Marvell's long poem on the beauties of Nunappleton, Upon Appleton House, comes nearer to the type. But it is hardly until the 18th century that in English literature appears what is properly known as descriptive poetry. This was the age in which poets, often of no mean capacity, began to take such definite themes as a small country estate ("Pomfrets Choice", 1700), the cultivation of the grape ("Gays Wine", 1708), a landscape ("Popes Windsor Forest", 1713), a military manoeuvre ("Addisons Campaign", 1704), the industry of an apple orchard ("Philips Cyder", 1708) or a piece of topography ("Tickells Kensington Gardens", 1722) as the sole subject of a lengthy poem, generally written in heroic or blank verse. These tours de force were supported by minute efforts in miniature-painting, by touch applied to touch and were often monuments of industry, but they were apt to lack personal interest and suffered from a general and deplorable frigidity. They were infected with the faults that accompany an artificial style. They were monotonous, rhetorical, and symmetrical, while the uniformity of treatment inevitable to their plan rendered them hopelessly tedious if prolonged to any great extent.