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E PISTLE III.
IS strange, the Miser should his Cares employ
Is it less strange, the prodigal should waste
EPISTLE IV.] The extremes of Avarice and Profufion being treated of in the foregoing Epittle ; this takes up one particular branch of the latter, the Vanity of Expence in people of wealth and quality ; and is therefore a corollary to the preceding, just as the epistle on the Characters of Wo. men is to thàt of the Knowledge and Chara&ters of Men. It is equally remarkable for exactness of method with the rest. But the nature of the subject, which is less philosophical, makes it capable of being analyzed in a much nare rower compass.
VER. 7. Topbam,] A Gentleman famous for a judicious collection of Drawings,
VER. &. For Pembroke Statues, dirty Gods, and Coins ; ] The author speaks here not as a Philosopher or Divine, but as a Connoisseur and Antiquary ; consequently the dirty attri. bute here assigned these Gods of old renown, is not in difparagement of their worth, but in high commendation of their genuine pretensions,
Rare monkish Manuscripts for Hearne alone,
For what has Virro painted, built, and planted ?
VIR. 10. And Books for Mead, and Butterflies for Sloane.) Two eminent Physicians; the one had an excellent Library, the other the finest collection in Europe of natural curiosities; both men of great learning and humanity.
VER. 12. T ban bis fine Wife, alas ! or finer Wbore.] By the Author's manner of putting together these two different Utensils of false Magnificence; it appears, that, properly speaking, neither the Wife nor the Whore is the real oba ject of modern taste, but the Finery only : “And whoever wears it, whether the Wife or the Whore, it matters not; any further than that the latter is thought to deserve it best, as appears from her having most of it; and so indeed bea comes, by accident, the more fashionable Thing of the
VER. 18. Ripley] This man was a carpenter, employed by a first Minister, who raised him to an Architect, without any genius in the art : and after some wretched proofs of his insufficiency in public Buildings, made him Comptroller of the Board of works,
You show us, Rome was glorious, not profufe, And pompous buildings once were things of Use. Yet shall (my Lord) your juft, your noble rules 25 Fill half the land with Imitating-Fools ; Who random drawings from your sheets shall take, And of one beauty many blunders make ; Load fome vain Church with old Theatric state, Turn Arcs of triumph to a Garden-gate ; 30 Reverse
your ornaments, and hang them all On some patch'd dog-hole ek'd with ends of wall; Then clap four slices of Pilafter on't, That, lac'd with bits of rustic, makes a Front. Shall call the wind thro' long arcades to roar, 35 Proud to catch cold at a Venetian door ; Conscious they act a true Palladian part, And if they starve, they starve by rules of art. Oft have you
brother Peer, A certain truth, which many buy too dear :
40 Something there is more needful than Expence, And something previous ev'n to Taite --- 'tis Sense:
hinted to your
Ver. 23. The Earl of Burlington was then publishing the Designs of Inigo Jones, and the Antiquities of Roma by Palladio.
After ver. 22. in the MS.
Must Bishops, Lawyers, Statesmen, have the skill
Good Sense, which only is the gift of Heav'n,
To build, to plant, whatever you intend,
Consult the Genius of the Place in all;
VER. 46. Inigo Jones the celebrated Architect, and M. Le Nôtre, the designer of the best Gardens in France. VER, 57. Consult the Genius of the Place, etc. to designs,
64.] The personalizing or rather deifying the Genius of the place, in order to be consulted as an Oracle, has produced one of the noblest and most sublime descriptions of Design, that poetry could express. Where this Genius, while presiding over the work, is represented by little and little, as advancing from a simple adviser, to a creator of all the beauties of improved Nature, in a variety of bold metaphors and allusions, all rising one above another, till they complete the unity of the general idea.