ss, as a place where, on the day of
rest from labour, they meet each other in their holiday clothes; and
also (what forms a singular contrast with tombs and grave-stones), as
the place which at their wakes, is the chief scene of their gaiety and
rural sports." After speaking of the yew, which from the solemnity of
its foliage, is most suited to church-yards, being as much consecrated
to the dead as the cypress among the ancients, he says that "there seems
to be no reason, why in the more southern parts of England, cypresses
should not be mixed with yews, or why cedars of Libanus, which are
perfectly hardy, and of a much quicker growth than yews, should not be
introduced. In high romantic situations, particularly, where the
church-yard is elevated above the general level, a cedar, spreading his
branches downwards from that height, would have the most picturesque,
and at the same time, the most solemn effect."

ADDENDA.

Page 5.--I am enabled from Mr. Johnson's lately published History of
English Gardening, to add a very early tract on that subject, and I take
the liberty of transcribing his exact words: "A Boke of Husbandry,
London, 4to. This little work is very rare, being one of the productions
from the press of Wynkin de Worde. It consists of but twelve leaves, and
is without date, but certainly was not of a later year than 1500. The
following extracts explain its nature. 'Here begyneth a treatyse of
Husbandry which Mayster Groshede somtyme Bysshop of Lyncoln made, and
translated it out of Frensshe into Englyshe, whiche techeth all maner of
men to governe theyr londes, tenementes, and demesnes ordinately.'

'Here endeth the Boke of Husbandry, _and of Plantynge, and Graffynge of
Trees and Vynes_.'"

About the year 1797 the late Mr. Nichols printed the Life of Robert
_Grosseteste_, the celebrated Bishop of Lincoln. By Samuel Pegge, LL.D.
With an Account of the Bishop's _Works_, &c. Illustrated with plates of
his Tomb, Ring, and Crosier. 4to. Price 13s. in boards.

Page 17.--I have in this page alluded to the hard fate of Correggio.
That my reader may know who he was, let him inspect those pages in vol.
i. of Sir U. Price's Essays, where he thus concludes a critique on his
genius: "I believe that if a variety of persons, conversant in painting,
were asked what pictures (taking every circumstance together) appeared
to them most beautiful, and had left the softest and most pleasing
impression,--the majority wo