Part 12

The European Magazine of Nov. 1790, which gives an engraved portrait of him, being a copy of the above, thus speaks: "He was one of the very first who to great legal knowledge, added a considerable share of polite literature. He arrived at the highest rank to which a lawyer could attain in his own country; and he has left to the world such literary productions, as will authorize his friends to place him, if not in the highest, yet much above the lowest, class of elegant and polite writers. He died in 1783, leaving to the world a proof, that an attention to the abstrusest branches of learning, is not incompatible with the more pleasing pursuits of taste and polite literature." He was kind-hearted and humane. His pure taste in landscape scenery, is acknowledged by Mr. Loudon, in p. 81 of the Encyclopædia of Gardening. _Blair Drummond_ will long be celebrated as having been his residence, and he there displayed his superior taste in planting and improving.

In his "Elements of Criticism," (a truly original work) there is a distinct chapter on architecture and gardening. He therein thus addresses the reader:--"These cursory observations upon gardening, shall be closed with some reflections that must touch every reader. Rough uncultivated ground, dismal to the eye, inspires peevishness and discontent: may not this be one cause of the harsh manners of savages? A field richly ornamented, containing beautiful objects of various kinds, displays in full lustre the goodness of the Deity, and the ample provision he has made for our happiness. Ought not the spectator to be filled with gratitude to his Maker, and with benevolence to his fellow creatures? Other fine arts may be perverted to excite irregular and even vicious emotions; but gardening, which inspires the purest and most refined pleasures, cannot fail to promote every good affection. The gaiety and harmony of mind it produceth, inclineth the spectator to communicate his satisfaction to others, and to make them happy as he is himself, and tends naturally to establish in him a habit of humanity and benevolence."

JOHN ABERCROMBIE'S manly and expressive countenance is best given in the portrait prefixed to an edition in 2 vols. 8vo. published Feb. 1, 1783, by Fielding and Debrett. He is also drawn at full-length at his age of seventy-two, in the sixteenth edition, printed in 1800, with a pleasing view of a garden in the back-ground, neatly engraved. This honest, unassuming man, persevered "through a long life of scarcely interrupted health," in the ardent pursuit of his favourite science. The tenor of his life exemplified how much a garden calms the mind, and tranquilly sets at rest its turbulent passions. Mr. Loudon's Encyclop. of Gardening, after giving some interesting points of his history, thus concludes: "In the spring of 1806, being in his eightieth year, he met with a severe fall, by which he broke the upper part of his thigh bone. This accident, which happened to him on the 15th of April, terminated in his death. After lying in a very weak exhausted state, without much pain, he expired in the night, between April and May, as St. Paul's church struck twelve. He was lamented by all who knew him, as cheerful, harmless, and upright." One of his biographers thus relates of him: "Abercrombie from a fall down stairs in the dark, died at the age of eighty, and was buried at St. Pancras. He was present at the famous battle of Preston Pans, which was fought close to his father's garden walls. For the last twenty years of his life he lived chiefly on tea, using it three times a-day: his pipe was his first companion in the morning, and last at night.[87] He never remembered to have taken a dose of physic in his life, prior to his last fatal accident, nor of having a day's illness but once." A list of his works appears in Watts's Bibl. Brit., and a most full one in Johnson's History of English Gardening, who, with many collected particulars of Abercrombie, relates the great and continually increasing sale of some of his works.

LAUNCELOT BROWNE, Esq. His portrait was painted by Dance, and engraved by Sherwin. Under this portrait are engraved the following lines, from the pen of Mr. Mason, which are also inscribed on the tomb of Mr. Browne, in the church of Fen-Staunton, Huntingdonshire:

_Ye sons of elegance, who truly taste The simple charms which genuine art supplies, Come from the sylvan scenes his genius drew, And offer here your tributary sighs. But know, that more than genius slumbers here, Virtues were his that art's best powers transcend, Come, ye superior train! who these revere, And weep the christian, husband, father, friend._

Mr. Walpole, too, pays Mr. Browne this elegant compliment: "Did living artists come within my plan, I should be glad to do justice to Mr. Browne; but he may be a gainer by being reserved for some abler pen." This celebrated landscape gardener died suddenly, in Hertford Street, May Fair, on the 6th of February, 1783, on his return from a visit to his old friend the Earl of Coventry. Mr. Browne, though bred a common gardener at Stowe, possessed a cultivated mind, and his society was much courted. Joseph Cradock, Esq. called him "a most agreeable, unassuming man." He amassed a large fortune. He was consulted by most of the nobility and gentry, and the places he laid out or altered, were, as Mr. Loudon observes, beyond all reckoning. Mr. Repton has given a list of his principal works.

It has been the fate of this eminent master of landscape embellishment, to be severely censured by some, and lavishly praised by others. The late keen and consummate observer of landscape scenery, Sir Uvedale Price, harshly condemns the too frequent cold monotony and tameness of many of Mr. Browne's creations, and his never transfusing into his works any thing of the taste and spirit which prevail in the poet Mason's precepts and descriptions; and in one of his acute, yet pleasant pages, he alludes to his having but _one_ and the same plan of operation; _Sangrado_-like, treating all disorders in the same manner. Perhaps the too general smoothness and tameness of Mr. Browne's pleasure-grounds ill accorded with Sir Uvedale's enthusiasm for the more sublime views of forest scenery, rapid and stony torrents and cascades, wild entangled dingles, and craggy breaks; or with the high and sublime notions he had imbibed from the rich scenery of nature so often contemplated by him in the landscapes of _Claude_, or in those of _Rubens_, _Gaspar Poussin_, _Salvator Rosa_, or of _Titian_, "the greatest of all landscape painters." Perhaps Sir Uvedale preferred "unwedgeable and gnarled oaks," to "the tameness of the poor pinioned trees of a gentleman's plantation, drawn up straight," or the wooded banks of a river, to the "bare shaven border of a canal."[88]

Daines Barrington happily said, "Kent has been succeeded by Browne, who hath undoubtedly great merit in laying out pleasure-grounds; but I conceive that in some of his plans, I see rather traces of the kitchen-gardener of old Stowe, than of Poussin or Claude Lorraine: I could wish, therefore, that Gainsborough gave the design, and that Browne executed it."[89] Mr. Loudon observes, "that Browne must have possessed considerable talents, the extent of his reputation abundantly proves; but that he was imbued with much of that taste for picturesque beauty, which distinguished the works of Kent, Hamilton, and Shenstone, we think will hardly be asserted by any one who has observed attentively such places as are known to be his creations." Mr. George Mason candidly asks, "why Browne should be charged with all the defects of those that have called themselves his followers, I have seen no good reason alleged, nor can I suppose it possible to produce one." Many of his imitators exhibited so little talent in their creations, that Mr. Browne's name considerably suffered in the estimation of many.

Mr. Gilpin speaks of Browne's improvements at Blenheim in high terms. Mr. Marshall in his Survey of Stowe and Fisherwick, in vol. i. of his "Planting and Rural Ornament," and at p. 384, pays a fair tribute to him. Much general information respecting him may be seen in Mr. Loudon's chapter "Of the rise, progress, and present state of gardening in the British Isles." The candour and rich conciseness of this review, embraces the whole _magic of the art_, as respects landscape gardening.[90]

FRANCIS ZAVIER VISPRE wrote "A Dissertation on the Growth of Wine in England", Bath, 8vo. 1786. Mr. Vispré died poor, between thirty and forty years ago, in St. Martin's Lane. He excelled in painting portraits in crayons: Sir Joshua much esteemed him. He was a most inoffensive man, of the mildest manners, and of the purest integrity. I have seen his portrait in crayons, in an oval, finely finished by himself, but know not now where that is. On his mode of training the vine _very near the ground_, see p. 757 of the Encyclop. of Gardening.

WILLIAM MASON, precentor and canon of York, died in 1797. His friend, Sir Joshua Reynolds, painted an impressive portrait of him, which is engraved by Doughty. A masterly copy of this fine portrait is in Mr. Cadell's Contemporary Portraits. A copy is also prefixed to the edition of his works, in 4 vols. 8vo. 1811, published by Mr. Cadell. His portrait was also taken by Vaslet, and engraved by Carter, 1771. It is a large metz etching. He translated Du Fresnoy's Art of Painting, to which Sir Joshua added some notes. Mr. Mason has prefixed an Epistle to Sir Joshua, which thus concludes:

And oh! if ought thy poet can pretend Beyond his favourite wish, to _call thee friend_: Be it that here his tuneful toil has dress'd The muse of _Fresnoy_ in a modern vest; And, with what skill his fancy could bestow, Taught the close folds to take an easier flow; Be it that here, thy partial smile approv'd The pains he lavish'd on the art he lov'd.

Mr. Mason's attachment to painting was an early one, is conspicuous in many of his writings, and in his English Garden, is visible throughout:

----feel ye there What _Reynolds_ felt, when first the Vatican Unbarr'd her gates, and to his raptur'd eye Gave all the god-like energy that flow'd From _Michael's_ pencil; feel what _Garrick_ felt, When first he breath'd the soul of _Shakspeare's_ page.

Sir Joshua, in his will, bequeaths his then supposed portrait of Milton to Mr. Mason.

Mr. Gray thus observes of Mason, when at Cambridge:--"So ignorant of the world and its ways, that this does not hurt him in one's opinion; so sincere and so undisguised, that no mind with a spark of generosity would ever think of hurting him, he lies so open to injury; but so indolent, that if he cannot overcome this habit, all his good qualities will signify nothing at all."

Mr. Mason, in 1754, found a patron in the Earl of Holderness, who presented him with the living of _Aston_, in Yorkshire. This sequestred village was favourable to his love of poetry and picturesque scenery; which displayed itself at large in his English Garden, and was the foundation of his lasting friendship with Mr. Gilpin, who to testify his esteem, dedicated to him his _Observations on the Wye_. A biographer of the late Mr. Shore, of Norton Hall, (the friend of Priestley), thus mentions _Aston_:--"That truly conscientious, and truly learned and excellent man, Mr. Lindsey, spent a whole week in this neighbourhood. He was during that time the guest of his friend Mr. Mason, who was residing on his rectory at _Aston_, the biographer of Gray, and one whose taste, gave beauty, and poetry, celebrity, to that cheerful village." His friendship for Mr. Gray, terminated only with the life of the latter. In 1770 Mr. Mason was visited at Aston, for the last time, by him. His last letter to Mr. Mason was from Pembroke-hall, in May, 1771, and on the 31st of the next month, and at that place, this sublime genius paid the debt of nature. The following epitaph was written by Mr. Mason, and inscribed on the monument in Westminster Abbey:

No more the Grecian muse unrivall'd reigns; To Britain let the nations homage pay: She felt a Homer's fire in Milton's strains, A Pindar's rapture in the lyre of Gray.

He farther evinced his attachment to this elegant scholar by publishing his poems and letters, to which he prefixed memoirs of him. He commences the third book of his English Garden with an invocation to his memory, and records, in lofty language, his eye glistening and his accents glowing, when viewing the charms of all-majestic Nature--the heights of Skiddaw and the purple crags of Borrowdale. And on a rustic alcove, in the garden at Aston, which he dedicated to Mr. Gray, he inscribed this stanza from the celebrated elegy:

_Here scatter'd oft, the loveliest of the year, By hands unseen, are showers of violets found; The red-breast loves to build and warble here, And little footsteps lightly print the ground._

Mr. Mason married in 1765 a most amiable woman; she fell at length into a rapid consumption, and at Bristol hot-wells she died. Gray's letter to Mr. Mason while at that place, is full of eloquence; upon which the latter observes, "I opened it almost at the precise moment when it would be necessarily most affecting. His epitaph on the monument he erected on this lady, in the Bristol cathedral, breathes such tender feeling and chaste simplicity, that it can need no apology for being noticed here:

Take, holy earth! all that my soul holds dear; Take that best gift which heav'n so lately gave: To Bristol's fount I bore with trembling care Her faded form: she bow'd to taste the wave And died. Does youth, does beauty, read the line? Does sympathetic fears their breasts alarm? Speak, dead Maria! breathe a strain divine: E'en from the grave thou shalt have power to charm. Bid them be chaste, be innocent, like thee; Bid them in duty's sphere as meekly move; And if so fair, from vanity as free; As firm in friendship, and as fond in love. Tell them, though 'tis an awful thing to die, ('Twas e'en to thee) yet the dread path once trod, Heav'n lifts its everlasting portals high, And bids "the pure in heart behold their God."

A very short time after Mrs. Mason's death, he began his English Garden, and invokes the genius both of poetry and painting

----that at my birth Auspicious smil'd, and o'er my cradle dropp'd Those magic seeds of Fancy, which produce A Poet's feeling, and a Painter's eye. ----with lenient smiles to deign to cheer, At this sad hour, my desolated soul. For deem not ye that I resume the lyre To court the world's applause; my years mature Have learn'd to slight the toy. No, 'tis to soothe That agony of heart, which they alone, Who best have lov'd, who best have been belov'd, Can feel, or pity: sympathy severe! Which she too felt, when on her pallid lip The last farewell hung trembling, and bespoke A wish to linger here, and bless the arms She left for heav'n.--She died, and heav'n is her's! Be mine, the pensive solitary balm That recollection yields. Yes, angel pure! While memory holds her seat, thine image still Shall reign, shall triumph there; and when, as now, Imagination forms a nymph divine, To lead the fluent strain, thy modest blush, Thy mild demeanour, thy unpractis'd smile, Shall grace that nymph, and sweet Simplicity Be dress'd (ah, meek Maria!) in thy charms.

Dr. Thomas Warton thus speaks of the above poem, when reviewing Tusser's Husbandry:--"Such were the rude beginnings in the English language of didactic poetry, which, on a kindred subject, the present age has seen brought to perfection, by the happy combination of judicious precepts, with the most elegant ornaments of language and imagery, in Mr. Mason's English Garden." His Elfrida and Caractacus, are admired for boldness of conception and sublime description. Elfrida was set to Music by Arne, and again by Giardini. Caractacus was also set to music. Mr. Mason's success with both these dramatic poems was beyond his most sanguine expectation.

Dr. Darwin wrote an epitaph on Mr. Mason; these lines are its concluding part:

Weave the bright wreath, to worth departed just, And hang unfading chaplets on his bust; While pale Elfrida, bending o'er his bier, Breathes the soft sigh and sheds the graceful tear; And stern Caractacus, with brow depress'd Clasps the cold marble to his mailed breast. In lucid troops shall choral virgins throng, With voice alternate chant their poet's song. And, oh! in golden characters record Each firm, immutable, immortal word!

"Those last two lines from the final chorus of Elfrida, (says Miss Seward), admirably close this tribute to the memory of him who stands second to Gray, as a lyric poet; whose English Garden is one of the happiest efforts of didactic verse, containing the purest elements of horticultural taste, dignified by freedom and virtue, rendered interesting by episode, and given in those energetic and undulating measures which render blank verse excellent; whose unowned satires, yet certainly his, the heroic epistle to Sir William Chambers, and its postscript, are at once original in their style, harmonious in their numbers, and pointed in their ridicule; whose tragedies are the only pathetic tragedies which have been written in our language upon the severe Greek model. The Samson Agonistes bears marks of a stronger, but also of an heavier hand, and is unquestionably less touching than the sweet Elfrida, and the sublime Caractacus."

Mr. Mason, in 1756 published four Odes. "It would be difficult to say, (says the biographer of the annual Necrology of 1797,) which is most to be admired, the vividness of the conception, or the spirit of liberty, and the ardent love of independance throughout. The address to Milton in his Ode to Memory, and to Andrew Marvel, in that to Independance, cannot be too much admired. At the period when the Middlesex election was so much agitated, he united with those independant freeholders, who, by their declarations and petitions, throughout the nation, opposed corruption, and claimed a reform in parliament; and when the county of York assembled in 1779, he was of the committee, and had a great share in drawing up their spirited resolutions. The animated vindication of the conduct of the freeholders, and other papers, though printed anonimously in the newspapers, and so printed in Mr. Wyvill's collection of political tracts, in 3 vols. are well known to be Mr. Mason's production. This conduct rendered him obnoxious to the court party. He was at this time one of the king's chaplains, but when it became his turn to preach before the royal family, the queen appointed another person to supply his place. It has been observed, that his sentiments in a later period of his life, took a colour less favourable to liberty. Whether alarmed at the march of the French revolution, or from the timidity of age, we know not. His friend Horace Walpole, charges him with flat apostacy:" The _Heroic Epistle_ to Sir W. Chambers, and the _Heroic Postscript_, are now positively said to have been written by Mr. Mason. Mr. Thomas Warton observed, "they may have been written by Walpole, and buckramed by Mason."

The late Sir U. Price, in the generous and patriotic conclusion of his letter to Mr. Repton, pays a delicate compliment to the genius of Mr. Mason in whatever concerns rural scenery; and his respect for Mr. Mason, and his high opinion of his talents, is farther shewn in pp. 295 and 371 of his first volume, and in p. 94 of vol. ii. Mr. Mathias, after supposing Mr. Mason to have been the author of the Heroic Epistle, and after paying a high compliment to his general poetry, thus concludes his generous tribute:

Whence is that groan? no more Britannia sleeps, But o'er her lov'd Musæus bends and weeps. Lo, every Grecian, every British muse Scatter the recent flowers and gracious dews Where MASON lies! And in his breast each soft affection dwelt, That love and friendship know; each sister art, With all that colours, and that sounds impart, All that the sylvan theatre can grace, All in the soul of MASON found their place! Low sinks the laurell'd head: in Mona's land I see them pass, 'tis Mador's drooping band, To harps of woe, in holiest obsequies, In yonder grave, they chant, our Druid lies!

ERASMUS DARWIN. In the life of this justly celebrated physician, by Miss Seward, she informs us, that in the year 1770, he sat to Mr. Wright of Derby; and that it was "a contemplative portrait, of the most perfect resemblance." Whether it has been engraved I know not. He was then in his thirty-eighth year. Dr. Thornton, in his superb work on botany, has given a fine portrait of Dr. Darwin, at a more advanced period of his life. It breathes intelligence in every feature, and is a masterly likeness. The late Mr. Archdeacon Clive preserved a highly-finished miniature portrait of him, which was ordered by Dr. Darwin for the express purpose of being presented to this worthy clergyman, whom he so much esteemed.[91]

Dr. Darwin published,

1. Zoonomia, or the Laws of Organic Life.

2. Phytologia, or the Philosophy of Agriculture and Gardening, 4to. 1800. "A vast field of treasured observation and scientific literature."

3. The Botanic Garden.

Lord Byron, and others, have been severe on this poem. The lines, however, on the soldier's wife and infants, after watching the battle of Minden--those animated ones to Mr. Howard--or when the mother, during the plague in London, commits her children to the grave,

_When o'er the friendless bier no rites were read, No dirge slow chanted, and no pall outspread;_

these make one gladly acknowledge, that pathetic powers were the gift of Darwin's muse. The sublimity of the following address to our _first_ daring æronaut, merits insertion:

--Rise, great Mongolfier! urge thy venturous flight High o'er the moon's pale, ice-reflected light; High o'er the pearly star, whose beamy horn Hangs in the east, gay harbinger of morn; Leave the red eye of Mars on rapid wing, Jove's silver guards, and Saturn's dusky ring; Leave the fair beams, which issuing from afar Play with new lustres round the Georgian star; Shun with strong oars the sun's attractive throne, The burning Zodiac, and the milky Zone: Where headlong comets with increasing force Through other systems bend their burning course! For thee Cassiope her chair withdraws, For thee the Bear retracts his shaggy paws; High o'er the north thy golden orb shall roll, And blaze eternal round the wondering pole.[92]