The visual
But reality is very much present and overwhelming from the beginning of the fragment. If we turn to the sensory impressions recorded in those 12 lines, the eye of the poet registered an admiration for the garden as something designed and built up, as a human realization as against a production of nature.
The very first image associates a crib and a church. Together with the verb, agencer, it indicates from the start this is a garden with no counterpart in nature. Scève proceeds with the brightly-colored flowers, that are such a joy to the eye. The adjective he endows them with tells of their decorative purpose, which reemphasizes the artificial as superseding the natural. Nature is embellished, the poet declares, by such additions. He strikes a concluding note in this rhetoric of the implied superiority of human agency, with the assertion, a summing-up truly, of all this artifice being so beautiful as to marvel at.22