BEAUTIES AND PRINCIPLES OF THE ART. 
51 
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 the inimitable pictures of this 
great master, we see portrayed all those graceful and flowing 
forms, and all that finely accordant colouring, which delight 
so much the mind of refined taste and sensibility — composi- 
tions emanating from a beautifully harmonious soul, and 
inspired by a climate, and a richness of nature and art, 
nowhere surpassed. 
On the other hand, where shall we find all the elements of 
the picturesque, more graphically combined, than in the vigo- 
rous 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 
vigorous imagination, nursed amid scenes teeming 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, and of pictu- 
resque beauty, we have not intended them to be understood 
in the light of exact models for imitation in Landscape Gar- 
dening — 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 
