44

SONG

Sung by Mr Vernon at Vauxhall, Set by Mr Hopk.

45

2

I see a pretty Girl in Green,
Another that is feare eighteen,
And fhe in charming pink that's drest,
Is faid to touch my amorous breake
In fpite of thee my heart is whole,
She is not here who wins my Soul.

When e'er theraft goes briefly round,
I never at a lofs am found
Sall, Dolly, Kitty crown my Glafs,
My heart is on my fav'rite Lafs,
But who the real Girl may be,
Can ne'er be guef'd or told by me.

My hoarded Wealth I'll not reveal,
Left fome bold Thief should come and feal,
And he who knows the Nymph I kils,
May try to rob me of my blif,
Not even Death I am fo ftout,
Shall ever get the secret out.

54

SONG

Sung by Mr Vernon at Vauxhall Set by Mr Carter.

55

For each fweet Nymph freft Tales I find,
My heart as Air still unconfin'd,
From Joy to Joy I rove:
The Charms which daily me delight,
Renew'd in pleafing dreams by night,
Makes life a life of love.

Should I be bleft a fair to find,
To love like me for life inclin'd,
By all ye powers above;
With honour strictly I'll perfue,
And do what mortal man can love,
To make a life of love.

Affift meall ye pow'r's divine,
To forward this my grand design,
And grant O! mighty Love>
That I may wed fome Heav'nly fair,
And fhow the world (what's very rare)
A married life of love.

44

SONG

Sung by Mr. Vernon at Vauxhall, Set by Mr. Hopk.

45

2

I fee a pretty Girl in Green,
Another that is scarce eighteen,
Is fide in charming pink that's dreft,
Is faid to touch my amorous breafы
In fpite of thefe my heart is whole,
She is not here who wins my Soul.

When e'er the toaf't goes brilikly round,
I never at a lofs am founde,
Sall, Dolly, Kitty crown my Glaſs,
My heart is on my fav'rite Lafs,
But who the real Girl may be,
Can ne'er be gueſt'd or told by me.

3

My hoarded Wealth I'll not reveal,
Left fome bold Thief ſhou'd come and fteal,
And he who knows the Nymph I kifs,
May try to rob me of my blif,
Not even Death I am to ftout,
Shall ever get the ſecreſt out.

56

DOWN THE BURN DAVY LOVE

A Favorite Scotch Song Sung by Mr. Hudson, at Vauxhall
Set by Mr. Hook.

57

2

Now Davy did each Lad far paſſ,
That dwelt on this burn ſide,
And Mary was the bonniest Lafs,
Juff meet to be a Bride,
Blithe Davy's blinks &c.

3

Her Cheeks were roſes red & white,
Her Een was bonny blue,
Her looks were like Aurora bright;
Her lips like dropping dew,
Blithe Davy's blinks &c.

As fate had dealt to him a routh,
Straight to the Kirk he led her,
There plighted her his faith and truth,
And a bonny Bride he made her;
No more afham'd to own her love,
Or to peak her mind thus free,
Gang down the burn Davy love,
And I will follow thee.

37

OF THE PARISH OF LAMBETH. 97

FAUX-HALL.

The manor of FAUXHALL belongs to the dean and chapter of Canterbury.

An inquifition taken at South Lambeth fets forth that at Faukeftall was a capital mefluage, 80 acres of land, 29 acres of meadow; rents of affiſe of free tenants 39s. 4d. of cuſtomatic tenants 13s. 8s. 11½d., value of the whole 21s. 14s. 7½d. Margaret de Ripariis held the faid manor in dower from Baldwin de Inſula, her late hufband, of the inheritance of Habel de Fortibus, counteſs of Albemarle, fiſter and heir of Baldwin, &c. æt. 54, the faid manor being held of the king in capite by homage*.

On the 18th of February, 1435-6, 14 Henry VI. Henry Baſafter, of Lambeth, gentleman, had a licence of protection to go to France³.

At FAUXHALL, Sir Samuel Moreland, in 1667, built a fine room; the infide all of looking-glafs, and fountains very pleafant to behold, which was much viſited by ſtrangers. It flood in the middle of the garden, covered with Corniſh flate: on the point whereof he placed a Punchanello, very well carved, which held a dial; but the winds demolifhed it.

Sir John Hawkins (who, in his entertaining and inſtructive Hiftory of Muſic, vol. V. p. 351. has taken occasion to quote the above paſſage from Aubrey) obſerves, that “The muſic with which the public had been formerly entertained, was chiefly that of the theatre, and ſuch as was occasionally performed at concerts; but, in proportion to the increase of wealth in the

* Redd. affiff. lib. ten. 39r. 4d. Redd. cuſtümii 13l. 8s. 11½d.

³ Eſc. 20 Edw. I. n. 139.

³ Carle, Catalogue des Rolles François, vol. II. p. 286.

O

" me-

104 HISTORY AND ANTIQUITIES

known to the ingenious architect who designed and built this
beautiful object of admiration. In fine weather the musical
entertainments are performed here by a felett band of the best
vocal and instrumental performers. At the upper extremity of
this orchestra, a very fine organ is erected, and at the foot of
it are the fees and defles for the musicians, placed in a femi-
circular form, leaving a vacancy at the front for the vocal
performers. The concert is now opened with instrumental
mufic at eight o'clock, which having continued about half an
hour, the company are entertained with a song; and in this
manner several other songs are performed, with ionatas or con-
certos between each, till the clofe of the entertainment, which is
always at eleven o'clock.

To annite and to detain the company, however, when the re-
gular concert is over, a fecond band of mufic was introduced fome
feafons ago, wholly instrumental, which lafts till twelve. It
was firft ambulatory (like the Savoyards), and played to all the
company at fipper in the boxes, and pleafed, as a novelty, very
well. To prevent the inconvenience of crowding and being
crowded, a fet of wind instruments play from the orchestra, and
on full nights, till after twelve. Inſtead of concluding with a
catch and glee as uſual, the proprietors have cloſed the concert
with a dramatic interlude, written with great humour by a
gentleman who is now and then a writer for the ſag, and fet
by Mr Hook.

In the front of a large timber building, which you approach
with advantage from the middle of the great room, is a moſt in-
teresting painted landscape (called *The Day-Scene*) of great magni-
tude; which before duſk is drawn up, to exhibit, in transparency,
a caſtrade of water, which was firſt introduced more than twenty
years ago, and which, in the entertaining paper of The World,
was

was

HISTORY AND ANTIQUITIES

three glafs chandeliers. There are put up in it four large paintings, done by the ingenuous Mr. Hayman, from the historical plays of Shakespeare, which are universally admired for the design, colouring, and execution.

The hrrity, next the entrance into the gardens, is a fine representation of the flowers in the play of King Lear.

The second is the representation of the play in the tragedy of Hamlet, where the king and queen of Denmark with their court compote the audience.

The next is a scene in the Tempeſt, where Miranda flatters at the fight of Ferandinand: the is fitting under a tree reading, but at his appearance, drops the book in an agreeable surpize; Ferandinand is kneeling to the beautiful object of his no leſs atonifhem. Properio, with great expreſſion, in his countenance, of ſterneſs and affected anger, is repreſented in his magic robes.

The last is a ſene in the Tempeſt, where Miranda flatters at the fight of Ferandinand: the is fitting under a tree reading, but at his appearance, drops the book in an agreeable surpize; Ferandinand is kneeling to the beautiful object of his no leſs atonifhem. Properio, with great expreſſion, in his countenance, of ſterneſs and affected anger, is repreſented in his magic robes.

All theſte pieces do great honour to Mr. Hayman; the expreſſions are remarkably animated; a peculiar beauty is expreſſed in the ſaces, grace in the attitudes, and elegance in the drapery; while the deſign and manner of the figures, and the beauty and juſtneſs of the perſpectiſe, entitle them to be clafſed among the moſt celebrated performances.

Behind this pavilion is a very bandſome ſquare drawing-room, built likewile for his Royal Highneſts Frederick late Prince of Wales; adorament with buſs of Newton, Pope, and Democritus.

The ſpace between this pavilion and the orſeſtra may be termed the grand rendezvous of the company, who conſantly affable

OF THE PARISH OF LAMBETH. 107

assemble in this part, if the weather be fine, to hear the vocal performers, and as soon as the long is ended (stray about the gardens. The groups of figures varying in age, drefs, attitudes, &c. moving about on this occasion, cannot fail giving great vivacity to the numberlefs beauties of the place, and a particular pleasure to every contemplative spectator.

The grove is beautifully illuminated in the evening with above 2000 glafs lamps, which glitter among the trees, and appear exceeding light and brilliant: in the front of the orchestra they are contrived to form three triumphal arches, and are all lighted as it were in a moment, to the no small surprize of the spectator.

In cold or rainy weather, on account of sheltering the company, the musical performance is in a great room or rotunda, where an elegant orchestra is erected. This rotundo, which is feventy feet in diameter, is on the left side of the entrance into the garden, nearly opposite to the orchestra. Along the front next the grove is a piazza, formed by a range of pillars, under which is the entrance from the grove. Within this room on the left hand is the orchestra, which is inclofed with a balustrade; and in the cieling is painted Venus and the little Loves. The front of this cieling is supported by four columns of the Ionic order, embellished with foliage from the base a considerable way upwards; and the remaining part of the shaft, to the capital, is finely wreathed with a Gothic balustrade, where boys are represented ascending it. On the sides of the orchestra are painted Corinthian pillars, and between them in niches are represented four deities: at the extremity is the organ, and before it are placed the deks for the musical performers. In the centre hangs a magnificent chandelier, eleven feet in diameter, containing feventy-two lamps in three rows, which when lighted add greatly to the beauty and splendor of the place.

P 2

10

168 HISTORY AND ANTIQUITIES

In the middle of this chandelier is represented, in plaster of Paris, the rape of Semele by Jupiter, and round the bottom of it is a number of small looking-glasses curiously set. Round the rotunda is a convenient fear. Above are sixteen white buifs of eminent perfons, ancient and modern, standing on carved brackets, each between two white vases: a little higher are sixteen oval looking-glasses, ornamented with penfile candlesticks, or a two-armed foonce; if the spectator stands in the centre, which is under the great chandelier, he may see himself reflected in all these glasses. Above are fourteen saph windows, with elegant frames finely carved, and crowned with a plume of feathers. The top is a dome, flated on the outside, and painted within the refemblance of a shell. The roof is so contrived, that founds never vibrate under it; and thus the music is heard to the greatest advantage. Formerly the orchestra was in a space which is now seen at the upper end; but, since it was removed, a statue of Apollo in plaster of Paris has been fixed there on a pedestal of wood. For a few feafons after this rotunda was erected, it was distinguished by the fashionable appellation of the umbrella.

This rotunda has lately been enlarged by an additional faloon, which is so jointed to the building that the whole makes but one edifice: a part of the rotunda opposite the orchestra is laid open for receiving this faloon; and its entrance here is formed and decoratel with columns, like those at the front of the orchestra already deferibed. In the roof, which is arched and elliptic, are two little cupolas in a peculiar tafte, and in the summit of each is a fly-light divided into ten compartments; the frames are in the Gothic flyte. Each cupola is adorned with paintings; Apollo, Pan, and the Mufes, are in one, and Neptune with the Sea Nymphs in the other; both have rich entablatures, and something like a fwelling fofa. Above each cupola is an arch divided into compartments; from the centre of each, which is a rich Gothic frame,

HISTORY AND ANTIQUITIES

18. A. Fea: engagement between the Spaniards and Africans.

Moors.
Here the paintings end; but the pavilions continue in a sweep, which leads to a beautiful piazza and a colonnade five hundred feet in length, in the form of a feni circle of Gothic architecture, embellished with rays. The entablature confits of a carved frize with battlements or embrazaures over the cornice. In this feni-circle of pavilions are three large ones, called temples; one in the middle, and the others at each end, adorned with a dome, a pediment, and a beautiful turret on the top; but the two latter are now converted into portals, one as an entrance into the great room, and the other as a paflage to view the cage, which are directly opposite to each other; however, the middle temple is fill a place for the reception of company, and is painted, in the wretched Chinese tale (by Riquet), with the fony representation Vulcan catching Mars and Venus in a net. This temple is adorned with wreathed columns and other Gothic ornaments; and formerly there were fixed at the top a fun, flars, pinnacles, &c. On each side of this temple the adjoining pavilions is decorated with a painting; that on the right represents the entrance into Wathahal, with a gentleman and lady coming to it; and that on the left, friendship on the grafs drinking.

Having traversed this feni-circle, we come to a sweep of pavilions that leads us into the great walk: the laft of thefe is ornamented with a painting representing black-eyed Sufian re turning to shore, having been taking leave of her fweef William, who is on board one of the fleet in the Downs. It is proper to observe, that the boxes in front are decorated with plaftic, wrought in the form of contra circles and a far.

oppo-

## OF THE PARISH OF LAMBETH.

site the semi-circle above mentioned, the pavilions are decorated with the following pieces:

1. Difficult to pleafe.

2. Sliding on the ice.

3. Players on bagpipes and hautboys.

4. Hogarth's " Night," a bonfire at Charing-crofts, and other rejoicing ; the Salisbury stage overturned, &c.

5. The play of blindman's buff.

6. The play of leap-frog.

7. The Wapping landlady, and the tars who are just come afhore.

8. The play of skittles; and the husband upbraided by the wife, who breaks his shin with one of the pins.

Proceeding forward, we see another range of pavilions, in a different style, adorned with paintings, forming another side of the quadrangle, which in particular claims the observance of the spectator, by a grand portico in the centre, and a marble statue underneath : but we shall begin where we left off, and describe these in their place. In the first pavilion is,

1. The taking of Porto Bello, in 1740, by the late Admiral Vernon.

2. Mademoiselle Catherina, the famous dwarf.

3. Ladies angling.

4. Bird-nefting.

5. The play at bob-cherry.

6. Falstaff's cowardice detected.

7. The bad family, with the parson coming in to make peace; the husband has the tongs ready lifted up to strike his wife, who is at his feet kneeling and fupplicating mercy, and their three children are crying.

8. The good family; the husband is reading; the wife with an infant in her arms, and the other children, are listening; the rest are spinning, and the maid is washing the dishes.

Q

9. The

HISTORY AND ANTIQUITIES

9. The taking of the St. Jofeph, a Spanisł regifter ship, in 1742, by Captain Tucker, in the Fowey man of war.

Next is a semi-circle of pavilions, with a temple and dome at each end, and the space in front decorated with trees. In the middle, on a pedestal, is a beautiful marble statue of the famous Handel, in character of Orpheus playing on his lyre, done by the celebrated Roubiliac. This was the first great display of that sculptor's abilities, at least for the public eye; and was approved of by Pope. A rare instance of a statue only to living merit! It is not so large as life, though very like the original; for there was no block of marble large enough in England, at that time, for the purpose, as Pope somewhere exclaims it, to

"Hew off the marble, and draw out the man."

The remainder of the paintings in this range are,

1. Bird-catching, by a decoy with a whistle and net.

2. The play of fee-faw.

3. The fairies dancing on the green by moonlight.

4. The milk-maid's garland, with its usual attendants.

5. The kifs floen.

Here ends the boundary of the grove on this side; but, turning on the left, we come to a walk that runs along the bottom of the gardens; on each side of this walk are pavilions, and thofe on the left hand are decorated with the following paintings;

1. A northern chief, with his princeſs and her favourite ſwain, placed in a ſledge, and drawn on the ice by a horſe.

2. The play of hot cockles.

3. An old gypſy telling fortunes by the coffee-cups.

4. The cutting of flour, a Chriflmas gambol (which is by placing a little ball at the top of a cone of flour, into which all are to cut with a knife, and whoever canſes the ball to fall from the ſummit muſt take it out with their teeth; which is repreſented in the painting).

5. The play of cricket.

On

OF THE PARISH OF LAMBETH.

On the opposite side is a row of pavilions, with a Gothic rail-
ing in the front of them; and at the extremity of this walk is
another entrance into the gardens from the road. At the other
end of the walk, adjoining to the Prince's pavilion, is a small
femi-circle of pavilions, defended in front by a Gothic railing,
and ornamented in the centre and at each end with Gothic tem-
ples; in both the latter are fine glafs chandeliers and lamps;
the former is ornamented in front with a portico, and the top
with a Gothic tower and a handfome turret.

In all these pavilions the music is very distinctl}' heard, and
from moft of them are prospects of the noble viitas and other
agreeable objects.

Having finifhed our deſcription of the grove, and every part
of its ornaments, we will now take a ſervey of the other parts of
the gardens.

From the upper end of the walk laſt deſcribed, where we
concluded the lift of the paintings, we may fee a long narrow
vifta that runs to the top of the gardens; this is called the Druid's
or lover's walk, and on both fides of it are rows of lofty trees,
one of which, meeting at the top, and interchanging its boughs,
forms a delightful verdant canopy. Among theſe trees build a
number of fine finging-birds, ſuch as nightingales, black-birds,
thruſhes, &c. whole ſweet harmony adds a peculiar pleafure to
this rural ſcene. At night the look along this Gothic walk
prefents a view of an anchoret's cell, by means of the lamp in
the box at the termination. The contiguous walk, which is an
open one, was covered with cockle-shells in the memory of the
writer of this, and has one of the fineſt rows of high elm-trees
that is to be met with, towards the coach gate as it is called.

- Returning to the grove, and placing ourſelves near the ſtatu
of Handel, we may by looking up the garden behold a noble
vifta, which is called the grand fourth walk, of the fame ſize as

Q 2

that

116 HISTORY AND ANTIQUITIES

that seem at our first entrance, and running parallel with it. This
vita was formed by lotty trees on each fide; but a peculiar air
of grandeur was added to it by three splendid triumphal arches;
the project was terminated by a large and fine painting of the
ruins of Palmyra, which deceived many strangers, and induced
them at first fight to imagine they really faw a pile of ruins at
some distance: the triumphal arches conducted greatly towards
this deception, as they confined the project to the painting
only, and feemed like an entrance to a nearer view of thole de-
cayed structures of ancient grandeur. The arches were made of
wood, covered with canvas, on which the columns were painted;
and above was a double pediment, enriched with figures, &c.
On each fide of the grand arch was a small one heightened by
a balustrade and other ornaments. But the ruins themselves-
decayed, and made way for a noble view of architecture, de-
figned by Mr. Profeffor Sandby, and painted by Mortimer. At
night, a tranparent scene is displayed, which was the per-
formance of the fame excellent painter.

Near the centre of the gardens is a crofs gravel-walk, formed
by flately trees on each fide. On the right hand it is terri-
nated by the trees which fhade the lover's walk; and at the ex-
tremity, on the left, is a beautiful landfcape painting of ruins
and running water, which with great juſtice to the artif is rec-
koned a matter-piece.

From our fituation to view this painting is another gravel-
walk that leads up the gardens, formed on the right fide by a
wilderness, and on the left by rural downs, as they are termed,
in the form of a long fquare, fenced by a net, with ſeveral little
eminences in it after the manner of a Roman camp. There are
likewise ſeveral buſhes, from under which a few years ago sub-
terraneous muſical founds were heard, called by ſome the fairy
muſic; hence they acquired the appellation of muſical buſhes,
which

## OF THE PARISH OF LAMBETH. 117

which no doubt put many people in mind of the vocal foret, or that imaginary being called the genius of the wood; but the natural damp of the earth being found prejudicial to the intru- ments, this romantic entertainment has ceased. The downs are covered with turf, and pleasingly interperfed with cyprefs, fir, yew, cedar, and tulip trees. On one of the eminences is a flatue of our great poet Milton, nearly furrounded with buffies, and feated on a rock, in an attitude listening to soft music, as defcribed by himself in his II Penferofo. It is now illuminated every night with lamps, and was built in lead by Roubiliac.

At the upper end of these downs is a gravel walk, formed on each side by lofty trees, which runs acrofs the gardens, and ter- minates them this way.

In this walk is a beautiful prospect of a fine meadow (fur- rounded with park pales) in which the obelisk stands. This prospect is made by the trees being oppofite the grand walk (which runs from the entrance into the gardens), and a ha-ha is formed in the ditch to prevent the company going into the field. At each end of this walk is a beautiful painting; one is a building with a scaffold and ladder before it, which has often deceived the eye very agreeably; the other is a view in a Chinese garden.

The principal part of all these charming walks form the boundaries of wilderness compofed of trees which shoot to a great height, and are all inclosed with a beautiful efpalier, fome- what in the Chinese taftc.

In a dark night the illuminations are very beautiful, and can- not fail to surprife and delight every susceptible fpectator; but in a moon-light night there is something more peculiarly plea- fing, which fo strongly affects the imagination, that it almost infills an idea of enchantment.

When

138 HISTORY AND ANTIQUITIES

When the music is finished, great numbers of the company retire to the pavilions to fupper, and some are attended with French horns and other music. A curious and contemplative spectator may at this time enjoy a particular pleasure in walking around the grove, and surveying the brilliant guests: the multitude of groups varying in figure, age, dyes, attitude, and the visible disparity of their humours, might form an excellent school of painting; and so many of our lovely countrywomen visit these blissful bowers, that were Zeus again to attempt the picture of Venus, it is from hence, and not from Greece, that he would borrow his image of perfect beauty. Nothing is wanting that can contribute towards the convenience of this entertainment; every thing is served in the best manner, and with the greatest readineſs.

About an hundred nights make the feafon of Vauxhall; and the average of about one thouſand perſons per night is ſuppoſed to make a good feafon to the proprietors. On June 25, 1781, there were more than eleven thouſand perſons in the gardens, lowing to the permiffion of his Royal Highneſs the Duke of Cumberland (whom the proprietors justly honour as their patron) to notify his intention of fupping in the gardens with his Duchefs; and to its being the failing-day for the cup on the Thames, an anniverſary donation of his Royal Highneſs. This was the moſt memorable instance, of paſt or prefent times, where so many people affembled and paid admiffion money, where the invitation and entertainment was music, and where ſeven thouſand perſons were accommodated with proviſions and ſerefreshment on ſo ſmali a ſpot.

After so copious a deſcription of this enchanting ſpot, it may not be improper to mention, that the public, about twenty years ago, were indebted to the late ingenious Mr. John Lockman', the well-

¹ Mr. Lockman was author of two pieces of the dramatic kind, "Ro-

1

² faluda,

HISTORY AND ANTIQUITIES

122

The chair was repaired and kept as a curiosity by the late John Dawson, efg; but, by neglect, was, at the pulling down his old dwelling at Foxhall (in 1777), defroyed. Mr. Buckmaster fat in the chair many times, but his feet would not touch the ground. King Charles was very tall.

In the road from Foxhall turnpike to Wandworth, is a fine spring, called Foxhall well. The water is effemined highly; viscous in many disorders of the eyes; and, for many years past, has been sent for, not only by the neighbours, but by people at some distance, on account of its purity, to make tea, &c. &c. and in the hardest winters, it is never known to freeze. The feps, &c. are kept in repair by the trustees of Foxhall turnpike.

Richard de Gerefey, pincerna regius habet man' de Faukhall ad vitam de dono regis¹.

18th February 1351.

Sir James de Beresford had licence to have an oratory on his manor².

FAU HALL manor was the endowment of the chanty founded in the Black Prince's chapel at Canterbury³. Isaac Bargrave, Bfrj is the prefent geward for the dean and chapter of Canterbury.

Demile of the capital mefflage of manor of Kennington and other lands, parcel of the duchy of Cornwall. A capital mefflage called Faukhall by the King, to Henry Lord Moore, 26th January 1660-1, 12 Car. II. for 31 years at 150l. per annum clear the king to make ufe of Faukhall for his own fervice, allowing Lord Moore in proportion out of reſerved rents. He returned it, and Lord Moore was ordered to ſurrender its indenture for a new one, demiling to him, now Earl of Drogheda, the reſidue of the lands for the ſaid term, at 50l. per annum, May 13, 1661-⁴.

¹ Rot. Pip. 13 Edward II.

² Exemplificcio pro Nicho Molinaux.
³ Goſling, page 219.
⁴ Entry of grants of crown lands by the Earl of Southampton, treaſurer, pen. Tbo. Aſſe, arm.

STOCKWELL

["SONG 194.", "Song at VAXXALL.", "FLATT'RING Lovers, the mind deceiving,", "Early falls, early of chesty,", "Lovers fall, lugs the dear district,", "Empty Shawl of pump and achoo,", "Cupids trick to catch the fair,", "Lovely makes too oft, henchles,", "Flirt up in the beauty's face.", "SONG 463.", "A RONDEAU.", "Song at VAXXALL.", "SHEPHERD, create your soft complaudings,", "I no half-browed meanings want,", "All that virtue aft I'll giant,", "Dullard looks, and frequent fighting,", "Dullard now, and vulture of dings,", "All as fondled, who a believe,", "He would die, who fill may live", "SONG 493.", "Song at VAXXALL.", "NO longer let whimsical songsters compare", "The:em of wine with the thorns of the fair,", "I lapped to the man in dehorsle between", "A tun-holly's Eaboua and beauty's fair queen,", "The profusion of drinking here forth I reduce", "For the thirties is mirthly, yet there's mirths in wile:", "Then let not falle fluster our:efting hag,", "'Tis the mention of Christ that makes the glass", "flit,", "Her bosoms with rupture her fringes inflect,", "And the more I behold her, the more I admit I", "Blot the thorns of her temerary mind I forget", "Thouft virtutes shall blight me when beauty's no more.", "How happy our days when with love we engage!", "'Tis the transpact of youth 'tis the comfort of age,", "But what are the losses of the bottle or bowl?", "SONG 104.", "Song at VAXXALL.", "THE falteringows the tale perfors,", "And said without feedback there is", "While the pin:s and mountainain coth,", "Oft feel the impatience's ruder flight.", "So in the early morn made ground first,", "Dew:e and quiet (cruel)", "The thorns that overlie rich and great", "Fly over the daffodil's cell.", "THE ADVICE.", "Song at VAXXALL.", "Ye symptoms, who to the thorn of love", "With heafts (bottles) howl, howl,", "Who kept the churlish breath to prove,", "That cross the cupal vane,", "This, 'tis content's glee, by real fire lending,", "Oh! view your love's clear, bright, and clear,", "The man that loves you dear,", "So oft bind to whom 's love, the raker", "We (dial) bind allow,", "And he who has been so, may make", "A good-for-nothing (lisped),", "Nor trust the fops, the porpoise-fish,", "Proclaim you 'tis touch'd a him, and me,", "His own sweet charters for much he'll pish,", "Nor can he love you dear,", "But when with ev'ry manly grace,", "A youth of soul red, a", "Thanks higher than your mind,", "When such that for the fire, for fire,", "Oh! yea! your hand facility,", "RATBEE'S RAY-BEATY.", "Song at VAXXALL.", "TO Phillips and Chisy, and all the pay throng,", "Two long the felt, his hand held up,", "Tossing their hair, they sang the vespers,", "Two long his their beauty haddisplayed,", "Glean, Ratbee, represent, the parrs, I ad,", "Forsaken, I hurrily implored,", "If 'tis for a fainst I put a full eye,", "May I forever play and amorphuse great poly,", "May I never enjoy one drop more,", "Ye fops and ye fronde, your side few", "To fang all the thorns of the fols!", "This thorn to the pith is your provocation, said,", "Alone make their antient their easier,", "Who to his fopry that mortal can sbleagre,", "Who drives his own interest to naught?", "For women and dry are nearly the fates,", "In thine, that he fang his own palfrey—", "In thine, that he fang his own palfrey.", "The will, 'twill, sparkling flow, some rare, fronde, fronde,", "This, the minder, why all to the daffodil,", "Good-nature and fain, have you, I know, in lots,", "And fain to be buncler, times enough,", "With some sort of a daffodil, the fols,", "This, the model, I hope, in each fable,", "A bottle in some store instead than the,", "It's virtue ten thousand times greater.", "A BIRD IN THE KAND IS WORTH TWO IN", "THE RUM.", "LONG time I've enjoyed the felt transports", "of love,", "I've bil'd like a sparrow, or could like a dove,", "In winteral alive, up to jaffinom how,", "To many flowers I've lilted, can be,", "But now for four pence I care not a rub,", "One bird in the hand is worth two in the bush.", "Young Colin's carefree inflects me with joy,", "And Daman's soft words I thought never could", "With such love I fast in afox's current,", "And held with delight each fand fain at", "my feet,", "But now for four pence I care not a rub,", "One bird in the hands worth two in the bush.", "Goy Stephen factors I'm the girl to his mind,", "If I prove facer, I'll be comfort and kind,", "He was that to-morrow he'll make one his wits,", "I'll family encounter to both his wit and life,", "For all other fancies now I care not a rub,", "One bird in the hand is worth two in the bush.", "SONG 101.", "Song at VAXXALL.", "A HU when can not find a true fable,", "In whom can not find a true fable,", "May be some concordant and vice,", "O in court, or courtly, or courts,", "AsACKNOWLEDGEMENT, I give you,", "So pious, so kind, so little, so little,", "Dedicate your girls left in the bush.", "Then all the children of the day,", "Adorn to its Lloyd and its Rary,", "Herself I in confidence will love,", "When he is the willow may we wear,", {"bbox": [440, 12