Calvert's Four Coloured Engravings is the pictures, in a later hybrid work combining verse and illustration it is the text. Louisa Anne Meredith’s "Tintern Abbey in four sonnets" appeared in the 1835 volume of her Poems, prefaced by the reproduction of the author's own sketch of the ivy-covered north transept. This supplements in particular the description in the third sonnet: Th’ivy’s foliage twined The air-hung arch – the column‘s lofty height, Wreathing fantastically round the light And traceried shaft. Gallery Literature Poetry A dedicatory letter at the start of Gilpin's Observations on the river Wye is addressed to the poet William Mason and mentions a similar tour made in 1771 by the poet Thomas Gray. Neither of those dedicated a poem to the Abbey, but the place was soon to appear in topographical works in verse. Among the earliest was the 1784 six-canto Chepstow; or, A new guide to gentlemen and ladies whose curiosity leads them to visit Chepstow: Piercefield-walks, Tintern-abbey, and the beautiful romantic banks of the Wye, from Tintern to Chepstow by water by the Rev. Edward Davies (1719–89). Furnished with many historical and topical discursions, the poem included a description of the method of iron-making in the passage devoted to Tintern, which was later to be included in two guide books, the most popular of which was successive editions of Charles Heath's. Then in 1825 it was followed by yet another long poem, annotated and in four books, by Edward Collins: Tintern Abbey or the Beauties of Piercefield (Chepstow, 1825). The Abbey also featured in poems arising from the Wye tour, such as the already mentioned account of his voyage by Rev. Sneyd Davies, in which the ruins are briefly reflected on at its end. It is that element of personal response that largely distinguishes such poems from verse documentaries of the sort written by Edward Davies and Edward Collins. For example, the gap between the ideal and the actual is what Thomas Warwick noted, looking upstream to the ruins of Tintern Abbey and downstream to those of Chepstow Castle, in a sonnet written at nearby Piercefield House. Edward Jerningham's short lyric, "Tintern Abbey", written in 1796, commented on the lamentable lesson of the past, appealing to Gilpin's observations as his point of reference. Fosbroke's later adaptation of that work is likewise recommended as a supplement to Arthur St John's more voluminous description in the account of