BEAUTIES AND PRINCIPLES OF THE ART. 65 



ing of the cascade, as it leaps over the rocky barrier. Let 

 the stream turn the ancient and well-worn wheel of the old 

 mill in the middle ground, and we shall have an illustration 

 of the picturesque, not the less striking from its familiarity 

 to every one. 



To the lover of the fine arts, the name of Claude Lor- 

 raine cannot fail to suggest examples of beauty in some of 

 its purest and most simple forms. In the best pictures of 

 this master, we see portrayed those graceful and flowing 

 forms in trees, foreground, and buildings, which delight so 

 much the lover of noble and chaste beauty, — compositions 

 emanating from a harmonious soul, and inspired by a cli- 

 mate and a richness of nature and art seldom surpassed. 



On the other hand, where shall we find all the elements 

 of the picturesque more graphically combined than in the 

 vigorous landscapes of Salvator Rosa ! Li those rugged 

 scenes, even the lawless aspects of his favorite robbers and 

 banditti are not more spirited, than the bold rocks and wild 

 passes by which they are surrounded. And in the produc- 

 tions of his pencil we see the influence of a romantic and 

 vigorous imagination, nursed amid scenes teeming with 

 the grand as well as the picturesque — both of which he 

 embodied in the most striking manner. 



In giving these illustrations of beautiful and of pictu- 

 resque scenes, we have not intended them to be understood 

 in the light of exact models for imitation in Landscape 

 Gardening — only as striking examples of expression in 

 natural scenery. Although in nature many landscapes 

 parlake in a certain degree of both these kinds of expression, 

 yet it is no doubt true that the effect is more satisfactory, 

 where either the one or the other character predominates. 

 The accomplished amateur should be able to seize at once 



