angels of kingdoms were machines too ponderous for him to manage."
In 1694, he began the most laborious and difficult of all his works, the translation of Virgil; from which he borrowed two months, that he might turn Fresnoy's Art of Painting into English prose. The preface, which he boasts to have written in twelve mornings, exhibits a parallel of poetry and painting, with a miscellaneous collecttion of critical remarks, such as cost a mind stored like his no labour to produce them.
In 1697, he published his version of the works of Virgil; and, that no opportunity of profit might be lost, dedicated the Pastorals to the lord Clifford, the Georgics to the earl of Chesterfield, and the Æneid to the earl of Mulgrave. This œconomy of flattery, at once lavish and discreet, did not pass without observation.
This translation was censured by Milbourne, a clergyman, styled, by Pope, "The Fairest of Criticks," because he exhibited his own version to be compared with that which he condemned.
His last work was his Fables, published in consequence, as is supposed, of a con-
