cs ammcled iv'itb Lanclfcapc Tainting. -2 97 



only be obtained from Nature through the medium of art ; 

 that is, by carefully attending to the different excellencies 

 found in the works of the moft efteemed matters, and dili- 

 gently comparing them with Nature. By fuch a practice we 

 ihall in time be enabled to feel their beauties, and then we 

 may confider ourfclves in a fair way to poflefs the like. It is 

 not a flight or fuperficial view of an efteemed picture that can 

 benefit us; we muft fix our mind iteadily on it till we have, 

 as it were, analyfed it, or difcovered the caufe of each par- 

 ticular effect, as the only means to enable us, in our future 

 operations, to work on fimilar principles. 



With a view to affift our inquiry, it may not be amifs to 

 point out the peculiar excellencies to be found in the works of 

 fome of the moft celebrated landfeape painters. N. Pouflin, 

 for dignity, will be found highly deferring attention; his 

 buildings and figures arc unequalled. Titian's colouring is 

 rich, accompanied with great freedom of hand and fine terms 

 of tree?. G. Pouflin's mountains are grand, and generally 

 form a fine line of horizon, with a peculiarity in the deep 

 parts of the picture, and depth of water truly grand. 

 'eccentricities of Salvator Rofa will furnifh an example of 

 great union of parts as to chiaro-fcuro. colour, compoiiiion, 

 and figures, while his rocks are fublime and grandly formed ; 

 the whole accompanied with great freedom of penciling. The 

 colouring of Claude is fine, accompanied with a lovely tone 

 of air ; but his compofitions oi'ien appear ftudied ; or, in other 

 words, over-laboured, from the introduction of too many 

 beautiful parts. Wilfon's compofitions are grand, with a 

 tone of colour truly Titia/ufque, and a light and ihade un- 

 equalled. 



The paftoral excellencies muft be fought among the works 

 of the Dutch and Flemifh 1. .alters, particularly in thofe of 

 Rubens, whole colour and chiaro-fcuro are fine ; Teniers jun. 

 who, for firmnefs of touch and the true filvery tone, ftands 

 unrivalled ; Cuvp, for a light elegant touch, fine colour, and 

 cattle ; 1'. Potter for cattle, and, in his heft pictures, a deep 

 tone of colour; both the Later for a light elegant pencil, ex- 

 quifitewarm amber colour, and elegantly formed ti 

 h«iu and WoYernian'* foi nimak, with a long ftringofet- 



