of Essex, opposite Walton lights. It is six
miles in circumference, and abounds with game.
Four miles from Harwich.

Thorley. In 1781 he became archdeacon of St.
Alban's, and early in 1782 vicar of South Weald
in Essex. In 1783 and 1784 he was engaged
in a controversy with Sir Joseph Banks, respect-
ing his conduct as president of the Royal Soci-
ety; and delivered several very eloquent speeches
on the occasion. Dr. Horsley finally withdrew
from the society, and about the same period com-
menced his celebrated controversy with Dr.
Priestley. See our article ANTITRINITARIANISM.
Lord chancellor Thurlow now presented him to
a prebendal stall in the cathedral of Gloucester;
and in 1788 he was, through the same interest,
made bishop of St. David's, fully supporting in
his episcopal character the reputation for learn-
ing and ability which he had previously acquired.
His first charge, delivered in 1790, attracted
great attention, as did his speech in the house of
lords, on the Catholic bill, May 31st, 1791. He
was promoted to the see of Rochester, and made
dean of Westminster in 1793, on which he re-
signed the living of Newington: and in 1802 he
was translated to St. Asaph. He died at Brigh-
ton, October 4th, 1806, Bishop Horsley, besides
the works noticed, was the author of Critical
Disquisitions on the 18th chapter of Isaiah, 4to.;
Hosea, a new translation, with notes, 4to.; a
Translation of the Psalms, 2 vols.; Biblical Cri-
ticisms; 4 vols. 8vo.; Sermons; Charges; Ele-
mentary Treatises on the Mathematics; on the
Prosodies of the Greek and Latin Languages;
and Various Papers in the Philosophical Trans-
actions.

HORSHAM, a borough and market town of Sussex, near St. Leonard's forest, thirty-six miles from London, so named from Horsa, brother to Hengist the Saxon. It is one of the largest towns in the county, and has sent members to parliament since the 30th of Edward I. The county gaol is in this town, and the assizes are often held here. It is a borough by prescription, governed by two bailiffs, and burgage holders, &c., who elect the members of parliament. It has a very fine church, and a well-endowed free school; with a weekly market on Saturday, famous for poultry, and a monthly fair. Here are several meeting-houses for dissenters, and several charitable gifts to the poor parishioners.

HORSLEY (John), M. A. and F. R. S., a
learned English antiquary born at Northumber-
land, and educated in Scotland, where he took
his degree. He was afterwards minister of a
dissenting congregation in Northumberland,
where he died in 1731. He wrote an extensive
and learned work, entitled Britannia Romana,
wherein he gives a copious and accurate account
of the relics of Roman antiquity in Britain.

HORSLEY (Samuel), a learned modern di-
vine of the English church, was born October
1733 in St. Martin's in the Fields, London, of
which parish his father held the curacy. His
grandfather was a dissenter. He was educated,
according to some accounts, at Westminster
school, and at Trinity Hall, Cambridge, where
he took the degree of LL. B. in 1758: but Mr.
Chalmers disputes his ever being at Westmin-
ster. Having been ordained, he became curate
to his father, then rector of Newington Butts,
which benefice he resigned to his son in 1759.
In 1767 he was chosen a fellow of the Royal
Society; and published the same year an elabo-
rate treatise, entitled The Power of God deduced
from the computable instantaneous production
of it in the Solar System, 8vo. This he after-
wards called 'a singular and whimsical produc-
tion, which would in all probability roll down
the gutter of time and be forgotten.' In 1768
he went to Christ Church, Oxford, as private
tutor to lord Guernsey, son of the earl of Ayles-
ford; and took at that university the degree of
LL. D. In 1770 he printed, at the Clarendon
press, Apollonii Pergai Inclinationum, Libri ii.
Restituebat S. Horsley. In November 1773
he was elected secretary to the Royal Society;
and presented by the earl of Aylesford to the
rectory of Aldbury, in Surrey, which he held by
dispensation, with that of Newington. The next
year he published Remarks on the Observations
made in the last Voyage towards the North Pole,
for discovering the Acceleration of the Pendulum
in lat. 79° 50, in a letter to the hon. C. J.
Phipps, 4to.; and married, in December, the
daughter of the Rev. John Botham, his prede-
cessor at Aldbury. He now (1776) circulated pro-
posals for a new edition of the works of Sir Isaac
Newton, in five volumes quarto, and procured the
patronage of bishon Lowth, who collated him to
a prehend in St. Paul's. He resigned Aldbury
in 1779, and the next year obtained the living of

HORSTIUS (Dr. James), professor of medicine in the university of Helmstadt, was born at Torgau, in 1537, and took the degree of M. D. at Francfort in 1562. He wrote five treatises; 1. On the Qualities of a Good Physician; 2. On those of a Good Apothecary; 3. On the Plague, in German; 4. A Commentary in libros Hippocratis de corde; and, 5, De Noctambulis, ou Sleep-walkers. He died in 1600.

HORSTIUS (Gregory), M. D., nephew of the above, called the Esculapius of Germany, was also born at Torgau in 1578. He graduated at Basil in 1606, and was professor of physic in several universities. He published several books, which are esteemed, and died at Ulm in 1636.

LIBE

HORTATION, n. s.) Lat. hortatio, hortor. HOR'TATIVE, n. s. The act of exhorting or HOR TATORY, adj. encouraging; a precept which animates or exhilarates. Hortatory, applicable to precepts, not to persons; lively, animating, &c.; as a hortatorý speech, not a hortatory speaker.

HORTENSIUS (Lambert), a philosopher, historian, and poet, born at Utrecht in 1501. He assumed this name because his father was a gardener. He studied at Louvain, and was many years rector at Naarden, where he died in 1577. He wrote De Bello Germanico, and several other works.

HORTENSIUS (Martin), a celebrated astronomer, born at Delft in 1605. He wrote a treatise De Mercurio sub sole viso, et Venere invisa; also two tracts De Utilitate et Dignitate Matheseos; et de Oculo ejusque præstantia. He died a 1539.

ODLEIAN

9 FEB 1971

387

HORTICULTURE.

respect to its productions of herbs and fruits. The gardens of Lucullus are the first we find mentioned of remarkable magnificence; though indeed, from the extravagance to which these were arrived, it is evident they could not be the first. Plutarch speaks of them as incredibly expensive, and equal to the magnificence of kings. They contained artificial elevations of ground to a surprising height, of buildings projected into the sea, and vast pieces of water upon land. In short, his extravagance was so great, that he acquired the appellation of the Roman Xerxes. It is not improbable, from the consideration of Lucullus having spent much time in Asia, in a situation wherein he had an opportunity of observing the inost splendid constructions of this kind, that these gardens might be laid out in the Asiatic style.

The Tusculan villa of Cicero, though often mentioned, is no where described in his works, so as to give an adequate idea of the style in which his gardens were disposed; and little is to be traced in Virgil relative to this subject. Pines, it seems probable, were a favorite ornament in gardens (Eccl. vii. 65); and flowers, roses especially, were much esteemed (Georg. iv. 118), perfumes indeed having been always highly valued in warm climates. Virgil places Anchises in Elysium, in a grove of bays, of the sweet-scented kind. There appears also to have prevailed among the Romans a piece of luxury relative to gardens, which is equally prevalent at present among us, namely, the forcing of flowers at seasons of the year not suited to their natural blowing and roses were then, as at present, the principal flowers upon which these experiments were tried; as appears from Martial, Lampridius, and others. See Epig. 1. vi. ep. 80,

Trajan's forum, Domitian's baths, and Adrian s villa, the ruins and vestiges of which still excite our astonishment; a Roman consul, a polished emperor's friend, and a man of elegant literature and taste, delighted in what the mob now scarcely admire in a college garden. All the ingredients of Pliny's corresponded exactly with those laid out by London and Wise on Dutch principles. He talks of slopes, terraces, a wilderness, shrubs methodically trimmed, a marble basin, pipes spouting water, a cascade falling into the basin, by trees alternately planted with planes, and a straight walk, whence issued others parted off by hedges of box and apple. trees, with obelisks placed between every two. There wants nothing but the embroidery of a parterre, to make a garden in the reign of Trajan serve for the description of one in that of king William III. In one passage, however, Pliny seems to have conceived that natural irregularity might be a beauty; in opere urbanissimo, says he, subita velut illati ruris imitatio. Something like a rural view was contrived amidst so much polished composition. But the idea soon vanished; lineal walks immediately enveloped the slight scene, and names and inscriptions in box again succeeded to compensate for the daring intrusion of nature.

In the paintings found at Herculaneum are a few traces of gardens. They are small square enclosures, formed by trellis-work and espaliers, and regularly ornamented with vases, fountains, and careatides, elegantly symmetrical, and proper for the narrow spaces allotted to the garden of a house in a capital city.

From these remarks it appears how naturally and insensibly the idea of a kitchen garden slid into that which has for so many ages been peculiarly termed a garden, and by our ancestors in this country distinguished by the name of a pleasure garden. A square piece of ground was originally parted off in early ages for the use of the family: to exclude cattle, and ascertain the property, it was separated from the fields by a hedge. As pride and design of privacy increased, the enclosure was dignified by walls; and, in climes where fruits were not lavished by the ripening glow of nature and soil, fruit trees were assisted and sheltered from surrounding winds by the like expedient; for the inundation of luxuries, which have swelled into general necessities, have almost all taken their source from the simple fountain of reason.

When nature and prospect were thus excluded, by the custom of making square gardens enclosed with walls, pomp and solitude combined to call for something that might enrich and enliven the insipid and unanimated partition. Fountains, first invented for use, which grandeur loves to disguise and throw out of sight, received embellishments from costly marbles, and, at last, to contradict utility as it were, tossed their waste of waters into air in spouting columns. Art, in the hands of rude man, had at first been made a succedaneum to nature; in the hands of ostentatious wealth it became the means of opposing nature; and, the more it traversed the march of the latter, the more nobility thought its power was demonstrated. Canals measured by the

&c.

When Roman authors, Mr. Walpole remarks, whose climate instilled a wish for cool retreats, speak of their enjoyments in that kind, they sigh for grottoes, caves, and the refreshing hollows of mountains, near irriguous and shady founts; or boast of their porticoes, walks of plants, canals, baths, and breezes from the sea. Their gardens are never mentioned as affording shade and shelter from the rage of the dog-star. Pliny has left us descriptions of two of his villas. As he used his Laurentine villa for his winter retreat, it is not surprising that the garden makes no considerable part of the account. All he says of it is, that the gestatio, or place of exercise, which surrounded the garden (the latter consequently not being very large), was bounded by a hedge of box, and, where that was perished, with rosemary; that there was a walk of vines; and that most of the trees were fig and mulberry, the soil not being proper for any other sorts. On his Tuscan villa he is more diffuse; the garden makes a considerable part of the description :-and what was the principal beauty of that pleasure ground? Exactly what was the admiration of this country about a century ago; box trees cut into monsters, animals, letters, and the names of the master and the artificer. In an age when architecture displayed all its grandeur, all is purity, and all its taste; when arose Vespasian's amphitheatre, the temple of Peace,

line were introduced in lieu of meandering tended gardens. Hentzer says, after Rous of Warwick, the first park was that at Woodstock. If so, it might be the foundation of a legend that Henry II. secured his mistress in a labyrinth; it was no doubt more difficult to find her in a park than in a palace, where the intricacy of the woods, and various lodgings buried in covert, might conceal her actual habitation. It is more extraordinary that, having so long ago stumbled on the principle of modern gardening, we should have persisted in retaining its reverse, symmetrical and unnatural gardens.

streams, and terraces were hoisted aloft in opposition to the facile slopes that imperceptibly unite the valley to the hill. Balustrades defended these precipitate and dangerous elevations, and flights of steps rejoined them to the subjacent flat from which the terrace had been dug. Vases and sculpture were added to the unnecessary balconies, and statues furnished the lifeless spot with mimic representations of the excluded sons of men. Thus difficulty and expense were the constituent parts of those sumptuous and selfish solitudes; and every improvement that was made was but a step farther from nature. The tricks of water-works to wet the unwary, not to refresh the panting spectator; and parterres embroidered in patterns like a petticoat, were but the childish endeavours of fashion and novelty to reconcile greatness to what it surfeited on.

To crown these impotent displays of false taste, the shears were applied to the lovely wildness of form with which nature has distinguished each various species of tree and shrub. The venerable oak, the romantic beech, the useful elm, even the aspiring circuit of the lime, the regular round of the chestnut, and the almost moulded orangetree, were corrected by such fantastic admirers of symmetry. The compass and square were of more use in plantations than the nursery-man. The measured walk, the quincunx, and the etoile, imposed their unsatisfying sameness on every royal and noble garden. Trees were headed, and their sides pared away: many French groves seem green chests set upon poles. Seats of marble, arbors, and summer-houses, terminated every vista; and symmetry, even where the space was too large to permit its being remarked at one view, was so essential, that, as Pope observed,

It does not precisely appear what our ancestors meant by a bower: it was probably an arbor; sometimes it meant the whole frittered enclosure, and in one instance it certainly in cluded a labyrinth. Rosamond's bower was indisputably of that kind; though whether composed of walls or hedges we cannot determine. square and a round labyrinth were so capital ingredients of a garden formerly, that in Du Cerceau's architecture, who lived in the time of Charles IX. and Henry III., there is scarcely a ground-plot without one of each.

A

In Kip's Views of the Seats of our Nobility and Gentry, every house is approached by two er three gardens, consisting, perhaps, of a gravel walk, and two grass-plats or borders of flowers. Each rises above the other by two or three steps, and as many walls and terraces, and so many iron gates, that we recollect those ancient romances in which every entrance was guarded by giants or dragons. Yet, though these and such preposterous inconveniences prevailed from age to age, good sense in this country had perceived the want of something at once more grand and more natural.

These reflections, and the bounds set to the waste made by royal spoilers, gave origin to parks. They were contracted forests, and ex

Milton's description of Eden is a warmer and more just picture of the present style than Claude of Lorraine could have painted from Hagley or Stourhead. The first lines we quote exhibit Stourhead, says our author, on a more magnificent scale :—

Through Eden went a river large,
Nor changed his course, but through the shaggy hill
Passed underneath ingulphed: for God had thrown
That mountain as his garden mound, high raised
Upon the rapid current——————

Hagley seems pictured in what follows:-
Which through veins

Of porous earth, with kindly thirst updrawn,
Rose a fresh fountain, and with many a rill
Watered the garden-—

:

landscape in these lines!
What coloring, what freedom of pencil, wha!

From that sapphire fount the crisped brooks,
Rolling on orient pearl and sands of gold,
Ran nectar, visiting each plant, and fed
With mazy error under pendent shades,
Flowers worthy of Paradise, which not nice art

In beds and curious knots, but nature boon
Poured forth profuse on hill and dale and plain,
Both where the morning sun first warmly smote
The open fields; and where the unpierced shade,
Imbrowned the noon-tide bowers :-Thus was this
place

A happy rural seat of various view.

Now let us turn to an admired writer, posterior to Milton, and see how cold, how insipid, how tasteless is his account of what he pronounced a perfect garden. We speak not of his style, which it was not necessary for him to animate with the coloring and glow of poetry. It is his want of ideas, of imagination, of taste, that deserve censure, when he dictated on a subject which is capable of all the graces that a knowledge of beautiful nature can bestow. Sir Wil'iam Temple was an excellent man; Milton, a genius of the first order.

"The best figure of a garden,' says Sir William, is either a square or an oblong, and either upon a flat or a descent: they have all their beauties, but the best I esteem an oblong upon a descent. The beauty, the air, the view, make amends for the expense, which is very great in finishing and supporting the terrace walks, in levelling the parterres, and the stone stairs that are necessary from one to the other. The perfectest figure of a garden I ever saw, either at home or abroad, was that of Moor park in Hertfordshire, when I knew it about thirty years ago. It was made by the countess of Bedford, esteemed among the greatest wits of her time, and celebrated by Dr. Donne; and with very great care, excellent con