Another age shall see the golden Ear1
Embrown the Slope, and nod on the Parterre,
Deep Harvests bury all his pride has plann'd,

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And laughing Ceres re-assume the land.

Who then shall grace, or who improve the Soil?

Who plants like BATHURST, or who builds like BOYLE.

'Tis Use alone that sanctifies Expense,

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And Splendour borrows all her rays from Sense.
His Father's Acres who enjoys in peace,
Or makes his Neighbours glad, if he increase:
Whose cheerful Tenants bless their yearly toil,
Yet to their Lord owe more than to the soil;
Whose ample Lawns are not asham'd to feed
The milky heifer and deserving steed;
Whose rising Forests, not for pride or show,
But future Buildings, future Navies, grow:
Let his plantations stretch from down to down,
First shade a Country, and then raise a Town.

You too proceed! make falling Arts your care,
Erect new wonders, and the old repair;
Jones and Palladio3 to themselves restore,
And be whate'er Vitruvius was before:
'Till Kings call forth th' Ideas of your mind,
(Proud to accomplish what such hands designed,)
Bid Harbours open, public Ways extend,
Bid Temples, worthier of the God, ascend;
Bid the broad Arch the dang'rous Flood contain,
The Mole projected break the roaring Main;
Back to his bounds their subject Sea command,
And roll obedient Rivers thro' the Land:
These Honours Peace to happy Britain brings,
These are Imperial Works, and worthy Kings".

Another age, &c.] Had the Poet lived but three Years longer, he had seen this prophecy fulfilled. Warburton. [This note, as Warton points out, was judiciously generalised by Warburton in a later edition, to avoid the plain reference to Canons.]

2 [Jones, v. ante line 46.]

3 [Palladio was born at Vicenza, where the Basilica della Ragione was his first work. He ultimately settled at Venice where most of his masterpieces were undertaken. He died in 1580.] 4 [M. Vitruvius Pollio, celebrated for his work de Architectura, was born about the year 80 B. C.] 5 'Till Kings-Bid Harbours open, &c.] The poet after having touched upon the proper objects of Magnificence and Expense, in the private works of great men, comes to those great and public works which become a prince. This Poem was published in the year 1732, when some of the newbuilt Churches, by the act of Queen Anne, were ready to fall, being founded in boggy land (which is satirically alluded to in our author's imitation of Horace, Lit, ii. Sat. 2,

Shall half the new-built Churches round thee fall;

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others were vilely executed, thro' fraudulent ca-
bals between undertakers, officers, &c. Dagen-
ham-breach had done very great mischiefs; many
of the Highways throughout England were hardly
passable; and most of those which were repaired
by Turnpikes were made jobs for private lucre,
and infamously executed, even to the entrances
of London itself: The proposal of building a
Bridge at Westminter had been petition'd against
and rejected; but in two years after the publication
of this poem, an Act for building a Bridge pass'd
thro' both houses. After many debates in the
committee, the execution was left to the carpenter
above-mentioned, who would have made it a
wooden one: to which our author alludes in these
lines,

Who builds a Bridge that never drove a pile?
Should Ripley venture, all the world would
smile.
See the notes on that place. P.

6 [Carruthers refers to Dryden's free transla-
tion of Æn. vi. Ɛ53—4:
"These are imperial arts, and worthy thine.']

EPISTLE V.

TO MR ADDISON.

Occasioned by his Dialogues on MEDALS.

THIS was originally written in the year 1715, when Mr Addison intended to publish his book of medals; it was sometime before he was secretary of State; but not published till Mr Tickell's Edition of his works; at which time the verses on Mr Craggs, which conclude the poem, were added, viz. in 1720. P. [The materials for these Dialogues, were collected by Addison during his travels in Italy, and the book itself was begun to be written at Vienna as early as 1702. Though known to and favourably esteemed by many scholars of note, it was never published in his lifetime; for he died in 1719. Concerning Pope's relations with Addison see Introductory Memoir, p. xv. f.

The following is Warburton's attempt to connect the revised version of Pope's lines to Addison with the series of Moral Essays:

'As the third Epistle treated of the extremes of Avarice and Profusion; and the 'fourth took up one particular branch of the latter, namely, the vanity of expence in 'people of wealth and quality, and was therefore a corollary to the third; so this 'treats of one circumstance of that Vanity, as it appears in the common collectors of 'old coins; and is, therefore, a corollary to the fourth.']

SEE

EE the wild Waste of all-devouring years!
How Rome her own sad Sepulchre appears1,
With nodding arches, broken temples spread!
The very Tombs now vanish'd like their dead!
Imperial wonders rais'd on Nations spoil'd,
Where mix'd with Slaves the groaning Martyr toil'd2:
Huge Theatres, that now unpeopled Woods,
Now drain'd a distant country of her Floods:
Fanes, which admiring Gods with pride survey,
Statues of Men, scarce less alive than they!
Some felt the silent stroke of mould'ring age,
Some hostile fury, some religious rage.
Barbarian blindness, Christian zeal conspire,
And Papal piety, and Gothic fire.

5

ΤΟ

Perhaps, by its own ruins sav'd from flame,

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Some bury'd marble half preserves a name;

That Name the learn'd with fierce disputes pursue,

And give to Titus old Vespasian's due.

Ambition sigh'd: She found it vain to trust

The faithless Column and the crumbling Bust:

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Huge moles, whose shadow stretch'd from shore to shore,
Their ruins perish'd, and their place no more!
Convinc'd, she now contracts her vast design,
And all her triumphs shrink into a Coin.
A narrow orb each crowded conquest keeps ;
Beneath her Palm here sad Judæa weeps3;

1 St Jerome calls Rome 'populi Romani sepulcrum.' Warton.

* [According to an ancient tradition, the Chris

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tians were forced to labour at the construction of the famous Baths of Diocletian.]

3 ['Judæa Capta' on a reverse of Vespasian.]

Now scantier limits the proud Arch1 confine,
And scarce are seen the prostrate Nile or Rhine2;
A small Euphrates thro' the piece is roll'd,
And little Eagles wave their wings in gold.
The Medal, faithful to its charge of fame,
Thro' climes and ages bears each form and name:
In one short view subjected to our eye
Gods, Emp'rors, Heroes, Sages, Beauties, lie.
With sharpen'd sight3 pale Antiquaries pore,
Th' inscription value, but the rust adore.
This the blue varnish, that the green endears*,
The sacred rust of twice ten hundred years!
To gain Pescennius 5 one employs his schemes,
One grasps a Cecrops in ecstatic dreams.
Poor Vadius, long with learned spleen devour'd,
Can taste no pleasure since his Shield was scour'd;
And Curio, restless by the Fair-one's side,
Sighs for an Otho, and neglects his brides.
Theirs is the Vanity, the Learning thine:
Touch'd by thy hand, again Rome's glories shine;
Her Gods, and god-like Heroes rise to view,
And all her faded garlands bloom anew.
Nor blush, these studies thy regard engage;
These pleas'd the Fathers of poetic rage;
The verse and sculpture bore an equal part,
And Art reflected images to Art.

Oh when shall Britain, conscious of her claim",
Stand emulous of Greek and Roman fame?
In living medals see her wars enroll'd,
And vanquish'd realms supply recording gold?
Here, rising bold, the Patriot's honest face;
There Warriors frowning in historic brass?
Then future ages with delight shall see
How Plato's, Bacon's, Newton's looks agree;
Or in fair series laurell'd Bards be shown,

A Virgil there, and here an Addison 10.

Then shall thy CRAGGS 11 (and let me call him mine)
On the cast ore, another Pollio, shine;

-the proud Arch] i.e. The triumphal Arch, which was generally an enormous mass of building. Warburton.

[A small figure of the conquered province frequently occurs on medals struck on the occasion of a triumph.]

3 [i.e. with the aid of microscopes.]

4 This the blue varnish, that the green endears,] i. e. This a collector of silver; that, of brass coins. Warburton.

5 [Pescennius Niger assumed the purple in Syria in 131, but was speedily worsted by Septimius Severus.]

6 [Ecstatic, because of course no such medals exist.]

Poor Vadius,] See his history, and that of his Shield, in the Memoirs of Scriblerus. War

burton. [Aimed at Dr Woodward the eminent physician and naturalist, who wrote a dissertation on an ancient shield which he possessed. Carruthers.]

8 Charles Patin was banished from the Court because he sold Louis XIV. an Otho that was not genuine. Warton. [A very remarkable Otho is given by Addison.]

9 Oh when shall Britain, &c.] A compliment to one of Mr Addison's papers in the Spectator on this subject. Warburton.

10 Copied evidently from Tickell to Addison on his Rosamond: "Which gain'd a Virgil and an Addison.' Warton. [Asinius Pollio, on the birth of whose son Vergil wrote the Eclogue paraphrased in Pope's Messiah.]

[Craggs. See note to Pope's Epitaph rv.]

With aspect open, shall erect his head,
And round the orb in lasting notes be read,
"Statesman, yet friend to Truth! of soul sincere1,
"In action faithful, and in honour clear;
"Who broke no promise, serv'd no private end,
"Who gain'd no title, and who lost no friend;
"Ennobled by himself, by all approv'd,
"And prais'd, unenvy'd, by the Muse he lov'd"."

1 Statesman, yet friend to truth! &c.] It should be remembered that this poem was written to be printed before Mr Addison's Discourse on Medals, in which there is the following censure of long legends upon coins: "The first "fault I find with a modern legend is its diffusive"ness. You have sometimes the whole side of a "medal over-run with it. One would fancy the "Author had a Design of being Ciceronian-but "it is not only the tediousness of these inscriptions "that I find fault with; supposing them of a

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