BEAUTIES OF THE ART. 31 



tration of picturesque beauty, 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 its purest 

 and most elegant forms. In those inimitable landscapes 

 which are the works of this great master, we see portrayed 

 all those graceful and flowing forms, and all that harmonious 

 colouring, which delight so much the mind of genuine taste 

 and sensibility, and which, based upon a study of beautiful 

 nature and art, in the finest portion of the globe, have never 

 since, and may perhaps never again be equalled. 



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

 the picturesque, more graphically combined, than in the vig- 

 orous landscapes of Salvator Rosa ! In those rugged scenes, 

 even the lawless aspects of his favourite robbers and ban- 

 ditti, 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 

 vio^orous imagination, nursed amid scenes teemina; with the 

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

 bodied in the most striking manner. 



In giving these illustrations of general or natural, and of pic- 

 turesque beauty, we have not intended them to be understood 

 in the light of exact models for imitation in Landscape Gard- 

 ening — only as striking examples of expression in natural 

 scenery. Although in nature, many landscapes partake in 

 a certain degree of both these kinds of beauty, yet it is no 

 doubt true that the effect is more satisfactory, where either 

 the one or the other character predominates. The accom- 

 plished amateur, should be able to seize at once upon the 

 characteristics of these two species of beauty in all scenery. 

 To assist the reader in this kind of discrimination, we shall 



