BEAUTIES AND PRINCIPLES OF THE ART. 
49 
all the elements of what is termed natural beauty, — or a 
landscape characterized by simple, easy, and flowing lines. 
For an example of the opposite character, let us take a 
stroll to the nearest woody glen in your neighborhood-- 
perhaps a romantic valley, half shut in on two or more 
sides by steep rocky banks, partially concealed and over- 
hung by clustering vines, and tangled thickets of deep 
foliage. Against the sky outline breaks the wild and irre- 
gular form of some old, half decayed tree near by, or the 
horizontal and unique branches of the larch or the pine, 
with their strongly marked forms. Rough and irregular 
stems and trunks, rocks half covered with mosses and 
flowering plants, open glades of bright verdure opposed to 
dark masses of bold shadowy foliage, form prominent ob- 
jects in the foreground. If water enlivens the scene, we 
shall hear the murmur of the noisy brook, or the cool dash- 
ing ol the cascade, as it leaps over the rocky barrier. Le . 
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 ! In those rugged 
