cheftra are painted Corinthian pillars, C In the middle of this chandelier is reprefented, in plaifter of Paris, the rape of Semele by Jupiter; and round B the bottom of it is a number of small looking-glaffes curiously fet: A, bove are fixteen white bufts of eminent perfons, ancient and modern, standing on carved brackets, each between two white vafes: a little higher are fixteen oval looking-glaffes, ornamented with pencil'd candlesticks, or a two-armed fconce: If the fpectator ftands in the center, which is under the great chandelier, he may see himfelf reflected in all thefe glaffes. Above are fourteen fash windows, with elegant frames finely carved, & crowned with a plume of feathers. The top D is a dome, flated on the outfide, and painted within in the resemblance of a thell. The roof is fo contrived that founds never vibrate under it; and thus the mufic is heard to the greatest advantage. Between these columns are 4 paintings, by Hayman: The first reprefents the furrender of Montreal, in Canada, to the British army commanded by General Amberft. On a commemorating ftone, at one corner of the piece, is this infcription: POWER EXERTED, CONQUEST OBTAINED, MERCY SHEWN! MDCCLX. The fecond reprefents Britannia holding in her hand a medallion of his prefent Majefty, and fitting on the right-hand of Neptune in his chariot drawn by fea hories, who feem to partake in the triumph for the defeat of the French fleet (reprefented on the back ground) by Sir Edward Hawke, Nov. 10, 1759. The third represents Lord Clive receiving the homage of the Nabob and the fourth, Britannia diftributing laurels to Lord Granby, Lord Albemarle, Lord Townshend, and the Cols. Monckton, Coote, &c. This rotunda has lately been enlarged by an additional faloon, which E is fo joined to the building that the whole makes but one edifice: A part of the rotunda oppofite the orchestra is laid open for receiving this faloon, and its entrance here is formed and decorated with columns, like those at the front of the orchestra already de- F fcribed. In the roof, which is arched and elliptic, are two little cupolas, in a peculiar tafte; and in the fummit of each is a fky-light, divided into ten compartments; the frames are in the gothic style; each cupola is adorned with paintings; Apollo, Pan, and the Mufes, are in one; and Neptune, with the fea-nymphs, in the other: Both have rich entablatures, and fomething like a fwelling fofa. Above each cupola is an arch, divided into compartments; from the center of each, which is a rich gothic frame, defcends a large chandelier, in the form of a basket of H flowers. Adjoining to the walls are ten three-quarter columns, for the fupport of the roof; The architrave confifts of a balustrade, the frize is enriched with fportive boys, and the entablature fupported by termini. G The entrance into this faloon from the gardens is thro' a gothic portal, which is the beft entrance, when the candles are lighted, for viewing the whole to advantage, the profpect being extenfive and uninterrupted, abounding with variety on every fide, and a gay and brilliant company adding a peculiar luftre to the grandeur of the place. The first walk, as far as the great room, is paved with Flanders bricks, or Dutch clinkers, to prevent, in wet weather, the fand or gravel from fticking to the feet of the company. In all other places the grove is bounded by gravel walks, and a confiderable number of pavillions or alcoves, ornamented with paintings from the defigns of Mr Hayman and Mr Hogarth, on fubjects adapted to the place; and each pavillion has a table in it, that will hold fix or eight perfons. a The pavillions continue in a fweep, which leads to a beautiful piazza, and colonnade goo feet in length, in the form of a femi-circle of gothic architecture, embellished with rays. The entablature confifts of a carved frize, with battlements or embrazures over the cornice. In this femi-circle of pavillions are three large ones, called Temples; one in the middle, and the others at each end, adorned with a dome, a pediment, and a beautiful turret at the top; but the two latter are now converted into portals, one as an entrance into the great room, and the other as a paffage to view * cafcade, which are directly oppofite Proceeding forward, we fee another range of pavillions in a different style, adorned with paintings forming another fide of the quadrangle, with a C grand portico in the center, and a marble statue underneath. Next is a piazza of five arches, which open into a femi-circle of pavillions, with a temple and dome at each end, and the space in front decorated with trees. In the middle of the piazza, which preferves the line and boundary of the grove, is a grand portico of the doric order; and under the arch, on a pedestal, is a beautiful marbe ftatue of the famous Mr Handel, in character of Orpheus, playing on his lyre, done by the celebrated Roubiliac. the top of the garden; this is called the Druid's, or Lover's Walk, and on both fides of it are rows of lofty trees, which, meeting at the top, form a canopy. This walk in the evening is dark, which renders it more agreea ble to those who love to liften to the diftant mufic in the orchestra, & view the lamps glittering thro' the trees. From the ftatue of Handel, up the garden, appears a noble vifta, which Is called the grand fouth walk, of the fame fize as that feen at our first entrance, and running parallel with it. It is adorned by three triumphal arches; the profpect is terminated by a large painting of the ruins of Palmyra, which has deceived many frangers, and induced them, at first fight, to imagine they really faw a pile of ruins at some distance. Near the center of the garden, is a cross gravel walk, formed by stately trees on each fide. On the right hand it is terminated by the trees which fhade the lover's walk, and at the extremity on the left, is a beautiful landfcape painting of ruins and running water. From our fituation to view D this painting is another gravel walk, that leads up the garden, formed on the right by a wilderness, and on the left by rural downs, in the form of a long square, fenced by a net; with feveral little eminences in it, after the manner of a Roman camp. The downs are covered with turf, and interfperfed with cypress, fir, yew, cedar, and tulip trees. On one of the eminences is a ftatue of Milton, nearly furrounded with bushes, and feated on a rock, in a liftening pofture. In the pediment above is reprefented St Cecilia, the Goddess of Mufk, E playing on the violoncello, whi is fupported by a Cupid, while another holds before her a piece of mufick. Here ends the boundary of the grove on this fide; but, turning on the left, we come to a walk that uns along the bottom of the gardens: On each fide of this walk are pavillions, F and those on the left hand are decorated with paintings. On the oppofite fide is a row of pavillions, with a gothic railing in the front of them; and at the extremity of this walk is another entrance into the gardens from the road. At the G other end of the walk, adjoining to the Prince's pavillion, is a fmail femicircle of pavillions, defended in front by a gothic railing, and ornamented in the center, and at each end, with gothic temples; in both the latterjare fine glass chandeliers and lamps; the former is ornamented in front with a portico, and the top with a gothic tower, and a handsome turret. From the upper end of the walk laft defcribed, a long narrow vifta runs to H At the upper end of thefe downs is a gravel walk, formed on each fide by lofty trees, which runs across the gardens, and terminates them this way. In this walk is a beautiful profpect of a fine meadow, in which the obelisk ftands: This profpect is made by the trees being opposite the grand walk (which runs from the entrance into the gardens) and a ha ha is formed in the ditch, to prevent the company going into the field. At each end of this walk is a beautiful painting; one is a building, with a fcaffold and a ladder before it, which has often deceived the eye; the other is a view in a Chinese garden. The principal part of all thefe walks forms the boundaries of wildernesses, compofed of trees, which shoot to a great height, and are at inclosed with an efpalier, in the Chinese tafte. Letter The character of Mrs B. B. Grand-Daugh ter of Oliver Cromwell. Written in the Year 1719, on occafion of the clofing Words of Lord Clarendon's character of her Grandfather. HE Character of Oliver seems to T be made up of fo many incon. A B D E A perion of great prefence and ma. jefty, heroic courage, and indefati C gable industry; and with fomething in her countenance and manner, that at once attracts and commands refpect, the moment The appears in company; accustomed to turn her hands to the meaneft offices, and even *drudgeries of life, among her work. men and labourers, from the earliest morning to the decline of day, infenfible to all the calls and neceffities of nature, and in a habit and appearance beneath the meanest of them, and neither fuiting her character or fex: And, then immediately, after having eaten and drunk almost to excefs, of whatever is before her, without choice or diftinétion, to throw herself down on the next couch or bed that offers, in the profoundest fleep; to rife from it with new life and vigour; to drefs herself in all the riches, and grandeur of appearance, that her prefent circumstances, or the remains of better times will allow her; and, about the clofe of evening, to ride in her chaife, or on her pad, to a neighbouring † port, and there fhine in converfation, and to receive the place and precedence in all company, as a lady, who once expected, at this time, to have been one of the first perfons in Europe: To make innumerable vifits of ceremony, businefs, or charity; and difpatch the greatest affairs with the utmost ease and addrefs, appearing every where as the common friend, advocate, and patronefs of all the poor, the oppref. H fed, and the miferable in any kind; Salt works. + Yarmouth. (Gent, Mag. AUGUST 1765.) G in whofe caufe fhe will receive no denial from the great and the rich; rather demanding than requesting them to perform their duty; and who is generally received and regarded by thofe who know her beft, as a perfon of great fincerity, piety, generosity, and even profufion of charity. And yet, poffeffed of all thefe virtues, and poffeffed of them in a degree beyond the ordinary rate, a perfon (I am almoft tempted to fay,) of no truth, justice, or common honefty; who ne ver broke her promife in her life, and yet, on whofe word no man can prudently depend, nor fafely report the leaft circumftance after her. Of great and most fervent devotion towards God, and love to her fellowcreatures, and fellow chriftians; and, yet there is scarce an inftance of impiety, or cruelty, of which perhaps the is not capable. Fawning, fufpicious, miftruft ful, and jealous, without end, of all her fervants, and even of her friends; at the fame time that he is ready to do them all the fervice that lies in her power; affecting all mankind generally, not according to the service they are are able to do to her, but according to the fervive their neceffities and mifer es demand from her; to the relieving of which, neither the wickedness of their characters, nor the injuries they may have done to herfelf in particular, are the least exception, but rather a peculiar recommendation. Such are the extravagancies that have long appeared to me in the character of this lady, whofe friendship and refentment I have felt by turns for a course of many years acquaintance and intimacy; and yet after all thefe blemishes and vices, which I muft freely own in her, he would do her in my opinion the greatest injury, who fhould fay, she was a great wicked woman: For all that is great and good in her, feems to be owing to a true magnanimity of fpirit, and a fincere defire to ferve the intereft of God and all mankind; and all that is otherwife to wrong principles, early and ftrongly imbibed by a temperament of body, fhall I call it, or a turn of mind, to the faft degree enthufiaftic and viftonary. 'Tis owing to this, that he never hears of any action of any perfon, but the immediately mingles with it her own fentiments and judgement of the perfon, and the action in fo lively a man |