of brazen walls with golden columns; and the
Greeks and Romans had houses that were models of architecture when their
gardens exhibited no traces whatever of the hand of taste.

[041]
_And over him, art stryving to compayre
With nature, did an arber greene dispied_

This whole episode is taken from Tasso, C. 16, where Rinaldo is
described in dalliance with Armida. The bower of bliss is her garden

"Stimi (si misto il culto e col negletto)
"Sol naturali e gli ornamenti e i siti,
"Di natura arte par, che per diletto
"L'imitatrice sua scherzando imiti."

See also Ovid, _Met_ iii. 157

"Cujus in extremo est antrum nemorale necessu,
"Arte laboratum nulla, simulaverat artem
"Ingenio natura fuo nam pumice vivo,
"Et lenibus tophis nativum duxerat arcum
"Fons sonat a dextra, tenui perlucidas unda
"Margine gramineo patulos incinctus hiatus"

UPTON

If this passage may be compared with Tasso's elegant description of
Armida's garden, Milton's _pleasant grove_ may vie with both.[141] He
is, however, under obligations to the sylvan scene of Spenser before us.
Mr. J.C. Walker, to whom the literature of Ireland and of Italy is highly
indebted, has mentioned to me his surprise that the writers on modern
gardening should have overlooked the beautiful pastoral description in
this and the two following stanzas.[142] It is worthy a place, he adds,
in the Eden of Milton. Spenser, on this occasion, lost sight of the
"trim gardens" of Italy and England, and drew from the treasures of his
own rich imagination. TODD.

_And fast beside these trickled softly downe.
A gentle stream, &c._

Compare the following stanza in the continuation of the _Orlando
Innamorato_, by Nilcolo degli Agostinti, Lib. iv, C. 9.

"Ivi e un mormorio assai soave, e basso,
Che ogniun che l'ode lo fa addornientare,
L'acqua, ch'io dissi gia per entro un sasso
E parea che dicesse nel sonare.
Vatti riposa, ormai sei stanco, e lasso,
E gli augeletti, che s'udian cantare,
Ne la dolce armonia par che ogn'un dica,
Deh vien, e dormi ne la piaggia, aprica,"

Spenser's obligations to this poem seem to have escaped the notice of
his commentators. J.C. WALKER.

[042] The oak was dedicated to Jupiter, and the poplar to Hercules.

[043] _Sicker_, surely; Chaucer spells it _siker_.

[044] _Yode_, went.

[045] _Tabreret_, a tabourer.

[046] _Tho_, then

[047] _Attone_, at on