured cloth, and the floor being carpetted with the same, a 
 
WHITE-KNIGHTS. g 5 
 
 most agreeable relief is afforded to the eye, and the glowing hues of the pencil 
 obtain their just rank in the brilliant objects which press upon the sense. 
 
 The curtains of this room are of a rich purple silk, intermixed with peach- 
 blo ssom coloured sarcenet, and trimmed with most splendid fringe, lacings and 
 tassels of gold-coloured silk : the cornices are richly gilded arches, with corres- 
 ponding ornaments. The chairs, sofas, and screens are also gilt and covered 
 with purple satin, woven to represent embroidery. On the seat of each chair, 
 enwreathed with flowers, there is a nest of young birds crying for food, and 
 on the back of the chair the parent bird is seen with extended wings hastening 
 to their relief. 
 
 Three chandeliers of admirable beauty are suspended from the ceiling by 
 golden chains ; each contains four Grecian globular lamps, placed upon a cir- 
 cular glass plate, surrounded by a rich border of gold flower-work, from which 
 descends a deep fringe of pendant chrystals of most exquisite lustre. An 
 immense looking-glass over the chimney-piece, which is opposite to a Venetian 
 window, reflects the landscape in the happiest manner. The mantle-piece 
 contains four large jars of mandarin China, of the most curious workmanship, 
 being covered with hieroglyphics embossed ; also two cosily ornaments of lapis 
 lazuli, and a fine French clock. 
 
 From these objects of taste and utility, however elegant, the eye must be 
 frequently withdrawn to those infinitely higher productions of art, which con- 
 stitute the glory of this noble room ; anil although a catalogue raisonnee is 
 annexed, to which the visitor of White-Knights is referred, I cannot forbear 
 
36 DESCRIPTION OF 
 
 to mention a few of those which are striking and affecting, even to those who 
 are wholly unlearned on the subject of Painting. The Death of Darius, by 
 Ludovico Caracci, represents the unhappy monarch at that moment 
 
 " When fallen from his high estate, 
 " And weltering in his blood," 
 
 even his horses refuse to obey his guiding hand, and in their rebellion destroy 
 the last vestige of hope : he sinks back in his chariot, overwhelmed with despair ; 
 his misfortunes have reached their acme, and hard indeed must be the heart that 
 can refuse to sympathise in his distress. The Madona, by Carlo Dolce, is 
 exquisitely beautiful, and the expression of modesty is so fine that it becomes 
 almost divine. The Deity, represented by Albano as the " Ancient of Days," 
 surrounded by adoring angels, is very impressive. The suffering Christ, by 
 Guido, is too affecting for its situation ; the eye that has gazed upon it cannot 
 soon return to the objects of delight which surround it. 
 
 The death of the Virgin, by Elsheiiner, though small, is an extremely interest- 
 ing picture of a subject I have not seen before. The Lace-maker, by F. Mieris, 
 is inimitable ; every object seems to live before us. . There is an Italian picture 
 of the Virgin and Child, by Parmigiano, much more beautiful than we have ever 
 seen them represented ; and in the picture of Hagar and Ishmael, by F. Mola, 
 the pale dying looks of the child, and the eager ones of the poor imploring- 
 mother, are admirably expressed. 
 
WHITE-KNIGHTS. 
 
 37 
 
 THE DINING ROOM. 
 
 This finely-proportioned room enjoys from three large windows the northern 
 view already noticed, but more extensive. Like the drawing-room it is enriched 
 with a great number of fine pictures by the old masters. The side-board is 
 very splendid, and exhibits an admirable specimen of workmanship : it is formed 
 of British oak, highly wrought, and stands in a large recess, supported by 
 two pillars and two pilasters of Sienna marble. The side-board is decorated 
 by two tall vases of alabaster ; but the principal ornament is a bust of the 
 Duke of Marlborough, by Prosperi, which is an admirable likeness, and is 
 supported on a bracket above the centre of the side-board. The chimney- 
 piece is of white marble, beautifully executed, and supporting splendid orna- 
 ments of alabaster vases, enwreathed with vines in bronze ; also a time-piece of 
 the richest materials and finest taste. 
 
 The curtains in this room are of blue cloth, trimmed with velvet ; the chairs 
 mahogany, with blue morocco seats : a fine Grecian lamp, containing six 
 globes, is suspended over the dining-tables, and another over the side-board. 
 Among the fine paintings which ornament this room, we remarked some beau- 
 tiful landscapes, and a very brilliant picture by Cornelius Schut, which appeared 
 to be the clipping of Cupid's wings. The walls of the dining-room are of the 
 same colour as those of the drawing-room, and the paintings are seen to equal 
 advantage. The floor is covered with a rich Turkey carpet, and every thing has 
 that air ot substantial accommodation which is called for in a room of this 
 
38 DESCRIPTION OF 
 
 description. Proceeding through the door which opens into the Hall, we now 
 visit the 
 
 BILLIARD ROOM. 
 
 This room, which is on the left hand of the Hall, enjoys a beautiful though 
 somewhat more confined view than those hitherto mentioned ; the flowery 
 lawn and the more distant park are here richly diversified by shrubs and 
 trees, whose moving shadows perpetually vary and beautify the verdant 
 carpet which sustains them ; and within the room we find various attractions, 
 particularly those presented in the pictures, which are principally portraits, and 
 the subjects from which the embellishments in this work are engraved. 
 
 The equestrian portrait of his Grace the Duke of Marlborough, by Stroeh- 
 ling, is an admirable likeness and most pleasing picture. The Duke appears in 
 the costume worn by one of his martial ancestors, the Baron Spencer, when 
 commanding his forces in the Isle of Wight, which the surrounding scenery re- 
 presents, under the effect of the partial lights produced by a cloudy atmosphere. 
 
 The three-quarter portrait of his Grace, by Cosway, is also a very faithful 
 resemblance ; that of Lady Caroline Spencer has great, sweetness and beauty, 
 but yet we deem this artist's most happy effort to be the picture which contains 
 portraits of the Earl of Sunderland (now Marquis of Blandford) and Lord 
 Charles. It is impossible to look on this picture, in which the noble and lovely 
 youths are seen playing with the helmet and armour so often worn by their 
 
WHITE-KNIGHTS. 
 
 illustrious ancestors, and arrayed in the graceful habiliments of " olden time," 
 without applying to the Duke their father, the words of Shakespeare— 
 
 " How thyself thou blason'st, 
 
 " In these two princely' boys! they are as gentle 
 " As zephyrs underneath the violet, 
 " Not wagging his sweet head, and yet as rough 
 " (Their noble blood inchafed) as the rude wind 
 " That by the top doth take the mountain pine, 
 " And make him sloop to th* vale." 
 
 ^VMBELINE. 
 
 The Connoisseur, by Sharpe, in this room, is a very amusing picture : several 
 views of the surrounding grounds, by Hofland, highly-finished, and strictly 
 faithful, with others by Jones and Coventry, are here also. There is a fine 
 cabinet of French China, and another containing beautiful specimens of ores, 
 fossils, spars, and other mineralogical productions, together with books, folios 
 of prints, antique ornaments, and whatever can contribute to lite amusement of 
 a refined taste. 
 
 THE STAIRCASE. 
 
 The staircase is lighted by a beautiful dome, and after branching off as we 
 have already mentioned, forms a square, which is on every side ornamented with 
 pictures. The two most striking are compositions from ancient architecture, by 
 Panini, one of which represents the original of the famous Roman Fountain, of 
 which there is a copy in the gardens at Blenheim. A matchless picture of an 
 Italian Family, by Caravaggio— two noble Sea Views, by Loutherbouroh— and 
 some fine portraits, by Sir Godfrey Kneller, among which John Duke of 
 
4 0 DESCRIPTION OF 
 
 Marlborough and his Duchess are the most interesting, detain us ere we 
 visit 
 
 THE LIBRARY. 
 
 The splendid, and in many respects unequalled, collection of books and 
 missals, together with many other valuable curiosities contained in this library, 
 is disposed of in three rooms, which are over the anti room and the Grecian room, 
 the windows from which open upon the verandas to the south-east front. These 
 verandas are full of the most beautiful flowers, whose brilliant hues and 
 exquisite perfume seem to woo the attention from those treasures of art which 
 are the more immediate objects of admiration, while the classical forms of the 
 vases in which they are planted according with our ideas of attic elegance and 
 poetic ornament, render us sensible that such should be the bower of the Muses. 
 
 THE FIRST ROOM 
 
 Contains, we believe, the most curious collection of ancient missals, in high 
 preservation, to be found in the possession of any individual ; and upon the 
 library-table is a cabinet, containing two books unrivalled in their celebrity. 
 We mention the first as the more ancient ; it is a missal of most exquisite beauty, 
 and in the most perfect preservation, though very nearly four hundred years 
 old. It is called the Bedford Missal, being a book of devotion executed for the 
 Duke of Bedford, when Regent of France in 1422. It is beautified with fifty- 
 
WHITE-KNIGHTS. 41 
 
 nine miniature paintings, and preserves the only portraits in existence of John 
 Duke of Bedford, and Anne of Burgundy, his Duchess. The vellum leaves are 
 surrounded by brilliant borders of gold foliage, and it is bound in crimson 
 velvet, with gold clasps, on which are the arms of Harley, Holies, and Cavendish : 
 those of the first possessors are splendidly emblazoned in the frontispiece. 
 
 This inestimable missal was presented by the Duchess of Bedford to King- 
 Henry VI. and has probably often assisted that pious, but unhappy monarch, to 
 look beyond the sorrows which surrounded him to that peaceful haven where 
 he could alone hope for rest. After passing through many hands illustrious for 
 rank or character, this most interesting production was purchased by the Duke 
 of Marlborough (then Marquis of Blandford) at the sale of Mr. Edwards, of 
 Pali-Mall, May 24th, 1786, for the sum of 698/. 5*. 
 
 In the same cabinet (which is rich and handsome, consistent with the trea- 
 sure it contains) is the celebrated copy of Boccaccio, the only perfect, one in 
 existence. It is a folio, and is ornamented by a miniature picture, beneath 
 which is written the author's name, Meser Giovan Boccaccio. His Grace pur- 
 chased this remarkable work at the sale of the late Duke of Roxborough, for 
 2260/. the largest sum ever given for a single volume. 
 
 Among other embellished works are two large folio volumes of the Bible, 
 bound in purple velvet, with gold clasps : these sacred works are rendered very 
 remarkable from being the second copy printed by Luther, and the only one 
 known upon vellum. These, like the missals, are in the highest preservation, 
 and splendidly enriched and adorned with the embellishments of the periods in 
 
 91 
 
42 DESCRIPTION OF 
 
 which they were executed, and the history of each is given in the catalogue of 
 his Grace's lihrary, which may be found in every room. 
 
 THE SECOND ROOM. 
 
 This noble room is ornamented by a painted cornice and capitals in the 
 Egyptian manner. The chimney-piece is of porphyry, sculptured in the same 
 style of art, each side being supported by an Isis ; and on the hearth are two 
 superb sculptures of the Sirius, supported on pedestals of Scagliolo. The 
 fender and fire irons are very valuable antiquities, curious in their form and 
 workmanship, and are executed in fine bronze. 
 
 The books, which are all splendidly bound, and consist of the finest editions 
 of the most approved authors, are principally contained in the book-cases which 
 occupy the east and west sides of the room, which is completely filled in other 
 parts with costly and curious specimens of china, sculptured ivory and wood, 
 bronze, silver fillagree, chrystal, and amber. We enumerate only a portion of 
 those elegant productions in the following list, premising that the piers between 
 the windows are occupied with a cabinet of exquisite china and a most magni- 
 ficent grand piano-forte, and that other spaces are also filled with receptacles 
 for curious and costly specimens of china. 
 
 The Graces supporting a Vase with Flowers. 
 
 A small self-moving Organ, which affords delightful music, of pure gold, most 
 delicately wrought. 
 
WHITE-KNIGHTS. 
 
 13 
 
 Venus Couchant under a Glass — exquisitely beautiful. 
 
 A silver fillagree Box upon gold ; a small Curricle and twelve Cups of the 
 same beautiful material ; a silver Chest. 
 
 A small Cabinet standing - on the Grand Piano, containing a complete set of 
 carved ivory figures and enamelled china, in purple and gold, very small and 
 singularly beautiful and rare. 
 
 A Laplander drawn by Deer, carved in the purest ivory, under a glass cover. 
 
 A Blind Man, of ivory, very fine. 
 
 Two bronze Obelisks, covered with hieroglyphics. 
 
 On a small table a complete set of Italian figures, representing rustic musi- 
 cians and dancers, carved in wood. 
 
 A Set of Egyptian Idols, in bronze, very perfect. 
 Female figures in bronze, ornamented with white beads. 
 Chinese Female, moulded in rice. 
 
 Another Cabinet, in which we find enamelled China basins of great value, 
 Dogs, Monkeys, and Caricatures ; also in Dresden china. 
 
 Various specimens of the purest Amber, in which large flies are seen in a per- 
 fect state, and a large chrystal. 
 
 A Marble Table, inlaid with Gold. 
 
 An Egyptian Ibis stuffed, in fine preservation. 
 
 Two ditto in Bronze, and every possible description of Ink-stand in the same 
 material, each remarkable for the taste and workmanship it displays. 
 
 This noble room is further ornamented by four Pilasters in Scagliolo, and 
 four Lions couchant, on pedestals of the same. 
 
44 DESCRIPTION OF 
 
 The only portion of the walls not occupied as described, is handsomely painted 
 in distemper, to represent an Egyptian landscape. The ceiling is painted in 
 pannels, and from it are suspended three elegant Egyptian lamps : the two rooms 
 are skirted by Scagliolo. The curtains keep up the same tone of colour with the 
 marbles, being Marone cloth with velvet facings ; and the whole character of the 
 place is suitable to its purpose, being rich, yet chaste — elegant, but convenient. 
 
 THE BOUDOIR. 
 
 This room is formed over the bow of the Grecian room, and as the entrance 
 is through the library, must be considered as an appendage to it, being well 
 calculated for the purposes of study, which may lie facilitated from the stores of 
 a large plain Bookcase which occupies the principal side of the room. 
 
 The Boudoir contains also several curiosities and valuable pictures, of which 
 we name the most remarkable : — 
 
 Jews' Harp, by Wilkie. 
 
 John Duke of Marlborough, an admirable miniature. 
 Five Cabinet Gems, richly framed in a circle. 
 Numerous specimens of Antique Prints. 
 
 Concert carved in wood, by Michael Angelo, of Angels in the upper part, and 
 David with his Harp below : this work is richly framed as a picture, and appears 
 like a design for a mural monument. 
 
WHITE-KNIGHTS. 45 
 
 Lady Anne and Lady Charlotte Spenser (sisters to his Grace the Duke of 
 Marlborough) playing with a Mask. 
 
 On the mantle-piece are various Bronze ornaments and a time-piece, which 
 there are also in each of the preceding rooms. 
 
 THE DUCHESS's DRESSING ROOM. 
 
 This pleasant and elegant room adjoins the Library, and is over the Hall and 
 the Billiard-room ; it opens by three windows upon the beautiful veranda, 
 which runs through the south-east front, and enjoys the prospect of the lawn 
 and park first mentioned. 
 
 The walls of this room are most agreeably painted with views of Reading, 
 Caversham, and the surrounding country. It is furnished with handsome 
 Chinese crape of azure blue, enriched with brocaded flowers, and is orna- 
 mented with the most judicious taste, in the Histondanee style. 
 
 At the upper end of the room is a fine cabinet of China, of the most costly 
 and curious description, in one of the cups of which is placed the name of our 
 venerable sovereign, who together with her late majesty and many other 
 branches of the royal family, visited the present Duke of Marlborough at this 
 seat a short time before the commencement of that indisposition which continues 
 to afilict him. This visit was afterwards renewed by the queen and many 
 members of her august family. 
 
46 
 
 DESCRIPTION OF 
 
 THE BED ROOMS. 
 
 The house is so constructed as to admit of many excellent and convenient 
 Bed Eooms, all of which enjoy in the highest perfection the prospects already 
 described : the two principal, together with their adjoining dressing rooms, look 
 from the north over the lawn, sheep walk, lake, and a fine expanse of country 
 beyond them, which cannot be seen to equal advantage from any other part. 
 
 These rooms are furnished alike, with fine coloured cottons lined with green ; 
 they are further ornamented with china and pictures : the latter are principally 
 by modern artists, and are properly described in the annexed catalogue rai- 
 sonnee. The decided character of these rooms is that of simple elegance and 
 solid comfort, uniting the utmost delicacy and neatness with that air of habi- 
 tableness which can alone render any mansion a desirable residence. 
 
i 
 
 i 
 
THE 
 
 BOTANIC GARDENS. 
 
 " Who loves a Garden loves a Greenhouse too. 
 " Unconscious of a less propitious clime, 
 " There blooms exotic beauty, warm and snug, 
 " While the winds whistle and the snows descend. 
 
 "-- the golden boast 
 
 " Of Portugal and western India there, 
 " The ruddier Orange and the paler Lime, 
 " Peep thro' their polished foliage at the storm, 
 " And seem to smile at what they need not fear. 
 
 foreigners from many lands 
 " Here form one social shade." Cow per. 
 
 There arc two entrances to the Botanic Gardens ; one, from a door placed in 
 the avenue of elms, by which the House is approached from Reading ; the 
 other, from the north side of it, which is the path we intreat the reader to take 
 in the following description. 
 
 Crossing the lawn which surrounds the house, and leaving the water to the 
 right, with the sheep walk before us, we turn by a gently winding path to the 
 left, and passing beneath the shade of lofty elms and oaks, we soon enter the 
 path which leads to the object of enquiry. 
 
50 DESCRIPTION OF 
 
 The gate which opens to us this unrivalled storehouse of Flora, is guarded 
 and adorned hy tour lofty cedars of Lebanon, the finest to be found in all the 
 grounds, which are remarkably rich in this stately production of nature. Over 
 the gate is a latticed arch, covered with Clematis and Corchorus Japonica, and 
 the inside of the door is adorned by three Oriental arches, surmounted with 
 crescents, on which the Jessamine and Corchorus grow luxuriantly. A 
 waving path, thickly shaded on either hand by Stone Pines, Tulip trees, and 
 scarlet Thorns, conducts us to the principal one, encircling the whole of these 
 Gardens, which are of an oblong form, and are subdivided into scpaares, cir- 
 cles, lawns and groves, with the most agreeable variety to the eye and the 
 necessary attention to the nature of the productions they display. 
 
 The close of the first path is marked by two Mushroom seats, after which we 
 perceive that one broad Border, or Belt, which surrounds the whole grounds, 
 is entirely devoted to American plants : the wall is covered with Yew, but this 
 can scarcely be deemed necessary for the purpose of covering it, so thickly is 
 the deep border planted with various trees, beneath whose lofty or pendant 
 branches it is studded with innumerable flowers of every variety of form, tint, 
 and fragrance. 
 
 On the right we have a fine open Lawn of most exquisite verdure, on which 
 are disposed baskets of exotic flowers, among which the Begonia with its richly 
 lined leaves of red, and the Scarlet Sage, appear particularly brilliant, and 
 afford a delightful contrast to the groups of Cedars and Cimbrian Pines to the 
 right— passing which, we arrive at the 
 
WHITE-KNIGHTS 
 
 51 
 
 OPEN HEXAGON SEAT, 
 
 This light Pavillion is of Lattice-work painted green, on which climbs the 
 Corchorus and other Capreolates : around it are placed baskets of the rarest 
 Greenhouse plants ; and near it we observe two noble trees of Hemlock Spruce, 
 whose descending branches sweep the turf, whilst their conical tops overlook the 
 Gardens. 
 
 The Magnolia Glauca, the Moutang or Piony tree, the Erica Multiflora in 
 both its colours, and the scarlet Azalea, are beautifully conspicuous in this part 
 of the grounds. 
 
 Still skirting the Lawn, the eye is attracted by a delightful plot of Roses, 
 which are surrounded by a broad border of Rock-work covered with Alpine 
 plants, whose diminutive stems, tiny sparkling flowers, and fibrous or fungous 
 leaves, opposed to the spreading branches of the mighty Oak, or the leafy honours 
 of the Magnolia, add to the interest excited by each, and perfect the chain of 
 vegetable existence. A little beyond this rosy clump, we perceive the 
 
 RUSTIC BOWER. 
 
 This Bower, which is formed simply of Elm branches in the form of an alcove, 
 united at the top, and covered with a fragrant drapery of Honeysuckles and 
 
52 DESCRIPTION OF 
 
 Jessamine, boasts the softest and rarest carpet Flora ever spread, the ground 
 below being bedded with creeping Juniper. The American Border on our 
 right becomes at this place particularly attractive : we now see the first Mag- 
 nolia Auriculata ever imported, and in its immediate neighbourhood are found 
 the Juniperus Oxycedrus, Ailaiilhus Glandulosa, Nyssa Denticulata, and other 
 American plants, remarkable for their beauty or valuable from their scarcity. 
 A magnificent Elm also attracts our attention before we reach the 
 
 GOTHIC BOWER 
 
 This Bower is formed of wood and ihe branches of trees, and in the front 
 resembles a Gothic arch with three pinnacles, as represented in the annexed 
 plate. It is profusely covered with Atragene Austriaca and Corchorus. These 
 flower at the same season, one with yellow, the other with light blue flowers, 
 which throw a rich drapery over its antique form. It affords a resting place 
 amidst a profusion of sweets, and soon after quitting it, we pass the entrance to 
 these gardens from the Grand Avenue, which, as it opens upon a beautiful path, 
 embowered in a splendid trellice, is rendered the most striking. Leaving this 
 object of admiration for the present, we proceed on the broad path till we arrive 
 at the 
 
 ORANGE GROVE. 
 
 A noble and flourishing hedge of Laurel nearly divides the succeeding por- 
 
WHITE-KNIGHTS. 
 
 53 
 
 tion of ground from that which we have already passed, and in its strong and 
 vivid character, appears a suitable protection for the beautiful plants which now 
 on either side of a broad path exhibit their varieties. The Orange trees are 
 planted in tubs, and are in that state of perfect health and finished beauty, 
 which characterizes all the productions of White-Knights. Through the 
 avenue formed appropriately by luxurious exotics, we enter the 
 
 TEMPLE OF POMONA. 
 
 This is a superb Greenhouse of an oblong form. The middle part is a hexagon 
 bed for the reception of rare plants, and two small circles for the same purpose, 
 occupy each end, where the entrances are. Of the four sides in the middle 
 part, two are trelliced arches, entwined with fragrant flowers, containing 
 garden chairs, and two are formed into recesses, painted to resemble verd antique, 
 in which are placed sofas. Never did Luxury wear a more inviting aspect, or 
 Contemplation find a softer seat ; the most beautiful and odorous flowers enchant 
 the senses, the most curious plants solicit investigation, and in the centre, en- 
 shrined by the Catalonian Jessamine and white Camellia, appears the presiding 
 Goddess of the place, awakening those classic images and associations which 
 throw an indescribable charm on all which they pervade. 
 
 The Arbutus Latifolia, Arbutus Longifolia, Bignonia Grandiflora, Catalonian 
 Jessamine, Thea Bohea, &c. we find are among the collected treasures of this 
 Temple ; leaving which, by the door opposite to that by which we entered it, 
 we descend into 
 
.54 
 
 DESCRIPTION OF 
 
 THE SQUARE. 
 
 On each side of this square are stages for plants of different countries, which 
 are regularly classed, and are all in the highest preservation, and display, in 
 perfection, numerous specimens of the most curious and valuable productions 
 peculiar to China, Botany Bay, and the Cape of Good Hope ; with a compart- 
 ment allotted for the whole tribe of Erica. 
 
 Returning to the principal path under the shade of the Laurel-hedge lately 
 mentioned, we find beneath its salutary shelter several rare plants have been 
 fostered into uncommon strength and beauty. The Pyrus Japonica, An- 
 dromeda Casinifolia, Vitex Odorotissima, Rhamnus Latifolia, are the most 
 remarkable, and the Rhododendrons, which are singularly fine, in every part of 
 these grounds, here add their gayest flowers to the assemblage. Re-entering 
 the principal path, we soon arrive at the 
 
 TERRACE GARDEN. 
 
 This is a large square, surrounded by noble terrace paths of gravel, on whose 
 borders every choice and lovely flower springs in profusion. On the green 
 velvet lawn which they border are numerous clumps of flowering shrubs, and 
 in the midst we observe a fine circle of Ailanthus, training to environ a verdant 
 seat. Turning round the eastern terrace we now proceed to visit the 
 
WHITE-KNIGHTS. 
 
 55 
 
 GREENHOUSE AQUARIUM. 
 
 Here, in an immense cistern, properly beautified and adapted to the purpose, 
 we find the most remarkable Aquatic plants from China, Egypt, and other dis- 
 tant countries, and are particularly struck with fine specimens of the Thalia 
 Dealbata, Cyperus Divaricata, Pontederia Cordata (from America) Nymphea 
 Odorata, &c. 
 
 > 
 
 This Greenhouse is externally incrustated by beautiful rock-work, and the 
 walls are latticed some feet from the ground, for the advantage of creeping 
 plants, many varieties of which are found here ; and there are also many plants 
 within well worthy of observation, besides those to which the place is especially 
 devoted. 
 
 On leaving this Greenhouse, we turn to the right, and passing through a walled 
 inclosure, are led to the 
 
 LONG GREEN HOUSE. 
 
 This house is 100 feet long, and is filled during the winter with Greenhouse 
 plants of every description, which in the summer months are employed to orna- 
 ment the different parts of the Botanic Gardens, such as Geraniums, Heaths, &c. 
 Near it is a house for Cape plants principally, and two others for Tropical 
 
56 DESCRIPTION OF 
 
 plants, which present to the eye of the Botanist and Naturalist, a collection 
 not only unrivalled, but far surpassing all that he could have hoped to enjoy 
 in this country. On returning to the Gardens so lately quitted, we proceed 
 first to the 
 
 DUCHESSs GARDEN. 
 
 This horticular Bijou appears to concentrate all that is most excellent in art, 
 with that which is most admirable in nature ; its decorations display the finest 
 taste, and its productions the rarest specimens. 
 
 It is inclosed, or rather separated, in the first place, by a low Laurel hedge, 
 after which appears a circle of light green pillars, united to each other by rich 
 festoons of mingling Ivy, Woodbine, and Corchorus Japonica. We enter it by 
 four open double arches, embowered by the most beautiful twining plants, and 
 in the midst of the emerald lawn thus encircled, perceive an elegant little 
 pavillion, ornamented with similar flowery decorations. Every brilliant and 
 fragrant flower blooms on this chosen spot, and shrubs of darker leaf and va- 
 luable from their scarcity, add the charm of contrast to the splendour of colour. 
 Weeping Cherries, Candle-berry Myrtle, Genista Siberica, and Magnolia 
 Grandiflora, contribute to adorn it. 
 
 Leaving the Duchess's Garden, we pass through a plantation of Dahlias, in 
 which every possible variety of this new and beautiful plant are seen in their 
 highest splendour, and reach the 
 
WHITE-KNIGHTS. 
 
 57 
 
 HOTHOUSE AQUARIUM. 
 
 On the eastern walls of this house (by which we enter) a fine double red 
 pomegranate flourishes in native luxuriance ; and within are found magnificent 
 specimens of various aquatic plants, which, in their gigantic proportions, offer a 
 striking variety to the brilliant vegetable gems we have so lately admired. 
 Cyperus Papyrus, Nymphea Cotica, Saracenia Purpurea, Lemma Calicyna, 
 Canna Glauca, Arum Esculentuin, and Anneslea Spinosa, witli its elephantine 
 leaves, arrest attention ; as do also some remarkably fine plants of Coix 
 aquatica. The tribe of Amaryllis, the Carrion flower, and many other curious 
 bulbous plants, are also found in this hot-house, which is ornamented with a 
 very beautiful veranda in the front, on which grow many curious climbing 
 flowers : through this veranda we pass to the 
 
 ORANGERY. 
 
 This is a noble Greenhouse of an oblong form, being 72 feet by 21. At 
 each end are recesses containing sofas. Through the middle runs an aisle of 
 light arches, whose columns are encircled and their tops canopied by the rich 
 foliage and scarlet flowers of the Bignonia Grandiflora, and other plants of equal 
 beauty. Numerous young orange trees, glowing with golden fruit and fra- 
 grant with blossoms, here charm every sense ; intermingled with which are 
 flowers of every country most remarkable for vigorous growth and brilliant yet 
 
 Q 
 
58 DESCRIPTION OF 
 
 delicate tints ; and it would be difficult to leave a place so captivating, if we 
 were not conducted by it to the 
 
 MAGNOLIA WALL. 
 
 This extraordinary wall is 20 feet high and 140 long, and is unquestionably 
 unique. A trellice is attached to the wall, which is several feet higher, and in 
 the upper part inclines forward. The whole of this wall and the trellice is 
 completely covered with the Magnolia Grandiflora, in the highest state of per- 
 fection. The leaves of this majestic plant greatly resemble those of the laurel, 
 but they are larger and more brilliant in their hue : the flowers are of spotless 
 pearly white, and when fully expanded, from ten to twelve inches in diameter : 
 their fragrance excels even their beauty ; it is a kind of spicy perfume, such as 
 imagination would give to the nest of the Phoenix or the gales of Arabia. 
 
 The unequalled beauty and novelty of this spectacle is such that it scarcely 
 allows us the power of noticing any other in its vicinity, although the Levant 
 Arbutus and several fine China and Cape plants grow near it, and a laurel hedge 
 of most remarkable growth and beauty (being of similar dimensions) runs 
 parallel to it. Through an arch in the laurel hedge, we reluctantly pass to the 
 
 LINNiEAN GARDEN. 
 
 This is a complete square, surrounded by a narrow path, and inclosed by 
 
WHITE-KNIGHTS. 59 
 
 protecting hedges. Here every herbaceous plant is regularly classed, and the 
 name of each affixed to the place of its growth ; and this scientific museum is 
 adorned by the 
 
 CHINESE TEMPLE. 
 
 The form of this temple is hexagon, and the top is canopied and painted in 
 two greens with good effect. It is supported by six arches, each of which is 
 entwined by a distinct specimen of the Clematis : within are seats and stands 
 for music. Leaving this temple at the opposite entrance, we perceive a prodi- 
 gious nursery of young Geraniums (a plant that flourishes in all its rich varieties 
 in every greenhouse here with unequalled felicity), and again passing through 
 an arch in the Laurel-hedge, we enter the 
 
 JAPAN GARDEN. 
 
 This inclosure is another square, somewhat smaller than the last, and is en- 
 tirely filled with Japanese and American plants, which brings us to the 
 
 CINNAREAN HOUSE. 
 
 This Greenhouse is an hexagon, containing extraordinary plants from the 
 above-named countries ; among many others the Magnolia Anonifolia, Calican- 
 
60 DESCRIPTION OF 
 
 thus Sinensis, Pitosporum Sinense, are very conspicuous ; as are also the 
 Green a.id Bohea Teas : and on quitting the Greenhouse, we perceive in the 
 Garden Cytisus Purpureus more than seven feet high, and the Robinia Inernis 
 equally flourishing. 
 
 We now enter the beautiful trelliced avenue already mentioned, which is 
 198 feet long. It is an arcade supported on light columns, which are enclosed 
 in a frame of lattice work, on which honeysuckles and other creeping plants 
 entwine their tendrils ; and as we proceed to visit that interesting place to which 
 it leads, we consider it as a verdant triumphant arch, worthy of being the 
 vestibule to the palace of Flora, for such may be deemed the 
 
 CONSERVATORY. 
 
 This splendid and elegant Greenhouse is 66 feet long and 20 feet wide, and 
 is filled with all the most rare and exquisitely beautiful exotics. These are all 
 placed in jars, vases, and bowls, of scarce, costly, and elegant china, whose 
 brilliant hues and rich gilding mingling with the soft and glowing colours of 
 their blooming inhabitants, form an assemblage of all that is most perfect in 
 nature and art, and spread an air of enchantment over the scene it is impossible 
 to describe. Luxurious elegance and finished delicacy — the softness of repose 
 and the gaiety of pleasure — appear blended in all around, and bestow a sense of 
 enjoyment, which, as it fascinates without injury, may be indulged without 
 regret. 
 
WHITE-KNIGHTS. (31 
 
 On leaving the Conservatory, the beautiful objects which have awakened our 
 admiration, are rather changed than diminished; the most delicious perfumes 
 and lovely forms still meet us on every side. The lawn before us is enamelled 
 with baskets of the finest exotic flowers ; classic vases enwreathed with sculp- 
 tured vines, contain plants that lift their blooming' heads as if conscious of their 
 beauty ; fine China barrel seats stud the velvet turf, and the mind is attracted 
 by new objects of beauty in the 
 
 HEXAGON TREILLAGE. 
 
 This elegant inclosure is exactly opposite to the door of the Conservatory, and 
 admits us to a circular Lawn (in the midst of which is a most beautiful Fountain) 
 by six open door-ways ; of these, four are simple, but the two opposite to the 
 Conservatory are fine arches, in which the pendant clusters of the hop inter- 
 mingle with the gay blossoms of the honeysuckle, and form canopies of unri- 
 valled beauty. The garden thus encircled is luxuriantly enriched with China 
 roses, scarlet sage, splendid dahlias and geraniums, which form a fragrant 
 screen around the 
 
 FOUNTAIN. 
 
 This beautiful and singular Fountain was executed from a design by the late 
 Lady Diana Beauclerc, the aunt of the Duke of Marlborough, and affords a fine 
 specimen of the taste that lady so eminently possessed. The Plate here given is 
 
62 DESCRIPTION OF 
 
 drawn from the point of view opposite the Conservatory, which is seen from 
 the embowered arch lately described. The Fountain, not less admirable in its 
 general effect than delicate in its construction, is thus composed : — Three Dol- 
 phins support a large Escalop, from which flows a pellucid Jet d'Eau in four 
 distinct forms, falling into the basin below with sweetly tinkling sounds. 
 Underneath the Dolphins are three smaller Escalops, in which three Lizards 
 are drinking. The whole is supported by six rock columns, on which are 
 placed, in the most picturesque manner, fine specimens of sea weed, petrified 
 fungi, brainstone, white and purple Fluor spar* blue John, spiral shells, 
 rose-tinted conchs and nautili : in the interstices green creeping mosses, like 
 vegetable emeralds, add beauty to the tasteful grouping of this exquisite 
 Fountain. 
 
 Within the Basin numerous gold Fish are seen sporting in the limpid ele- 
 ment, and around it is a rich border of spars, pebbles, and fossils, amongst which 
 grows the Dwarf or China rose, forming a margin which unites the beauties of 
 the marine and vegetable world, round an object which has combined in the 
 former so much to adorn the latter. We leave this fairy scene with deep regret, 
 and pursue our path, by entering the 
 
 STRIPED GARDEN. 
 
 Here the most curious and beautiful foliage is presented on every side, the 
 trees and plants being all of the variegated kind, with the exception of the 
 Cypress tree, which preserves its dark unvarying green, and the Cercis Sili- 
 
WHITE-KNIGHTS. 63 
 
 quastrum, or Judas tree, from Palestine. The Oak, Ash, Box, Spanish Chesnut, 
 Ivy, and Periwinkle, are pied with pure white. The Garden is adorned with 
 baskets of Begonia and China roses, which appear to great advantage, as they 
 encircle the dark Cypress trees, which in this garden are singularly fine, as is also 
 the Laurus Benzoin. 
 
 Proceeding through a rich enclosing circle of magnificent Rhododendrons, 
 intermixed with Azalea and various American plants, we now reach the 
 
 BRITISH AQUARIUM. 
 
 In a sunken reservoir we here find all the larger aquatic plants, and in a raised 
 hexagon cistern which surrounds it, we find the remainder of our native aquatic 
 plants growing in perfection. At the entrance of this reservoir are placed two 
 Bronze Vases of the finest form and most exquisite workmanship, lately pur- 
 chased by the Duke of Marlborough from the gardens of Malmaison. They 
 are adorned with a circle of figures in alto relievo, representing Bacchanalian 
 processions : they have each two handles and chaplets of vine leaves, and are 
 finished specimens of Grecian elegance, very far superior in beauty to any we 
 have observed in the most admired collections. 
 
 Opposite the vases is a pump finished w ith an urn ; two Bronze Eagles with 
 extended wings form the water spouts, being the arms of the Noble Possessor, 
 as Prince of the Holy Roman Empire. 
 
64 
 
 DESCRIPTION OF 
 
 We now enter on a portion of these Gardens round the margin of which we 
 have already passed, and after noticing a fine Magnolia Macrophylla and a large 
 clump of roses bordered by Alpine Lichens, we find ourselves in the 
 
 DIAL LAWN. 
 
 On the fair carpet thus named (from a Dial in the midst) we find the Cork 
 tree, Fox-tailed Pine, Arbor Vitae, and other trees of the same dark hue, are 
 contrasted with the Magnolia Acuminata. Proceeding, we find a Sarcophagus 
 filled with Aquatic plants, large China vases crowned with towering flowers, 
 baskets of the American Cranberry and Scarlet Sage, glowing like vegetable 
 rubies beneath the deep shade of various Pines, especially the Maritima, Cembra, 
 and Halepensis or Aleppo Pine, until we arrive at the 
 
 ASH TENT 
 
 This beautiful natural Bower is formed entirely of the pendulous branches of 
 a weeping Ash : it is supported by light pillars entwined by Ivy : within and 
 without are placed barrel seats of the finest Etrurian ware, with Garden chairs, 
 Bronze tables, and every other elegant and useful article necessary for the perfect 
 enjoyment of the scene around. 
 
 Retiring from this enchanting place, we remark an immense Oak, which 
 
WHITE-KNIGHTS. 
 
 65 
 
 throws its giant arms over the light green turf, and a Cedar of Lebanon worthy 
 the gardens of Solomon. 
 
 Pinus Lanceolata, Styrax Latifolia, and the fragrant Scarlet Thorns, arrest 
 our attention as we again approach the Mushroom Seats, which usher us to 
 the path by which we entered these unrivalled and inestimable Botanic 
 Gardens. 
 
 s 
 
THE 
 
 NEW GARDENS. 
 
THE 
 
 NEW GARDENS 
 
 " See thro' yon opening glade a glittering scene, 
 " Lawns ever gay and meadows ever green. 
 " Here shall soft tents o'er flowery turf display 'd, 
 " At night defend you, and at noon o'ershade : 
 " Here rosy health the sweets of life will show'r, 
 
 " And new delights beguile each varied hour." Sin W. Jones. 
 
 The road to the New Gardens of White-Knights lies over a part of the Lawn 
 which encircles the House and a small portion of the Sheep-walk, which by a 
 gentle descent conducts us to the 
 
 IRON BRIDGE. 
 
 This light, elegant, and beautiful Bridge, is a span of 110 feet : it is perfectly 
 level, being formed on the most new and approved principles, the plates of iron 
 collapsing over each other. It is painted green, and corresponds with the light 
 iron fence in the grounds as to its general effect. A part of the plantations 
 intervene between this Bridge and the House, by which it is judiciously hidden 
 
70 THE NEW GARDENS. 
 
 from the view, for although a pleasing object in itself and of great convenience, 
 it might appear too near the other Bridge if obtruded on the eye from thence. 
 
 Having crossed the water, the ground by a gentle ascent leads us to a division 
 in the pathway : pursuing the upland walk, we perceive that this inclosure is 
 divided from the Park by a low paling, which enables us to enjoy all the beauties 
 such a vicinity presents. In a short time we arrive at a fine glade, and turning 
 round, enjoy a delightful view of the House, which appears from hence as if 
 emerging from noble woods upon a rising ground, as given in the annexed plate. 
 
 On resuming our walk we now enter the 
 
 ELM GROVE. 
 
 The fine assemblage of elms which now claim our attention form a kind of 
 irregular amphitheatre, and between their massy trunks and deep shadows we 
 gain many fine openings to the water, which seen in partial glimpses, appears 
 interminable on the left, whilst on the right the Park presents various knolls and 
 clumps rich in verdure and enlivened by groups of cattle. Still gently rising, 
 we leave the Elm Grove, and entering upon a more open scene, we reach the 
 
 DIAMOND SEAT. 
 
 This beautiful little Rustic Temple (of which the annexed view conveys a 
 
THE NEW GARDENS. 71 
 
 most correct idea) is composed of small branches of Asli, Hazel, and black and 
 white Birch, whose shining barks of rich brown and silvery white are worked 
 into a kind of diamond pannelling, which is singularly beautiful. The seat is 
 composed of alternate stripes of these contrasted colours, and so contrived as to 
 turn at the edges, and appear at a little distance like a rich scallop of fringe. 
 The roof is supported in the open front by two natural pillars of the Birch tree, 
 round whose fair bark the dark Ivy is beautifully entwined ; and though 
 thatched on the outside, is canopied within by branches in the same manner as 
 the sides, and the floor is paved with large and small pebbles, to correspond with 
 the general forms. The seat is placed under the protecting branches of a mag- 
 nificent Elm, which completes the picture. 
 
 The view from this seat is highly pleasing. The trees receding on either 
 hand, afford a fine opening to the water, which seen through the vista they form, 
 appears distant, yet impressive. The House, whose brilliant whiteness contrasts 
 finely with the deep mass of shadow given by the trees around, is seen to great 
 advantage, and the lawn which more immediately surrounds the place, is orna- 
 mented by beautiful flowering shrubs, in which the Rhododendrons are parti- 
 cularly gay and luxuriant. On leaving this seat we find the lawn more open, 
 and that many intersecting paths appear ; but still continuing to ascend, we 
 shortly arrive at the 
 
 ROUND SEAT. 
 
 This seat is formed entirely of straight branches of the Maple and the Larch, 
 
72 THE NEW GARDENS. 
 
 beneath a circular thatched dome : the rustic pillars support an architrave of 
 taste and beauty, displayed in the most simple materials. Thin slices from the 
 heart of the Yew tree form medallions, which are grafted into small sprays of the 
 Larch tree with so much symmetry as to produce a surprising effect, and the 
 pebbled floor is disposed in leaves and circles with equal simplicity and grace. 
 
 The view from hence, although more expansive, is of a more retired character 
 than that from the last, as no vestige of the House is within its scope, and the 
 surrounding Grove is more various in its foliage : the gay Ash and pensile 
 Birch now mingle with dark Larches and changing Chesnuts. Stately Elms, 
 shining Laurels, and unbending Hollies, uni te in the sylvan landscape, and only 
 open where they best admit a view of the water, which appears from hence a 
 boldly sweeping river, on whose opposite shore arises a stately Grove. 
 
 The last mentioned seat is also a very pleasing object from this, and appears 
 a proper accompaniment of the purely Arcadian scenery which surrounds us. 
 On the back of this Bower is a seat which fronts the Park, but as it is nearly 
 excluded from the prospect by a plantation of young trees, it appears best cal- 
 culated for a sheltered retreat, to which the over-hanging thatch greatly 
 contributes. 
 
 Many narrow paths which divide the adjacent grounds are now found, but 
 pursuing the broadest, which again leads us towards the Park, and opens in a 
 commanding manner to the right, we reach the 
 
THE NEW GARDENS. 
 
 73 
 
 AMERICAN BORDER. 
 
 This wide and beautiful Border is thickly planted with the most valuable 
 shrubs and flowers of America : looking over it, we continue to enjoy to the 
 right fine and various views of the Park, and to the left, a beautiful Lawn. The 
 path is meandring and extensive, and in its open prospect and gay accompani- 
 ments, contrasts agreeably with the solemn tone of colour in the place to which 
 it conducts us, as it terminates in the 
 
 CEDAR GROVE. 
 
 This assemblage of Red Cedar, we understand, is unrivalled in this country. 
 The dark hues, knotted trunks, and air of antiquity exhibited in these valuable 
 exotics, claim for them that tribute of respect to which they are so justly entitled, 
 and add to that sense of pensive tranquillity their venerable forms and the fine 
 perfume they breathe, give to the senses, an effect we are rendered still more 
 sensible of, when we enter the 
 
 CEDAR SEAT. 
 
 This may be truly called a Fragrant Bower, and although generally 
 resembling those already described, is unquestionably the most beautiful, as 
 
 u 
 
74 THE NEW GARDENS. 
 
 well as curious and valuable in its interior construction. The form (as appears 
 from the plate) is oblong', and the outside formed of piles of Red Cedar, but 
 within it is pannelled in squares. The middle part is a circular slice of polished 
 Cedar, from which centre diverging branches of the most beautiful Birch are so 
 spliced as to make a perfect square, which is bordered by a chain of similar 
 medallions, that also forms a cornice for the whole of the Bower. The seal is 
 also formed entirely of red Cedar wood, beautifully wrought, and the six rustic 
 pillars which support the roof are trees of the same valuable description, round 
 which the pliant Ivy creeps. The materials of which this seat is formed appear 
 at a very little distance so like painting or needle-work, as to be perfectly 
 deceptive, and it affords a specimen of taste and ingenuity that is certainly 
 unrivalled. 
 
 From this odorous Alcove the eye traces a considerable part of the Park and 
 perspective views of the last-mentioned seats, but these views are only caught 
 between the trees : all is in unison with the .sentiment of retirement and calm 
 seclusion suitable to the genius of the place, and those associations with sacred 
 and Oriental scenery this solemn Grove is so calculated to inspire. 
 
 . -In a seat like this 
 
 Of fragrant Cedar, form'd with nicest art, 
 
 Sat Israel's chosen King : his lofty port 
 
 And air of noble daring, well became 
 
 A warrior Prince ; but on his haughty brow 
 
 Sat fierce revenge, proud scorn, and bickering rage, 
 
 Till youthful David's harp in melting strains 
 
 Rang thro' the grove, and fill'd its fragrant gales 
 
 With sounds celestial — sounds that sooth'd and chann'd 
 
 Each Demon passion, and with holy spell 
 
THE NEW GARDENS. 
 
 75 
 
 Subdu'd the Tyrant's to the Minstrel's will, 
 
 And bless'd him with repose. Come hither, Tnou 
 
 By vain ambition warp'd — by care oppress' d — 
 
 By sorrow smitten — or by love beguil'd — 
 
 And in this balmy seat forget thy woes, 
 
 For all around is calm : the very air 
 
 Will lull thy senses in its soft perfume, — 
 
 Melodious warblings solace and delight 
 
 Thy weary spirit : e'en the distant herds 
 
 That crop the dewy herbage, or lie down 
 
 Upon its fruitful bed to ruminate, 
 
 Press on the yielding heart one deep felt sense 
 
 Of sweet Tranquillity and heavenly Peace. 
 
 Leaving this interesting place, we proceed towards the water by a path 
 waving but lying in a parallel direction with the American Border, and as we 
 emerge from the Cedar Grove have the Park, Open Lawn, and Border on our 
 left, and a plantation of young forest trees and various American shrubs on our 
 right. As we re-approach the Round Seat the wood becomes much closer, and 
 after passing it (at a distance) we enter a serpentine path, on either side of 
 which the Acacia, Ash, Holly, Cedar, and Juniper, blend their various hues with 
 ihe ancient Elm and majestic Oak, while the Rose, Woodbine, and Rhododen- 
 dron add their beautiful flowers, to irradiate the sylvan scene. Various green 
 paths intersect the woods here, which on pursuing, lead to different views of the 
 Seats on the water, and give delightful varieties in our path, like the voice of 
 Friendship when it interrupts our pursuits in order to increase our enjoyment. 
 Advancing down a gentle declivity, we now enter the 
 
76 
 
 THE NEW GARDENS. 
 
 WYCHE ELM GROVE. 
 
 The fine trees of this description here found are intermixed with many others, 
 although their pre-eminence entitles them to distinction : they spread for a con- 
 siderable distance to the left, and lead us to the 
 
 CEDAR WALK. 
 
 Beneath the gloomy shade of these venerable trees, we now rejoice to find 
 that the various glimpses we enjoyed of the water, so far from having deceived 
 us, had not given an adequate idea of its extent, magnificence, and beauty. 
 Placed on a seat upon its verge, we behold a beautiful lake expand beneath the 
 eye and stretching beyond its limits, and remember the Poet's description — 
 
 " Loch Katrine lay beneath him roll'd, 
 " One burnish'd sheet of living gold ;" 
 
 which does not, however, apply further, for all within the view here is soft, 
 smiling beauty, considerably resembling the Lake of Winander Mere, in that 
 part which is near to Ambleside. To the right Weeping Willows lave their 
 drooping foliage in the translucent stream, backed by tall Poplars, who stand 
 erect as guardians of the sacred spot. Pursuing the outline of the water to its 
 distant bank, we first perceive young plantations, succeeded by rising lawns, 
 
THE NEW GARDENS. 77 
 
 adorned by clumps of gay foliage, backed and intersected by noble trees, whose 
 dark masses relieve and fill the landscape. 
 
 To the left, at a considerable distance, the Lake appears to recede behind a 
 woody Promontory, while near us it is curvated into a gentle Bay, thickly 
 fringed with a rising Plantation, that seems to flourish with grateful beauty for 
 the invigorating influence of the fertilizing waters. 
 
 Leaving this enchanting view, we enter the 
 
 RIVER WALK. 
 
 This delightful path skirting the stream, winds round the Bay, and brings us, 
 amidst a profusion of the finest foliage, to a beautiful Glade, opening to the 
 water, in which we perceive the 
 
 FISHING SEAT. 
 
 This Seat, from its vicinity to the water, must be acknowledged the most 
 attractive of all the Rural Bowers we have yet met with. It is composed of 
 Elm, and on its pillars the native foliage still grows, while the bark of the inte- 
 rior is thickly studded with moss, and its whole appearance is more simple, 
 though not less beautiful, than those already mentioned. The water is here 
 seen through light branches of foliage, and although the opposite banks, with 
 
 X 
 
78 THE NEW GARDENS. 
 
 their verdant tenants, are distinctly seen, its higher character as a Lake is fully 
 maintained, and the calmness and serenity of the whole is undisturbed. The 
 very Swans, as they are seen at various distances gliding majestically along, seem 
 to rejoice in the extension of their domain. 
 
 There is a sweet, accordant harmony, 
 
 In this fair scene, this quaintly fluted Bower, 
 
 These sloping banks, with tree and shrub and flower 
 
 Bedeck'd ; and these pure waters, where the sky 
 
 In its deep blueness shines so peacefully — 
 
 Shines all unbroken, save with sudden light, 
 
 When some proud Swan, majestically bright, 
 
 Flashes her snowy beauty on the eye, 
 
 When from the delicate Birch her dewy tear 
 
 The west wind brushes. E'en the Bee's blithe trade, 
 
 The Lark's clear carols, sound too loudly here. 
 
 A spot it is for far-off Music made — 
 
 Stillness and rest, — a smaller Windermere *. 
 
 In every part of these grounds the light, graceful Birch (which the Poet 
 happily terms the Lady of the Wood) is in a flourishing state, but on cpiitting 
 the Fishing Seat we observe two of such singularly elegant forms, as to awaken 
 peculiar admiration, and we point them out in this place the rather, because their 
 pensile stems, tremulous leaves, and silvery bark, are soon afterwards finely 
 contrasted by the 
 
 * This beautiful Sonnet, composed in the Fishing Seat, is from the elegant pen of Miss Mitford. 
 
< 
 
 ■ 
 
THE NEW GARDENS. 
 
 79 
 
 OAK GROVE 
 
 In this Grove we find some of the noblest Oaks in the county of Berks, long 
 celebrated for producing this " King of the Forest." From a circular seat 
 round one of immense magnitude, beneath whose shade ages long gone by 
 may have found shelter and enjoyed repose, we see the water gently expanding 
 its limits, and appearing like a noble river diverging into an estuary. 
 
 Various paths issue from this Grove, and the thickness of the plantation 
 around gives it a stronger character of forest scenery than we have yet wit- 
 nessed, whilst from various breaks and beautiful natural vistas we obtain views 
 of the different seats we have passed, under effects which render them perfectly 
 new to us. 
 
 Descending from the Oak Seat, we approach the water, and reach the pro- 
 montory at the part where the stream is narrowed. Here a delightful view 
 of the North side of the House bursts upon us unexpectedly, backed by 
 massy woods, which appear to extend far to the right, whilst the Lawn gently 
 descending to the opposite side of the water, exhibits its softly undulating lines, 
 graced by all the decorations of Flora's drapery. 
 
 This view is given in the annexed plate ; it shows the Northern side of the 
 House, from the windows of which a view is also given, which when taken in 
 connexion with this, will give some idea of the form and extent of that noble 
 
80 THE NEW GARDENS 
 
 sheet of water, by which the grounds are so highly ornamented, and which 
 now resumes the form which has frequently led to the conclusion that it was a 
 fine river. 
 
 On quitting this beautiful prospect we resume the path through the planta- 
 tion, which becomes more choice in the trees, many of which are young but 
 very valuable exotics, rising under the fostering vicinage of our native forest 
 trees. In a lonely glade, sheltered by a screen of young trees, whose tender 
 foliage is protected by dark Oaks, we now reach the 
 
 THREE ARCHED SEAT. 
 
 The form of this Seat is much improved by its double roof, as the lower one 
 is by the arches rendered much lighter to the eye, and affords a happy variety 
 and highly picturesque effect, as may be perceived from the plate in which 
 it is represented. 
 
 This Seat is supported by double pillars of Fir, and constructed of Elm, Birch, 
 and Hazel, tastefully disposed in various forms, and is generally considered the 
 most elegantly conceived of all these sweetly fanciful Bowers, which owe their 
 singular beauty and appropriate construction solely to the superior taste and 
 ingenuity of His Grace the Duke of Marlborough. 
 
 Returning to the water, whose banks are adorned by the Arum, Foxtail, and 
 Water Lily, we now enter the 
 
THE NEW GARDENS. 
 
 81 
 
 CEMBRA WALK. 
 
 In this richly-adorned path the Tulip Tree, Pinus Cembra, Pinaster, Pinus 
 Maritima, Spanish Chesnut, and 1 he picturesque Cluster Pine, are found in the 
 most flourishing state. 
 
 By this Walk we re-enter the Lawn, by crossing the Iron Bridge, from whence 
 we enjoy a fine view of the water under the different appearances already men- 
 tioned . 
 
THE 
 
 WOODS. 
 
 " Elegance, chief grace the Gardens shows 
 
 " And most attractive, is the fair result 
 
 " Of thought — the creature of a polish'd mind." Cowpee. 
 
 " Hither bring retired Leisure, 
 
 " That in trim Gardens lakes his pleasure." Milton. 
 
 The elegant and extensive pleasure grounds here denominated the Woods, 
 were within a few years literally what their name implies. The heautiful 
 walks, velvet lawns, exotic plantations, flowery arcades, rural bowers, and gay 
 pavillions which now embellish them, owe their existence to the taste and spirit 
 of their Noble Possessor, who has rendered this portion of the grounds of 
 White-Knights so singularly attractive, that he appears to have realized scenes 
 drawn by the vivid imagination of Marmontel with such exactness, that we 
 cannot forbear quoting the passage to which we allude. 
 
 " All sides of this smiling scene agree without sameness ; the very sym- 
 " metry is striking ; the eye roves without lassitude, and reposes with- 
 " out dullness : a noble elegance, a richness well managed, a bold and 
 
86 THE WOODS. 
 
 " yet delicate taste, have here been employed in embellishing them ; 
 " nothing forced or laboured with too much art. The concourse of 
 " simple beauties forms its magnificence, and the equilibrium of masses 
 " joined to the variety of forms, produces that beauty of harmony which 
 " forms the delight of all beholders. 
 
 " Groves ornamented with statues, lattice work fashioned into arbours and 
 " bowers, decorate all the known gardens ; but in these, riches dis- 
 " played without understanding and taste, generally excite nothing more 
 " than a cold admiration, attended with satiety. Here, the disposition 
 " and connection of the parts, form of a thousand sensations but one 
 " enchantment ; the second object that is discovered adds to the first, 
 " and both are still further embellished by the charms of the new object 
 " which succeeds without effacing them." 
 
 The Woods lie in a south-east direction across the Park, and are approached 
 through a fence formed of large stones, which have obtained the name of 
 Grey Wethers, from their resemblance to sheep when in their natural state 
 upon the downs of the Duke of Marlborough's estates in Wiltshire. On 
 entering the enclosure we turn to the right, by a noble, open, winding path : 
 on either hand is a rich plantation of young forest trees, intermixed with the 
 Arbutus, flowering Ash, evergreen Oak, snowy Mesphilus, and red-berried 
 Elder. Beneath these, various specimens of Roses, Woodbines, and other 
 flowering shrubs, blossom in profusion ; while far above, a lofty screen of 
 venerable Oaks ascend, as if to guard this terrestrial Elysium from unhallowed 
 
THE WOODS. 87 
 
 feet, and foster beneath the shelter of their mighty arms the infant plants and 
 tender Exotics that bloom in grateful beauty around their ancient trunks. 
 
 After passing a considerable length amidst this profusion of sweets, the path 
 becomes more umbrageous as it leads to the 
 
 C ATA LP A WALK. 
 
 The beautiful American tree which gives its name to this part of the ground, 
 is here seen in great perfection, half encircling an Amphitheatre, which is clas- 
 sically adorned bv a noble 
 
 ANTIQUE VASE. 
 
 This Vase is of the finest Grecian form and most beautiful workmanship. It 
 is placed on a suitable pedestal, and possesses the size and boldness of effect 
 demanded by its situation. The Vase is richly decorated in alto relievo by a 
 Bacchanalian procession and other appropriate ornaments, while the top is 
 crowned by vegetable beauties. From this valuable embellishment the eye is 
 forcibly withdrawn by the attractions presented in the 
 
83 
 
 THE WOODS. 
 
 ACACIA BOWER. 
 
 This beautiful Bower is an arcade six hundred feet in length, and of a suffi- 
 cient width to give it the full effect of a magnificent vista : it is formed of rustic 
 lattice work, intertwined with the luxurious branches of Acacia trees, round 
 which the pliant Woodbine wraps her tendrils, loaded with flowers and shed- 
 ding perfumes ; whilst the China Roses, planted at their feet, add a glowing 
 beauty, which illuminates the long green aisle with innumerable flowers. The 
 eye is conducted (from hence) through this fascinating medium, to a beautiful 
 Cottage, and at easy distances are placed little rustic seats, opposite to each of 
 which are found openings, like windows, in the Bower, which exhibit views of 
 particular beauty in the grounds, or the distant country. From the second of 
 these apertures we have a sight of Caversham House and grounds, so given as 
 to form a perfect picture, the thick foliage through which it is seen being a 
 happy frame, by confining the eye to its principal object. On returning from 
 this interesting walk we re-enter paths of increased beauty, from the profusion 
 of flowering shrubs which every way surround us, many of which are the most 
 curious exotics ; but we do not proceed far, before we reach the 
 
 LABURNUM BOWER. 
 
 This immense Treillage is a beautiful Arcade twelve hundred feet in length, 
 and constructed in the same manner as the former, hut covered with the flexile 
 
THE WOODS. 89 
 
 branches of the Laburnum, whose pensile foliage and drooping blossoms, render 
 it still better calculated for this purpose than even the graceful Acacia. The 
 value of straight lines, as increasing the effect of all objects of grandeur and 
 beauty, is forcibly felt on entering this Bower, which really appears intermi- 
 nable, from its continuity of line ; yet we understand that in a few years, when 
 the Grove of Oaks with which it terminates (and which are now rising fast, 
 from acorns sown by the Duke of Marlborough) are grown, his Grace intends 
 to add twelve hundred feet more to its length. 
 
 Entering the Bower, we perceive similar beauties in the flowery decorations, 
 open windows, and rustic chairs, with those already mentioned ; and after a 
 considerable walk, find an additional accommodation in the 
 
 RUSTIC ORCHESTRA. 
 
 This Orchestra is formed by an extension of the trellice to an hexagon, in 
 four parts of which are seats and stands for Music. This opening, although 
 large enough to accommodate his Grace's complete band, and raised consider- 
 ably in the verdant roof, yet does not in the slightest degree injure the Avenue, 
 being involved and lost in the length of the Bower, which is finally closed by 
 
 THE SEAT. 
 
 This Seat, of which a view is annexed, is considerably the largest, and gene- 
 
 A A 
 
90 THE WOODS. 
 
 rally considered the most beautiful in all the pleasure grounds of White- 
 Knights. It combines elegance with simplicity in its form, and beauty with 
 convenience in its contrivance. A considerable party might be accommodated 
 here, and from a door in the pannelling, which opens upon a carriage-road 
 (completely hidden) may be introduced at once to the extraordinary and beau- 
 tiful spectacle presented in the Laburnum Bower. The Seat is formed of the 
 branches of Hazel and Birch in its natural state, spliced into pannels, the centre 
 of each being a piece of Yew, the rich colour of which produces an excellent 
 effect. The pediment is also ornamented in the same way, and chains of smaller 
 slices of Yew tree form a margin both in the inside and outside of the Seat. 
 The supporting pillars are clusters of straight branches of Hazel, braced toge- 
 ther in the manner of the ornamented Gothic pillars observable in some cathe- 
 drals : the roof is thatched with straw, and the interior, which is canopied, ren- 
 dered remarkably neat and pleasing by a ceiling of rushes. 
 
 From this Seat the whole of the Laburnum Bower stretches its flower-enamelled 
 vista before the eye : the chequered light and playful shadows, the tremulous 
 foliage floating on the perfumed breeze, the long unbroken line, contribute to 
 diffuse over the mind that soothing calm and chastened pleasure, which is the 
 peculiar gift of solitude polished by taste : but when to these beauties the 
 charms of Music are added, their influence over the mind is heightened into the 
 purest and highest enjoyment. 
 
 On the sunny side of each of these Bowers is a beautiful Gravel Path, for the 
 convenience of a winter promenade ; and in various places we find seats in 
 character with the place, of simple materials, yet offering perfect accommoda- 
 
THE WOODS. 91 
 
 lion. Such is the variety of Evergreens in these beautiful Woods, and such the 
 perfect order and neatness in which they are kept, that in the depth of winter they 
 exhibit great beauty, and offer invitations rarely met with in that melancholy 
 season, to those who admire the productions of nature, or seek the benefit* of 
 exercise. 
 
 To the left of this beautiful Bower, and occupying the same length, we find 
 
 THE CHANTILLY GARDENS. 
 
 These Gardens are laid out in the French taste, resembling, we believe, (as 
 their name implies) those of Chantilly. Green paths, which intersect each 
 other at right angles, where many frequently meet at the foot of a towering Elm, 
 or gigantic Oak, remind us perpetually of the poet's description— 
 
 " Satyrs and Sylvan lawns were seen, 
 " Peeping from forth their alleys green ;" 
 
 for never were more beautiful " alleys" beheld than those which now attract 
 us; the white Musk Rose, the brilliant Tulip tree, and other innumerable 
 exotics of every clime, together with all the beauties of our own almost exhaust- 
 less Flora, combine to render the scene delightful to the senses ; while the high, 
 though distant screen of forest trees, and those noble specimens which from 
 time to time present themselves to the eye (around which Garden Seats are 
 
93 
 
 THE WOODS. 
 
 generally found) give an idea of grandeur, that adds the sense of magnificence 
 to that of beauty. 
 
 After various wanderings in this delightful region, we cross the Laburnum 
 Bower, under the shadow of an Acacia, of such extraordinary beauty as to 
 excite even here the most particular admiration. We ought to notice that there 
 are various entrances into this beautiful Bower, without which, great inconve- 
 nience must occur, as it occupies so long a line in the Gardens ; but these only 
 serve as openings by which new beauties are derived, and do not even in the 
 most trifling degree impair the general effect. After passing the Bower, we 
 re-enter the broad original path, which surrounds the whole grounds, and soon 
 arrive at the 
 
 VINEYARD. 
 
 The Vineyard is of an oblong form, planted with Vines, which are kept low, 
 in the same manner as they grow in the Vine countries, and are found very 
 productive. A thick Laurel Hedge surrounds this ground, which on one side is 
 screened by lofty trees, the fathers of the woods ; on the other, by rising planta- 
 tions, in the midst of which is the 
 
 SWISS COTTAGE. 
 
 is beautiful Cottage is nearly square in its form, and being covered both 
 
THE WOODS. 93 
 
 within and without with furze, is singularly picturesque in colour and general 
 effect : the roof is of thatch, over which is a kind of diamond work of the small 
 branches of Ash, and it projects far enough from the building to form a piazza 
 all round, which is singularly beautiful when seen at a distance. It is sup- 
 ported by rustic pillars, placed on large stones : about a foot distant from the 
 roof, a chain is bound round the whole of the Cottage, which is partly concealed 
 by closely entwining Ivy, and this forms festoons round the Cottage, and in 
 the light and shade admitted under such various mediums, as the pillars, their 
 ivy bandage, and the open cottage furnish, there is a coup d'oeil presented of 
 inimitable beauty. Through the Cottage (which is quite open and furnished 
 with rustic seats) and the open piazza on either side, the eye is conducted to 
 the Acacia Bower, which closes with the Antique Vase before mentioned. 
 The length of the vista thus given from the opening of the Vineyard, is 1100 
 feet : the intervening ground (where not occupied by the vines) is beautified 
 by basket-work, inclosing the most brilliant flowers, whose gay tints mingle 
 with the soft greens, and form the most delightful contrasts. On leaving with 
 reluctance this beautiful scene, we enter a broad straight path, called the 
 
 ROSARY. 
 
 This noble walk is by many considered the pride of the Woods : on either 
 side are placed alternately Tulip trees, Red Cedars, and every possible variety 
 of the Rose (the queen of flowers) which modern improvement has furnished. 
 These blushing beauties are backed by Oaks in all their varieties also ; the 
 ever-green, the willow-leaved Oak, here mingle their diversity of hues, to form 
 
 B B 
 
94 THE WOODS. 
 
 a screen for the softer plants, whose innumerable flowers of every gradation, 
 from pearly white to glowing pink, and thence to tawny red, exhibit the most 
 perfect specimens of this justly-celebrated plant. 
 
 Twas flowers like these divinely gay, 
 That wreath'd Anacreon's locks of grey, 
 Their perfume on his Lyre was shed, 
 Their roseate bloom his cheek o'erspread, 
 And Time in vain would blanch the brow 
 That smiled beneath the Rose's glow. 
 
 And well the Bard repaid the flower 
 
 That crown'd his head and deck'd his bower, 
 
 He dipp'd her in Parnassian dews — 
 
 He robed her in celestial hues — 
 
 And Love and Beauty chaunt the strains 
 
 That praise the Hose of Teian plains. 
 
 And well may ye, fair train, inspire 
 As warm a heart, as sweet a Lyre : 
 Come, Moore, — for chief to thee belong 
 The melting soul, the magic song; 
 Here feel thy own Anacreon's flame, 
 Here give the Rose immortal fame. 
 
 Having passed through this enchanting walk, which certainly owes much of 
 its beauty to its stately Tulip trees, whose broad and richly indented light green 
 leaves form a striking contrast to those of the dark-hued Cedar, with which they 
 are blended, we enter the 
 
THE WOODS. 
 
 95 
 
 AMERICAN BORDER. 
 
 Although this Border is rich in all the most admired American plants, and 
 most agreeably diversified by the ruddy-stemmed Azalea, White Cedars, Fern- 
 leaved Beech, &c. yet its chief beauty consists of numerous specimens of the 
 Maanolia Glauca, which sheds unrivalled perfume from innumerable flowers, 
 that shine like stars in the vernal hemisphere. Pursuing this delightful walk, 
 we reach the 
 
 TRIANGULAR SEAT. 
 
 This small but elegant Seat is formed of latticed wood painted green : up the 
 sides grow luxuriant Honeysuckles, whose rich scarlet flowers give it a gay 
 inviting air ; and it is shaded and crowned in the most picturesque manner, by 
 an immense Elm ; while the Lawn on which it is placed, is agreeably diversified 
 by the dark hues of the Mountain Pine. We now find ourselves entering upon 
 more open grounds, and reach the 
 
 JUNIPER LAWN. 
 
 This extensive Lawn of the softest turf, though varied in its outline, is nearly 
 circular in its general form, and is finely dotted by Juniper trees, Laurus 
 
96 THE WOODS. 
 
 Sassafras, Quercus Esculus, Mountain and other Pines : it is nearly surrounded 
 by the American Border, and crowned in the midst by the 
 
 PAVILLIOIV. 
 
 This elegant summer-house is an octagon, with four latticed windows, which 
 are also entrances : it is formed entirely of wood of shaded greens, and its pro- 
 jecting roof is supported by light pillars inclosed in lattice-work, in which the 
 Corchorus Japonica and Atragene Austriaca entwine their tender fibres. The 
 dome is finished by a gilded urn, and its general appearance is gay and splendid. 
 From every window distinct and enchanting views are presented : in one we 
 have a fine view of ihe House, with a noble back-ground of massy foliage, with 
 the whole span of the stone-bridge, and a considerable expanse of water ; from 
 another, we have a sweet peep of the distant grotto ; and a third opens to a 
 fine part of the adjoining park. This charming place is handsomely furnished 
 within, and canopied by a fine old Oak and a Spanish Chesnut, whose broad 
 arms sweep the emerald carpet below, while its aspiring head soars far beyond all 
 its competitors. 
 
 Various paths intersect the grounds near the Pavillion, but preferring the 
 boldly circuitous sweep of the American Border, which advances in beauty every 
 step from the more extended prospect it presents, we continue in this path till 
 we arrive at the 
 
THE WOODS. 
 
 97 
 
 FLOWER GARDEN. 
 
 This is formed in a gently sloping vale of the purest verdure, on whose soft 
 declivities numerous baskets of the gayest and most fragrant flowers are growing 
 in unrivalled luxuriance. The scarlet Geranium, brilliant Begonia, purple 
 Rhododendron, conspire to enamel the ground, while on the surrounding trees 
 a thousand songsters warble forth their sense of pleasure, and inspire still more 
 than they feel. All around is Fairy ground,— air, earth, and water, combine 
 their choicest gifts to adorn the chosen spot ; and " mind which in itself con- 
 tains the fair and good," hath arranged and heightened all their beauties. 
 
 From this part the noble piece of water so important and decorative to the 
 whole of these admirable grounds, appears to take its rise ; in this little valley 
 it seems gently welling from a large shell, and spreads thence in a semicircular 
 line, which is edged by suitable plants, until on gathering power it proceeds 
 forward in the course which shortly obtains the character of a river, and imme- 
 diately previous to this change it is spanned by the 
 
 RUSTIC BRIDGE. 
 
 This beautiful Bridge is supported and formed entirely of roots and branches 
 of trees in their natural state, combined in the most simple yet ingenious and 
 picturesque manner it is possible to conceive : the whole is entwined and cover- 
 
 c c 
 
98 THE WOODS. 
 
 ed with Ivy, and forms a most beautiful object from whatever point of view it 
 meets the eye ; but being the subject of the annexed plate, we proceed to 
 describe the 
 
 FOUNTAIN. 
 
 This beautiful object, which is in a line with the Rustic Bridge, accords in 
 the same manner with the surrounding scenery : a Triton seated on a Dolphin 
 blows the water from a spiral shell, which falls in profusely glittering drops into 
 a stone basin of an octagon form, with a softly murmuring sound. The pedestal 
 consists of pillars of rock-work, incrustated with fine specimens of variously- 
 coloured spars, such as brain-stone, blue-john, &c. with petrifactions, sea weed, 
 nautili and other shells. 
 
 A little beyond this, in the same line, we reach the 
 
 SECOND FOUNTAIN. 
 
 The water here issues with a gentle bubble from a tube richly ornamented 
 with marine productions, amidst which it trickles to the reservoir below, which 
 (like the Fountain) is just so much smaller than the last as to enable the eye to 
 embrace the beauties presented by both, as they are beheld from the 
 
THE WOODS. 
 
 99 
 
 GROTTO. 
 
 This charming retreat appears like a rocky cavern, and closes the flowery valley 
 with an object of the utmost interest and beauty : unlike the general description 
 of Grottos, it admits not only the warm sun beams, but the fairest objects they 
 can irradiate : the flowers on either hand, the tall trees and their gay melodious 
 inhabitants, the splendid fountains, the more distant stream, and the Rustic 
 Bridge, are immediately in its view ; and if ever a scene on earth could be con- 
 ceived the abode of Genii and Fairies, this must be deemed the spot dedicated to 
 their choicest revels. 
 
 The inside of the Grotto bears the same appearance of rough shelving rock 
 which designates its exterior : on these natural inequalities of surface its orna- 
 ments are disposed with an air of simplicity and graceful negligence that is 
 highly pleasing : from the rocky roof depend branches of beau tiful coral, and 
 noble specimens of sea weed are intermixed with the green fern, which seems 
 to emulate their expansive leaves. Conchs of glowing pink, or bold black and 
 white, are seen on every side, and large masses of glittering spar of rich violet 
 hue or shining white, chrystals, ores, nautili and ear shells, give variety to the 
 internal decorations, while at the entrance many noble clams and conchs are 
 scattered around. On the top is placed a magnificent Nautilus, and a little below 
 an immense Brainstone, studded with green moss. 
 
 The annexed view represents the situation and surrounding foliage with great 
 
100 THE WOODS. 
 
 accuracy, but the various beauties which are found in the vicinity of the Grotto 
 require an examination which can only be satisfactorily obtained upon the spot. 
 It was from this place, and the Rustic Bridge, that the ideas were awakened 
 which gave birth to the poem which is annexed to this description, entitled, 
 " White Knights." 
 
 Leaving the Flower Garden, by ascending the opposite side of the valley, we 
 proceed through a continued flowery lawn, on which large clumps of purple 
 heath diversify with other flowers the smiling ground, until we reach an irre- 
 gular avenue of tall forest trees, beneath whose shade we pass the 
 
 IVY BRIDGE. 
 
 This Bridge is so completely covered with Ivy and the Alexandrian Laurel, 
 that we should not perceive we were passing the arch if we did not see the 
 water, which flows to the left until it appears to be crossed by a rude Alpine 
 Bridge. The huge stones which take this picturesque form, and in fact dam 
 the water, is the head of the Grotto, beneath which it is conveyed until it 
 reappears in the lower part of the Flower Garden, feeding in its subterranean 
 passage the two Fountains, and emerging, as already mentioned, from the lower 
 part of the vale, from whence, with continually increasing powers, it becomes 
 apparently a noble river, and eventually a far-spreading lake. 
 
 Still proceeding, under an almost embowering shade, which appears a portion 
 of the original woods from whence the grounds were formed, and which abounds 
 
THE WOODS. 
 
 101 
 
 in sylvan beauties, and gently winding to the left, we arrive at a circular 
 glade, shaded by Ash, Chesnut, Oak, and Hazel trees, the rich foliage of 
 which is fed by and reflected in an irregularly formed pellucid water, deno- 
 minated the 
 
 SPRING. 
 
 This beautiful scene is perfectly Arcadian ; the elegance, simplicity, repose, 
 and harmony which prevails, give a fulness of satisfaction — a sense of endearing 
 enjoyment — which cannot fail to impress it upon the memory in all its lineaments 
 of calm captivation and sober pleasure. It is one of the few places in which 
 the mind asks for no aid from the imagination to perfect the scene, but rests 
 satisfied in the little circle, around which appears to be included all that life 
 requires for elegant retirement, as from the annexed view it will be perceived 
 that it is enriched by the 
 
 COTTAGE. 
 
 This building is square in its form, and much resembles the Swiss Cottage, 
 being covered with furze, and having a projecting thatched roof, supported by 
 similar columns, between which are festoons of the most luxuriant Ivy. To its 
 external embellishments are added the comforts of an interior rendered habit- 
 able and fitted up for tea-rooms : there are also seats beneath the roof, for the 
 enjoyment of the clear spring and verdant shade, which are here so inviting. 
 
 D D 
 
102 
 
 THE WOODS. 
 
 The windows are ornamented by coloured glass, and the principal room is 
 splendidly decorated with valuable china, which is placed on fanciful brackets 
 in the most tasteful manner, and upon slabs of marble. In the middle of the 
 room a table appears covered with the finest fruits, which are also in porcelain, 
 and add to the character of a place so fitted for the luxuries of garden produc- 
 tions. Every thing is displayed in the most decorative and picturesque manner, 
 uniting harmoniously the most rustic with the most graceful forms. 
 
 Such is the superior beauty of this portion of the grounds, that it has been 
 made the subject of three pictures ; the first (already adverted to) gives a 
 front view of the Cottage and the whole of the Spring, with its accompaniments 
 of the little Bridge, Coble, &c. ; the other two are taken from either side, and 
 show the Cottage in its happiest points of view, and the fine trees by which it 
 is surrounded, especially the Chesnuts, feathered down to the ground with 
 flower-bespangled foliage, and a noble Oak, whose tall smooth trunk is yet 
 unmarked by the hand of Time, while his proud head soars far beyond the 
 limits of the picture : nor are the beautiful flowering shrubs which heighten and 
 adorn the scene forgotten in these delineations, which are strictly faithful, being 
 all painted upon the spot, and must convey a better idea of this enchanting 
 place than any verbal description. 
 
 On quitting the lovely scene presented by the Spring and its accompani- 
 ments, we visit the Cottage on the opposite side, where it appears situate on a 
 fine open lawn, studded with large tufts of alternate furze and heath : the yellow 
 blossoms of the former and the rich purple flowers of the latter, form a brilliant 
 contrast of the most lively and invigorating effect, and afford a charming variety 
 
THE WOODS. 103 
 
 to the garden flowers which within a little space appear to grace the grounds 
 which now open before us. 
 
 It is impossible to view the various clumps and baskets of flowers which every 
 where diversify and ornament the lawns and glades of these enchanting Woods, 
 without frequently recollecting the lines of Cowper on the subject :— 
 
 - to deck the shapely knoll, 
 
 That, softly swelled, and gaily dressed, appears 
 A flowery island, from the dark green lawn 
 Emerging, must be deem'd a labour due 
 To no mean hand, and asks the touch of taste. 
 Here also, grateful mixture of well-matched 
 And sorted hues (each giving each relief, 
 And by contrasted beauty shining more) 
 Is needful. 
 
 The truth of the poet's assertion is here every where felt, because the illustra- 
 tions of taste are every way visible ; and while the ignorant are gratified without 
 knowing why, the scientific receive a still higher pleasure, from the exercise of 
 the judgment and the perception of those combinations which produce the results 
 of beauty and harmony. 
 
 On leaving with reluctant steps this delightful spot, we enter a path to the 
 left, and soon find, to our great regret, that we are bidding adieu to these unri- 
 valled Woods, by re-entering the Park through the same door by which we 
 visited scenes 
 
104 
 
 THE WOODS. 
 
 In which whatever in this worldly state 
 
 Is sweet and pleasing, unto living sense, 
 
 Or that may dayntyest fantasy aggrate, 
 
 Is poured forth with plentifull dispence, 
 
 And made there to abound with lavish affluence. 
 
CONTINUATION OF THE ACCOUNT OF 
 
 WHITE-KNIGHTS. 
 
 Having passed through the Botanic Gardens, the New Gardens, and the 
 Woods, we proceed to survey the other grounds, and those which immediately 
 surround the Mansion. 
 
 These, as we have elsewhere observed, are lawns of the most vivid green, 
 intersected with walks of the purest gravel, and richly decorated with baskets 
 of the most beautiful flowers, shrubs, and trees, of graceful forms and brilliant 
 hues; amongst which, the Cedar and Lignum Vita; mingle their dark but 
 grateful tints. Every step presents us with some singular beauty or attractive 
 variety in the vegetable world ; and the same perfect neatness which throws 
 an undefmable charm over the Conservatory and Flower Garden, is found in the 
 more extended grounds and bolder paths which we are now traversing. 
 
 Proceeding on the principal path from the Northern front, we pass beneath 
 the shade of stately Elms, wide-spreading Oaks, and noble Cedars ; and in our 
 way, notice a Lombardy Poplar, which merits our attention, as being the first 
 
lOg CONTINUATION OF THE 
 
 tree of that kind planted in Great-Britain. This venerable head of a colony, 
 which has spread so universally that almost every village and farm exhibit their 
 spiral forms, is evidently aged, but scarcely to be called decayed, and may for 
 many years continue an object of interest in the grounds which have nursed with 
 such singular felicity exotics of every description. 
 
 Proceeding, we pass two mounds of turf, erected to facilitate the amusement 
 of Archery, and perceive in every gentle curvature of the path new beauties 
 unfolded in the views by which we are surrounded : these may be denomi- 
 nated Arcadian, in the near landscape ; Sylvan, in the more distant. Sunning 
 is discovered in various happy points of view ; and the house of Sir W. Scott, 
 " bosomed high in tufted trees," breaks on the eye with great advantage. 
 With these, and various other objects in view, varying their effects, but ever 
 given in the most agreeable manner, we reach 
 
 THE SHEEP WALK. 
 
 The beautiful and extensive portion of pasture ground thus appropriated, is 
 embellished with clumps of trees, that in bold masses fling their shadows in 
 vast projections over the verdant turf, diversified by those of lighter form and 
 foliage, that shiver in the sportive breeze, or those that in single majesty lift 
 their mighty frames on high, and throw out their wide protecting arms over the 
 " o-entle race" that nestle at their roots. In pursuing the woodland walks now 
 open to us, we gain sequestered paths, open downs, commanding eminences, 
 and every object of rural life in all the Poet calls " its joy and elegance." 
 
ACCOUNT OF WHITE-KNIGHTS. 109 
 
 Whatever path we may pursue, or however we may wander in this lovely 
 district, we find all the attractions of a fine open country, untrammelled by 
 any appearance of confines, and unfettered by any evident application of art, 
 yet abounding' in every natural ornament which can awaken the perception of 
 beauty. As we advance towards the water, which is at intervals revealed under 
 the distinct characters which it so magically assumes, we find it necessary to 
 enter the 
 
 ARBORETUM. 
 
 This extensive and thriving Plantation of Forest Trees and flowering Shrubs, 
 as well exotic as native, extends for a considerable way on those banks opposite 
 to the New Gardens, which are objects of great beauty as seen from hence : 
 here their Sylvan Seats, towering Groves, serpentizing Paths, flowery Lawns, 
 curious Plants, and picturesque Pines, rise before us in all the diversity of 
 nature, and the interest given by novelty and elegance. Leaving the Boat- 
 house to the right, shaded by a clump of Sycamore and Birch, we pass by a 
 little bay in which there is a wooded islet, and proceed towards the head of the 
 water, finding the creeks and grounds which surround the Lake unfold new 
 and unexpected beauties the further we proceed: the Oak Grove, the Fishing 
 Seat, the Birch Trees, Acacias, Pines, and Cedars, which have already caught 
 our attention from their individual value, or their happy situation, again pass 
 in review before us, or, casting their shadows in the chrystal stream, are ren- 
 dered still more attractive objects, while those more immediately under our 
 
 F F 
 
HO CONTINUATION OF THE 
 
 notice claim equal admiration : among these we find a beautiful group of fine 
 Tulip trees, in which is placed the 
 
 NEW FISHING SEAT. 
 
 This beautiful Seat varies in its construction from all the rest, (as will be 
 seen by the plate), and is equal, if not superior, to any in its decorations. 
 It is supported on columns of Yew tree, with a commanding pediment in the 
 front, and the ends are finished in the same manner. It is empanelled with 
 small branches of red and white Birch of the greatest beauty, carefully selected 
 and formed in diamonds round a centre of slices of Yew-tree : smaller pieces of 
 Yew also form a beautiful margin, and the Seat is of the same material. Like 
 all the rest of these Seats, the roof is thatched. The inside is a waggon roof, 
 inlaid with rushes, surrounded with a thick plait of the same flexile plant, which 
 has a very pleasing effect. The floor is tesselated with pebbles, to correspond 
 with the pannelling, and the whole is a pleasing variety in this species of 
 architecture, and in itself extremely beautiful. The prospect from this Seat is 
 that already mentioned across the Water and the New Gardens. 
 
 On leaving this delightful resting place, and continuing to skirt the banks, 
 we reach, by a gently circling path, the head of this noble reservoir, which 
 now has decidedly the appearance of a lake, and arrive at the 
 
ACCOUNT OF WHITE-KNIGHTS. 
 
 Ill 
 
 WILLOW SEAT. 
 
 From a green bench, shaded by a Weeping Willow, whose drooping foliage 
 sweeps the stream, we now enjoy what will be deemed by many the most perfect 
 view in these enchanting grounds : the whole stream spreads before us in its 
 broadest and most impressive form ; beyond it, the house rises from a flower 
 bespangled lawn ; both the north and east front are seen, backed by tall trees, 
 and partially shaded by one of a singular and admirable form : to the right, a 
 bold mass of dark wood is succeeded by the young plantation in its gayest dress 
 of vernal hues ; and on the left, lie the New Gardens, with all their sweet 
 varieties and inviting intricacies, offering their " green retreats" to the eye 
 and the imagination. 
 
 Oil ! it was sweet to plan this goodly scene, 
 And on the mind's fair tablet write these forms 
 Of glowing beauty: sweeter still ! to mark 
 ~ . ' ■ - Their gradual charms unfold, thro' every scene 
 « Of Garden, Woodland, Forest, Grove and Dell, 
 
 Crown'd by the spreading stream:— doth it not prove 
 
 How Art ennobles Rank ? how Taste bestows 
 
 A grace upon the great? — it well becomes 
 
 The noble stem of a distinguished race, 
 
 From his own mind's rich store, to call forth mind, 
 
 And heart and hand : — and as the life sap pours 
 
 Its gen'rous current thro' the lofty Oak, 
 
 Sustaining strength and beauty, from the trunk, 
 
 E'en to the fibres and the acorns germ ; 
 
 So doth his power enlighten, aid, sustain 
 
112 
 
 CONTINUATION OP THE 
 
 Man's social state — from the high gifted soul 
 By Genius fir'd and studious Knowledge led ; 
 To him, the humble swain, who all day long 
 Pursues his labour in this Paradise, 
 Unmindful of its charms ; yet blessing still 
 The hand that placed him here, and made his toil 
 The means of life to many a prattling babe 
 And their beloved mother. Thus t' adorn 
 Fair Nature's face, and thus to aid her sons, 
 Is heaven's best gift, and man's most sacred joy, 
 Whate'er his state, condition, rank, and power. 
 
 Reluctantly quitting a situation which excites the musings of a reflective mind 
 on subjects so immediately connected with those delightful scenes, in which the 
 Noble Possessor has indeed found and given 
 
 Health to himself, and to his lab'rers bread, Pope. 
 
 we return towards the Sheep Walk by the opposite side of the Plantation to 
 which we entered, and perceive a sweetly shaded lane, which is the commence- 
 ment of 
 
 THE DRIVE. 
 
 This charming Drive nearly encircles the whole of the grounds, and, in its 
 agreeable diversities of open or inclosed road, presents perpetually changing 
 views of the most beautiful description. The town of Reading, with its spires 
 and towers, the extensive ruins of its once magnificent Abbey, the Forberry, 
 the adjacent grounds, the villages of Sunning and Caversham, with its rural 
 
ACCOUNT OF WHITE-KNIGHTS. 113 
 
 church, richly cultivated hills, rallies through which the Thames rolls his 
 princely st ream and receives the Kennett, beautiful seats backed by well wooded 
 grounds and extensive plantations, pass in review before us, and combine with 
 the nearer beauties of the Park, Gardens, House, Woods, and Water of White- 
 Knights, to render the Ride as delightful as various. Every scene is here pre- 
 sented in its most picturesque point of view, and given either under some bold 
 effect, abrupt transition, or magnificent expansion, best calculated for exciting 
 pleasure, or awakening surprise and admiration. 
 
 In pursuing the objects of beauty every where presented in this Drive, whilst 
 the eye is gratified, yet the imagination and memory are most agreeably called 
 upon to retrace those scenes, whose more delicate touches and immediate 
 interest have already excited our warmest emotions — a gleam of sunshine directs 
 our view to the Gardens — a tall Elm recals us to the Woods — a spirit unseen, 
 yet not unfelt, pervades all around, eliciting every charm in Nature, and 
 giving to Art her happiest office, that of robing her with elegance, adorning 
 her with riches, yet preserving that air of magnificent simplicity which alone 
 bestows grandeur and beauty : — such is the inspiration of Taste ! 
 
 THE AVENUE. 
 
 The road to White-Knights from Reading lies through an inclosure of pasture 
 land, embellished by clumps of young trees, and surrounded by thriving plan- 
 tations. The immediate entrance is through a handsome gateway of three 
 arches, which opens into a noble avenue of lofty Elms, which on the left 
 
 G G 
 
n 4 WHITE-KNIGHTS. 
 
 screen the walls of the Botanic Garden ; on the right present us, between their 
 tall trunks, with various glimpses of the Park, and although very distinct from 
 the entrance already described, is yet so noble and impressive as to claim equal 
 praise, as from its solemn shade, and the veil it throws over the scenes around 
 it, excites still higher interest. It would be advisable for every visitor of White- 
 Knights to enter the grounds by the London road, and depart from hence ; 
 when the pensive and tender tone of feeling naturally produced by the high 
 o'er-arching trees and intercepted gleams of light, will well accord with the 
 sensations of those who bid these scenes " Farewell." 
 
DESCRIPTIVE ACCOUNT 
 
 PICTURES AT WHITE KNIGHTS. 
 
A 
 
 DESCRIPTIVE CATALOGUE 
 
 OF THE 
 
 PICTURES AT WHITE -KNIGHTS. 
 
 Drawing Room. South Side. Left of the Chimney Piece. 
 
 GUERCINO. 
 The Tiburtine Sybil. 
 
 CARLO DOLCI. 
 A Madonna. 
 
 This picture is a chef d'oeuvre of the master ; the expression is sweetly pensive, and the colouring 
 chaste and harmonious, and it may be considered equal to the celebrated one by the same master 
 at Blenheim. 
 
 LUDOVICO CARACCI. 
 The Madonna and Child, with infant Angels and adoring Spectators. 
 An exquisite Cabinet Gem, wrought up to the appearance of enamel on black marble. 
 
 VANDER UDEN AND TENIERS. 
 A Landscape and Figures, very beautiful, (cabinet size.) 
 h a 
 
118 
 
 CATALOGUE OF THE PICTURES 
 
 F. MIERIS. 
 
 An Interior : an Old Woman presenting a Fowl to a Young Lady who is 
 
 making Lace. 
 The whole inimitably wrought, and perfectly true to nature. 
 
 GERARD SEGERS. 
 St. Sebastian : a cabinet gem. 
 
 TENIERS. 
 An Interior, with a Man Drinking. 
 
 BOURGOGNONE. 
 A Battle Piece : a small but spirited sketch. 
 
 LUDOVICO CARACCI. 
 The Madonna and Child, with infant Angels. 
 This is a most exquisite Cabinet Gem, wrought up to the appearance of enamel. 
 
 Right of the Drawing Room Chimney Piece. 
 GUIDO. 
 
 Ecce Homo : one of the finest pictures of the master. 
 
 GUILIO ROMANO. 
 St. John in the Wilderness. 
 A fine specimen of the severe style in art, and considered equal to his master, Raphael. 
 
AT WHITE -KNIGHTS. , . 119 
 
 F. MIERIS. 
 
 A Lady at her Harpsichord, with a Parrot, &c. 
 This, like the before-mentioned production by the same master, is a most exquisite picture. 
 
 VANDER UDEN AND TENIERS. 
 A small Landscape. 
 A pleasing specimen of the united talents which produced it. 
 
 RUBENS. 
 
 A Portrait of Himself, affording a fine specimen of his best manner. 
 
 West End of the Drawing Room. Left of the Door. 
 BRONZINO. 
 
 Holy Family : St. John embracing the Saviour. 
 
 In design, expression, and execution, this fine picture forcibly reminds the spectator of the style 
 
 of Sebastian del Piombo. 
 
 ALBANO. 
 
 The Deity represented as the " Ancient of Days," surrounded by adoring 
 
 Angels. 
 
 in this picture there is a fine prevailing Titianesque tone of colour, and much of the grandeur 
 and beauty, for which this master is so justly celebrated. 
 
 JOHN WYNANTS. 
 Landscape and Figures. 
 Very highly finished and beautifully transparent; the fore-ground agreeably broken and picturesque. 
 
120 
 
 CATALOGUE OF THE PICTURES 
 
 T. KOBELL. 
 Landscape, with Cattle : elaborately finished. 
 
 Right of the Drawing Room Door. 
 
 FRANCIS PADUANINO. 
 
 Holy Family : Elizabeth and John adoring Jesus. 
 
 This exquisite performance appears to unite the excellencies of Raphael and Titian, and is a 
 
 matchless production. 
 
 TITIAN. 
 The Finding of Moses. 
 Richly and harmoniously coloured. 
 
 PAULO VERONESI. 
 The Portraits of a Venetian Family historically treated. 
 
 One of the most interesting paintings of this master. 
 
 CORREGIO. 
 A Magdalen with a Death's Head. 
 An inestimable Cabinet Gem. 
 
 C. POLEMBERG. 
 A Landscape and Npmphs Bathing. 
 A Landscape, with Ruins and Figures, (to correspond.) 
 These two pictures are fine specimens of the master. 
 
AT WHITE -KNIGHTS. 
 
 121 
 
 GUIDO. 
 
 The Virgin guarding the Saviour while he sleeps ; St. John bringing flowery 
 
 wreaths to throw over him. 
 
 A beautiful gem, possessing in colour and execution all the silvery sweetness of the master, affect- 
 ing and delightful in expression and sentiment, and on the whole beautiful in the extreme. 
 
 North Side of the Drawing Room. Left of the Window. 
 
 FRANCESCO MOLA. 
 
 Hagar and Ishmael. 
 
 This picture is in a grand style of art; the chiaro scuro and colour are solemn, powerful, and 
 
 deeply impressive. 
 
 ADRIAN OSTADE. 
 Boors Merry Making : finely coloured and transparent. 
 
 VANDERWERF. 
 A Garden Scene. 
 
 Very highly finished, and a most perfect representation of nature under the effect of sunshine. 
 
 VAN GOEN. 
 Landscape, with Water, Church, Village, &c. 
 A very clever specimen of the master. 
 
 PARMIGIANO. 
 
 The Virgin, with Christ standing in her Lap, (cabinet size.) 
 A most beautiful study. 
 
 T I 
 
122 CATALOGUE OF THE PICTURES 
 
 KAREL DU JARDIN. 
 Cattle in a Landscape : a beautiful specimen. 
 
 SCHIDONI. 
 The Virgin teaching Christ to read. 
 This small picture is vigorous in chiaro scuro, and forcible in colour. 
 
 Right Side of the Window. 
 
 LUDOVICO CARACC1. 
 
 The Death of Darius. 
 
 This noble, historical landscape is a chef d'eeuvre of art. The scene is a forest by moonlight, 
 filled with trees of the wildest growth. Darius is falling from his chariot in death, and his furious 
 steeds are entangled and struggling in their traces : the solemn depth of shadow, and the gleaming 
 light of the moon, assist the terrible and affecting sentiment inspired by the subject, and render it 
 singularly commanding and impressive. 
 
 KAREL DU JARDIN. 
 Mountebanks at a Fair. 
 Pull of character, clear, and well coloured. 
 
 ADRIAN VANDERVELDE. 
 A Landscape, with Cattle and Figures. 
 The verdure of this landscape is very rich, and the cattle are finely drawn and highly finished. 
 
 ADRIAN OSTADE. 
 An Old Woman's Head, with a Bottle and Glass. 
 
■■■■■■ 
 
 AT WHITE -KNIGHTS. 123 
 
 RUYSDAEL. 
 Landscape : a Woody Scene, with Figures. 
 
 ADRIAN OSTADE. 
 An Old Man Reading:. 
 
 TENIERS. 
 
 A small Landscape, with a Cottage, Figures, and the View of a Church in 
 
 the distance. 
 A beautifully clear and well coloured picture. 
 
 Pannel next the Bow Window. East End. 
 
 PARMIGIANO. 
 
 Virgin and Child, with St. Jerome. 
 
 Infancy, Youth, and Age, depicted with beauty, grace, and vigour. A most interesting 
 
 production. 
 
 SCHALKEN. 
 
 The Sausage Maker. 
 
 This picture is equal to Mieres's in merit, although it is a departure from this artist's usual subjects, 
 which were generally fire light, or candle light. 
 
 A. ELSHEIMER. 
 The Death of the Virgin. 
 This is a circular picture, with a fine effect of chiaro scuro. 
 
124 
 
 CATALOGUE OF THE PICTURES 
 
 The Second narrow Funnel. East End. 
 
 CARLO MARATTI. 
 The Napkin and Cross. 
 
 SCHIDONE. 
 
 Landscape, with Figures; a Woman Bathing a Boy. 
 
 F. LAURI. 
 
 The Triumph of Bacchus: classically treated. 
 
 The Dining Room. South Side. Left of the Sideboard. 
 
 GARAFALO. 
 The Holy Family. 
 
 This picture partakes largely of the grace of Raphael. 
 
 P. DE HOOGE. 
 
 A Garden Scene in Holland, with Figures playing at Nine Pins. 
 Deeply toned, and inimitably true to nature. 
 
 MOUCHERON AND LINGLEBACK. 
 
 The Landscape is by Moucheron, the Figures by Lingleback. It is a glowing picture, beauti- 
 fully transparent and highly wrought, and may almost vie with the best of Claude's in colour, 
 composition, and surface. 
 
AT WHITE-KNIGHTS. 
 
 CUYP. 
 
 A Sea Piece under the effect of Lightning. 
 A charming cabinel picture, possessing the force of Rembrandt. 
 
 125 
 
 DE HEUSCH. 
 A Landscape, with Figures. 
 
 Right Hand of the Sideboard. 
 
 WYCKE. 
 The Siege of Namur. 
 
 REMBRANDT. 
 
 Christ Disputing with the Doctors of the Jewish Church. 
 
 This exquisite picture is in the purest style of the master : the fine expression in the Saviour, 
 the surprise evinced by some of the Elders, the serenity of others, and the effect of light thrown 
 over the principal figures, render it a most interesting as well as beautiful production. 
 
 GAINSBOROUGH. 
 A Landscape, with Figures, at Sunset. 
 This picture is painted in the early and best manner of the master. 
 
 West End of the Dining Room. Right Hand from the Chimney Piece. 
 
 P. P. RUBENS. 
 Christ and Saint John, with the Lamb. 
 
 A deep, mellow-toned picture ; the carnations particularly fine. 
 
126 
 
 CATALOGUE OF THE PICTURES 
 
 JAQUES JORDAENS. 
 
 A Bacchanalian Scene, with a variety of Figures. 
 
 This picture is fully equal to the best specimens of Rubens in colour, and is a proof that Rubens 
 had cause to be jealous of the extraordinary talents of his pupil. 
 
 COR. SCACH. 
 An Interior, with a Woman Scaling Fish. 
 
 LE DUO 
 
 An Interior, with Figures in Conversation. 
 
 SEBASTI RICCI. 
 The Flight into Egypt; with a Cavern Scene, by Moonlight. 
 
 A clear and forcible picture. 
 
 heft Hand of the Chimney Piece. 
 
 TINTORETTO. 
 Esther before Ahasuerus. 
 A fine specimen of the colouring of the Venetian School. 
 
 COR. SCIIUT. 
 
 The Garden of Love. 
 
 This picture is beautifully coloured, the figures well grouped, and the attitudes finely contrasted ; 
 but the execution is hard and dry, compared with Rubens, although it is nearly equal to that 
 master in colour. 
 
AT WHITE-KNIGHTS. 
 
 P. NIEFS. ' 
 The Interior of a Church, with Figures. 
 
 This production is most elaborately finished. 
 
 PARMEGIANO. 
 St. John with the Lamb. 
 A most exquisitely coloured Cabinet Gem. 
 
 GREUSE. 
 
 An Interior, with a Girl and Kitten. 
 A very pleasing specimen of this artist. 
 
 North Side of the Dining Room. 
 
 ZUCCHERO. 
 A Portrait of Henry the Fourth of Fiance. 
 
 SALVATOR ROSA. 
 An upright View of a Sea Port, with a Castle and Shipping. 
 This view is by sunrise, and exceedingly beautiful. 
 
 VANDERVELDE, Junior. 
 A Sea Piece. 
 
 A very fine specimen of this master's broad effective descriptions of a full flowing 
 
128 
 
 CATALOGUE OF THE PICTURES 
 
 HANS HOLBEIN. 
 Portrait of Henry the Eighth. 
 
 HACKEART. 
 View of the House in the Wood at the Hague. 
 
 o 
 
 The trunks of the trees in the avenue and the figures are remarkably fine. 
 
 East End of the Dining Room. 
 
 GUERCINO. 
 The Head of St. Catherine. 
 
 PAUL POTTER. 
 
 A Landscape, with Cattle, Shepherd and Shepherdess, and a Child, &c. 
 
 Inimitably true to nature ; the objects wrought up to deception. This is a picture of inestimable 
 
 value. 
 
 LE DUC. 
 
 An Interior, with numerous Figures opening a Trunk, from which jewels 
 
 are taken. 
 
 This is a curious and interesting picture, highly finished and forcibly coloured. 
 
 GIORGIONE. 
 A Concert : equal to Titian in colour. 
 
AT WHITE-KNIGHTS. 
 
 129 
 
 D. RYCHAERT. 
 An Interior, with a Party playing Piquet. 
 This picture is equal to Teniers. 
 
 Over the Dining- Room Door. 
 Diogenes searching for an Honest Man. 
 
 P. DEL VAGA. 
 Nymphs attired by Cupids, from the Orleans Collection. 
 
 OSTADE. 
 
 A large Landscape view of the Scheldt in Holland, wilh a Windmill, Cottages, 
 
 and Figures. 
 
 This picture is painted in a grand style ; the sky is admirable : it is probably the chef d'ceuvre of 
 
 the master. 
 
 GERARD DOW. 
 His own Portrait when at work, with a Sketch before him. 
 Clear, forcible, and finely wrought. 
 
 VANDYKE. 
 Horses Heads: a spirited sketch. 
 
 CARLO MARATTI. 
 The Virgin and Child : a beautiful cabinet gem. 
 
130 
 
 CATALOGUE OF THE PICTURES 
 
 Billiard Room. West End of the Room. 
 COSWAY. 
 
 Portrait of his Grace the Duke of Marlborough. 
 
 COSWAY. 
 
 Portrait of Lady Caroline Spencer as an Angel, with a triangle in her hand. 
 
 COSWAY. 
 
 Portraits of the Marquis of Blandford and Lord Charles Spencer, in ancient 
 costume, with armour, &c. 
 The above three portraits are in the best manner of the artist. 
 
 HOFLAND. 
 
 A View from the North Lawn, White Knights. 
 
 HOFLAND. 
 
 View of the Cottage and Spring in the Woods of While Knights : a companion 
 
 to the last. 
 
 East End of the Billiard Room. 
 STROEHLING. 
 
 Equestrian Portrait of His Grace the Duke of Marlborough, in the costume 
 worn by the Barons of the fifteenth century. 
 An admirable likeness, and most pleasing picture. 
 
AT WHITE-KNIGHTS. 131 
 
 SHARPE. 
 The Connoisseur. 
 
 A most beautiful picture, unique in subject, admirable in expression, fine in colour, and inimitable 
 
 in effect. 
 
 COVENTRY. 
 A Cottage Girl drawing Beer. 
 
 MRS. J. HAKEWELL. 
 Head of a Boy. — Head of a Girl. — Companions. 
 
 MULREADY. 
 A Cottage : a pleasing little picture. 
 
 North Side of the Billiard Room. 
 REYNOLDS. 
 
 An Interior, with an Old Man, and a Woman spinning. 
 
 WARD. 
 
 The Cobbler : a clever little picture. 
 
 JONES. 
 A Cottage Girl reading. 
 
CATALOGUE OF THE PICTURES 
 
 JONES. 
 
 A small Landscape, with Bridge, &c. 
 This and the preceding picture are pleasing specimens of the artist. 
 
 KNELLER. 
 
 Portrait of Robert, Earl of Sunderland : a small whole-length. 
 
 This picture is beautifully coloured and highly finished, the person graceful, the costume elegant, 
 and the portrait very interesting. 
 
 South Side of the Billiard Room. 
 FERG. 
 
 Landscape, with Ruins and Banditti. 
 
 REMBRANDT. 
 A Portrait of a Gentleman wearing a gold chain. 
 A small but agreeable specimen of the Master. 
 
 HANS HOLBEIN. 
 A Portrait. 
 
 MIREVELT. 
 A small Portrait of a Gentleman in Armour. 
 
AT WHITE -KNIGHTS. 
 
 Gallery surrounding the Staircase. South Side. 
 
 CARAVAGGIO. 
 An Italian Family. 
 
 This fine composition possesses the vigorous feeling which characterize the works of the Master, 
 and is a striking and beautiful picture. 
 
 KNELLER. 
 
 Portrait of the great Duke of Marlborough. 
 Portrait of Sarah, Duchess of Marlborough. 
 
 These portraits are oval, and painted as companions ; they are finely coloured, and said to be ex- 
 cellent likenesses of the handsome and august personages they represent. 
 
 North Side. 
 
 SALVATOR ROSA. 
 A Mountainous Landscape, with Water and Figures. 
 This landscape displays the characteristics of the Master. 
 
 PAN1NI. 
 
 A Composition of Ruins, from the Antique. 
 
 A Composition of Ruins, to correspond. 
 
 These two pictures are admirable in composition and effect, and present us with many of the 
 finest remains of antiquity" in the most striking situations ; they are probably the best efforts of 
 the Master. 
 
134 
 
 CATALOGUE OF THE PICTURES 
 
 East Side of the Gallery. 
 
 LOUTHERBOURG. 
 The Battle of the Nile. 
 
 A large and capital picture; a fine specimen of this esteemed Master. 
 
 West Side of the Gallery. 
 
 LOUTHERBOURGH. 
 
 The Battle of Camperdown. 
 
 A companion to the above, and possessing, like that, the breadth, colour, and composition, required 
 
 in the subject. 
 
 Blue Room. East Side. 
 
 COSSE. 
 The Will. 
 
 This picture is admirably conceived. 
 
 BOADEN. 
 
 Portrait of a Female Peasant, three quarters size. 
 
 ROMNEY. 
 
 Portrait of a Lady, three quarters size. 
 
 These pictures correspond in size, and form agreeable contrast in subject, each having distinct 
 
 merit. 
 
AT WHITE -KNIGHTS. 135 
 
 Blue Room. West Side. 
 
 SALVATOR ROSA. 
 Landscape, with Alpine Bridge, Gushing Torrent, and Banditti. 
 
 NAYSMYTH. 
 
 Landscape : a view on a River, with Wood and a Cottage. 
 A very pleasing picture in this artist's best manner. 
 
 COSSE. 
 
 The Interior of a Public House : a Woman Drinking. 
 The Old Cloaths Shop. 
 
 These pictures are well conceived, and the colouring better than usual with this clever artist. 
 
 SHARPE. 
 
 The Dancing Master. 
 
 The Maid detected reading a Letter. 
 
 These pictures are full of humour and character, well conceived, and beautifully expressed ; the 
 former is not inferior to the happiest efforts of Hogarth. 
 
 Over the Blue Room Door. 
 COOPER. 
 
 Tam o' Shanter : very poetically treated. 
 
136 CATALOGUE OF THE PICTURES 
 
 D. SERRES. 
 A Sea Piece, with a Sea View of Geneva. 
 A View in the Bay of Naples. 
 
 Between the Windows. 
 NAYSMYTH. 
 
 An upright Landscape, Cattle, and Figures, with a Bridge and Castle in the 
 
 distance. 
 
 A beautiful composition, sweetly coloured. 
 
 In the Bed Room Gallery. 
 WESTALL. 
 
 A Cottage Girl leaning on a Bank, size of life. 
 
 Best Bed Boom. 
 
 CRAIG. 
 
 A large and beautiful Drawing of the Earthquake at Messina, highly creditable 
 to the talents of the artist. 
 
 In the adjoining Dressing Room. 
 A Charily : painter unknown. 
 
WHITE-KNIGHT 8. 
 
 that could solace the sense or natter the fancy, all that industry could extort from nature, or wealth furnish 
 " was collected together, and every perception of delight was excited and gratified." — Johnson. 
 
 Wot ye not, stranger, this is Fairies' land, 
 And nightly on the greensward do they play, 
 Like shadowy diamonds on the pebbled strand, 
 That dance and sparkle in the watery spray ? 
 Well may they revel here with joyance gay, 
 Since never spot so wond rous fair, I ween, 
 Glow'd with like beauty neath the sunny ray ; 
 Or in the moonlight smiled with gentle sheen 
 To woo their fairy bands, and win their sprightly Queen. 
 
140 
 
 WHITE-KNIGHTS. 
 
 Sometimes in grand procession will they prance 
 Athwart this rustic bridge, and proudly bear 
 Gay silken banner and innocuous lance ; 
 While thrilling music fans the midnight air, 
 And choral songsters chaunt that peerless fair, 
 Whose inspiration taught a mortal's mind 
 To form this Paradise of all things rare ; 
 Where art and nature, by attraction join'd, 
 Find all their beauties dwell, and all their arts combin'd. 
 
 A Fairy, she, descent from regal race, 
 Knowledge and Elegance her parents hight ; 
 And she was nurtured by the hand of Grace, 
 With sweet Simplicity, a lovely wight. 
 Thence grew she up, the charm of every sight, 
 For such her power, that e'en the desart waste 
 Became with verdure clothed divinely bright 
 Where'er her flowery steps their wanderings trac e! , 
 Such was this wondrous Fay, whom men ycleped Taste. 
 
WHITE- KNIGHTS. 
 
 141 
 
 This sylph was clad in many colour'd vest, 
 Adjusted so by Harmony's fair hand ; 
 No gaudy hue could therein be express'd, 
 For brilliant tint was tam'd with purest bland — 
 Her taper fingers held a magic wand, 
 The which on head of happy mortal laid, 
 Straight would each sense with finer powers expand. 
 Hence Noble Marlboro' form'd this Eden glade, 
 For much belovd was he by that sweet elfin maid. 
 
 v 
 
 A little page hath she, of wond rous skill, 
 Whose starry eyes out-pierce the diamond's ray; 
 Whose tiny lingers mould whate'er they will 
 In flinty rocks, pure gold, or slippery clay ; 
 His cunning hands can beauty's self pourtray ; 
 And well his mind hath conn'd all hidden lore, 
 That may his Lady's magic spells display. 
 Invention he — whom in the days of yore, 
 Fancy, a blooming sprite, to sage Experience bore. 
 
 o o 
 
142 
 
 WHITE -KNIGHTS. 
 
 When glimm'ring morn from forth the east would peep, 
 These twain to Marlboro's downy pillow flew ; 
 And whiles the gladden 'd earth with joy did weep 
 In many a balmy tear of spangling dew, 
 O'er hill and dale his blithesome steps they drew, 
 And bade before his gaze bright visions rise ; 
 Which ever and anon they would renew, 
 In every varied scene of beauteous guise, 
 That power like hers could raise, or art like his devise. 
 
 And whiles the princely Knight, with glistening eye, 
 Beheld this day-dream's floating witchery, 
 Two viewless forms were chaunting in the sky, 
 With seraph songs of melting minstrelsy : 
 Whose soft allurements or bold majesty, 
 No ear of mortal might withstand unblam'd, 
 Enthusiasm that — and this was Genius high, 
 Whose lofty soul his fitful consort tam'd, 
 For blind devotion mourn'd, for generous ardour fani'd. 
 
WHITE-KNIGHTS. 
 
 They sang, " This goodly vision all be thine, 
 Thine the wide honours of the spreading wave, 
 The trellic'd paths where mingling woodbines twine, 
 Embowering shade and shell-bespangled cave : 
 Pearl-dropping fount, where Oberon may lave, 
 And all that charms thy sight, of lawn or dell, 
 The forest's pride — the garden's sylvan shrine ; 
 Haste, then, to form the scene thou lov'st so well, 
 Here come with Taste to reign— with Health and Joy to dwell." 
 
 The minstrels ceas'd, but on his yielding breast, 
 Their echoing music seemed yet to ring ; 
 Though soft, yet deeply, was each sound imprest ; 
 Who will not list when Genius deigns to sing? 
 Thus fall balsamic showers in vernal spring 
 On the parch'd bosom of the thirsty mead : 
 Straight from the visit of such grateful guest, 
 Green blades, gay flowers, and golden crops succeed ; 
 And thus from noble mind forth sprung the beauteous deed. 
 
144 
 
 WHITE -KNIGHTS. 
 
 Then ruddy Labour rais'd his sun-brown'd head. 
 With thankful smile, and plied his sinewy arms ; 
 Fair Ingenuity his task o'erspread, 
 With mantling verdure and unnumber'd charms ; 
 Which prudent caution guarded from all harms ; 
 While Industry from every fragrant bed 
 Pluck'd each unsightly weed, or placed with care 
 The genial soil — whatever cools or warms, 
 For Flora's train the fructifying air, 
 And well his toils were paid — they grew and flourished fair. 
 
 Oh, lovely flowers ! the Earth's rich diadem, 
 Bright resurrection from her sable tomb ! 
 Ye are the eyes of Nature — her best gem, 
 With you she tints her face with living bloom, 
 And breathes delight in gales of sweet perfume ; 
 Emblems are ye of heaven and heavenly joy, 
 Of starry brilliance in a world of gloom : 
 Peace, innocence, and guileless infancy 
 Claim sisterhood with you, and sacred is the tye. 
 
WHITE - KNIGHTS. 
 
 145 
 
 Not regal splendour, when in glory's tide 
 It shines effulgently, with thee can vie : 
 Impearled lily, whom the tall leaves hide, 
 That we may find thee by thy perfumed sigh ! 
 Ah ! well doth it all other guide supply. — 
 Thus too the sapphire violet lurks unseen. 
 Not so Anacreon's rose, which courts the eye ; 
 She bows and blushes, yet reveals her mien, 
 And blooms benignantly, a beauteous maiden queen. 
 
 Shining from out rich leaves of velvet green, 
 That brighter than the emerald Laurels are, 
 Here great Magnolia spreads a lofty screen, 
 And pearls his silvery flowers like morning's star. — 
 He is the King of Flowers, and comes from far, 
 To woo our Northern Rose, fair Europe's pride : 
 Behold the Hero, on a Conqueror's car, 
 Subduing nature for his beauteous bride, 
 Scattering Arabia's sweets, profuse on every side. 
 
 p p . 
 
146 
 
 WHITE -KNIGHTS. 
 
 Here rich Geranium flaunts in Tyrian vest, 
 And graceful Fuschia hangs her coral bells, 
 Camella proudly lifts his glowing crest, 
 And red Azalea's saffron blossom swells ; 
 Gay Oleander tints i lie flowery cells; 
 But rich Begonia paints with deeper hues, 
 Drinking the sun-beams : classic Lotos dwells 
 In the deep stream, and her pale cheek imbues 
 With cold and marbly tone, like melancholy muse. 
 
 And when round Flora's Temple ihese uprose, 
 In painted treillage, bow'r, or glazed alcove, 
 From sculpturd urn, or rare cerulean vase — 
 With looks of beauty and with breath of love, 
 Forth fled Invention to the neighb'ring grove, 
 And plucked thence of branches a vast store, 
 Wherewith to form fair seats for those who rove ; 
 That they may view this Eden o'er and o'er, 
 And wish for aye to dwell and gaze for evermore. 
 
WHITE -KNIGHTS. 
 
 With nimble hands the woodland task he plied, 
 Mingling each shining bark of differing hue ; 
 Fair Taste, his goodly Queen, was still his guide, 
 And gave him forms of beauty ever new. 
 And as each rural temple rose to view, 
 Her magic hand, with decorative power, 
 In light festoons the curling ivy threw, 
 Or round the rustic column twin'd the flower 
 With grace unspeakable, and stamp'd it Fancy's bower. 
 
 This, of the Cedar s fragrant brandies made, 
 Like radiated stars its pannels spread, 
 And these the rind of silvery ash display d, 
 Close diamonded with bark of dusky red — 
 And with such wiliness of art were led, 
 Their inlaid sprays of chequering dark and light, 
 Ye would have thought th' embroiderer's silken thread 
 Had wrought them on some curious vesture bright, 
 Or costly cabinet, with inlaid jewels dight. 
 
148 
 
 WHITE -KNIGHTS. 
 
 Enroofed were they all with humble straw, 
 But in such wise they other domes out-peer'd. 
 For lack'd there nought of architecture's law, 
 Since fairer canopies were never rear'd ; 
 Adorned now — now simple, they appear'd — 
 All plants capreolate did there abound ; 
 Along the scallop'd eaves their tendrils veer'd ; 
 And many a flower of brilliant tint was found, 
 That fondly climbed the thatch, or bending, kiss'd the ground. 
 
 But who Invention's wond rous feats shall tell, 
 When o'er the stream yon ivied bridge he threw, 
 Wooed the coy Naiads in the silent dell, 
 To fill his founts with congregated dew, 
 And as the refluent crystal sportive flew, 
 Shaking the drops from his ethereal wing, 
 He call'd on Taste her lessons to renew, 
 Or scoop'd the basin for the welling spring, 
 Which fell with tinklings sweet, as mermaids wont to sing? 
 
WHITE-KNIGHTS. 
 
 149 
 
 Then Taste brought forth of treasures a vast store, 
 The unseen riches of the bounteous deep, 
 Corals and -shells, rare stones and gleaming ore, 
 Which Neptune loveth in his caves to keep, 
 Albeit hid, like Beauty's eyes in sleep :— 
 And plants marine, that own the spell-like touch 
 Of Knaresbro's nymph, who when she wills to weep 
 Her petrifying tears preserveth such— 
 With spars and marbles fair, which Taste delighteth much. 
 
 With these her lily hands disdained not 
 To mould fair ornaments of matchless art : 
 And first, to decorate her favourite Grot, 
 She chose the goodliest, from her beauteous mart, 
 Of all the gifts old Ocean could impart : 
 Conchs, Nautili, and Lyric shells, were seen, 
 And spiral forms, that thro' the rude waves dart ; 
 These, on the shelving rocks, she placed between 
 The rough stones browny moss, and tufts of emerald green. 
 
 Q Q 
 
150 
 
 WHITE-KNIGHTS. 
 
 Then Fountains of like beauty would she frame, 
 Where Art with Nature sweetly did combine, 
 That neither might eclipse the other's fame, 
 Yet each their separate excellence define : 
 There might the Sage, and there the Bard recline, 
 To watch the tinklings of the sportive rill, 
 As 'mongst the glittering spars its cold drops shine, 
 Or gushing swift, as summer show'rs distil, 
 It flows to Fancy's eye, like stream from Alpine hill. 
 
 m 
 
 And arched bowers she wove of endless leneth 
 Thro' which the branching trees were deftly twin'd, 
 Willing the gentle Taste should bow their strength, 
 Like lordly man, whom courtesy doth bind, 
 To stoop, and somewhat yield, to woman-kind : 
 And as fair woman gilds man's social hours 
 With grateful smiles, so 'mongst these boughs we find 
 Soft gales of fragrance and unnumber'd flowers, 
 Commingling all their charms to grace the stately bowers. 
 
WHITE -KNIGHTS. 
 
 151 
 
 Amid these branching roofs of vernal shade 
 With streaks of slendour peeps the golden sun, 
 As tho' his beams with frolic zephyr play'd, 
 Which thro' the whisp'ring leaves doth ever run, 
 As nymph that may be chased, yet never won. 
 Calm Silence loveth well their noiseless sport, 
 Of flickering light and shadows softly dun ; 
 Nor less Amusement, who doth here resort 
 With Beauty, Music, Joy, and all her blissful court. 
 
 But vain it were attempting to rehearse 
 What Genius prompted and what Marlboro' wrought, 
 Nor Painter's magic touch, nor Minstrel's verse, 
 Can show the scenes with such enchantment fraught : 
 But, stranger, if thy wandering dreams have sought 
 Elysian fields, as sung by Bards of old, 
 Here realize their luxury of thought ; 
 What Attic Lyre hath sung in fancy bold, 
 Britannia's happier son, empowers thee to behold. 
 
 THE END. 
 
9* 
 
 W. WILSON, PRINTER, GREVILLE-STREET, HATTON-GARDEN, LONDON.