262 
PAIN' 
apartments and galleries, “ towns, porticoes, (hrubberies, 
groves, hills, pools, cafcades, rivers, and pleafant (bores.” 
Here are all the elements of landfcape. The fame artift, 
he continues, alfo painted in alcoves, at a fmall expenfe, 
views of feaport-towns, pleafingly executed. Landfcape- 
painting, then, began with the decoration of walls of 
rooms, as if man were born to live abroad, and can only 
banifti from his home the idea of its being a prifon, by 
giving to its boundaries a femblance of the horizon of 
Nature. 
Vitruvius names Apaturius as a good painter of archi¬ 
tectural fcenery; and another profpedt-painter of the 
Romans is charadterifed by Pliny, one Serapion, who 
painted fcenes well, but could not paint a human figure. 
In thofe remains of ancient painting which occur in the 
baths of Vefpalian, and the apartments at Pompeii, the 
pannels, which include landfcape, exhibit a molt imper- 
fedt perfpedtive. 
The following remarks on the rife and progrefs of land- 
fcape-painting, are extracted from a Difcourfe on Prof- 
peft Painting, delivered at Norwich, by W. Taylor, jun. 
“ The earlier writers on art, by which I mean thofe 
who flouriftied before the age of Trajan and the Anto- 
nines, confbntly entitle their books On soographers, On 
zoography; this was .their only ufual denomination for 
painting, as if (till-life did not merit the name ; but the 
later writers on art, (fee the lift in Junius De Pidtura Ve- 
terum, p. 57.) fuch as Hypftcrates, Protogenes, &c. treat 
ir-pi ypaipw/];, which fubftitution of the word defign to the 
word life-drawing, announces that art was got to include 
in its range other than living nature; and of thefe writers 
fo great a number flouriftied at Constantinople, that one 
may infer that city to have become, inftead of Rome, the 
fear of the fine arts, and to have cultivated a branch of 
it which never attained much rank at Rome. Indeed, no 
circumftance feems fo adapted to give a faftiion to prof- 
pedl-painting as the transfer of a (eat of empire. The 
perfonal reminifcences of the migrated, the hiftoric cu- 
riofity of their defcendants, mud have given, at Conftan- 
tinople, a high value to every reprefentation of what was 
dear to perfonal aft'edtion, or beautiful, or celebrated, in 
the old country. 
“ Thefe notices of the (fate of profpedt-painting, among 
the ancients, are very fcanty; yet I have not omitted to 
confult Junius De Pidtura Veterum, Winkelmann’s Gef- 
chichte der Kunft, the Antiquites de Caylus, and the 
Ivlemoires de i’Academie des Infcriptions ; to fay nothing 
of the domeftic fources of information. No inferences can 
fatisfadtorily be drawn from them as to the natural pro¬ 
grefs of art, and the means moll conducive to its perfec¬ 
tion. The general law of progrefs muft be fought in the 
history of modern painting, 
“ In order to form fome idea of the probable courfe of 
pradtice, let us (ingle-out an individual artift, who had 
regular opportunities of ftudy, and habits of induftry; 
one who is alike connedted with the Italian and theFlemifli 
fchools. Paul Brill was born at Antwerp,in 1554. Formed 
under Voltelman, his firlt delineations were of ruftic ob- 
jedts, imitations of the ordinary nature which (urrounded 
him. Invited by his brother Matthew, who was employed 
at the Vatican, into Italy, he there attached himfelf to 
Apennine fcenery, to views of mountainous and woody 
expanfe, whofe natural fublimity and effedt he heightened 
by the ftrength'of his light and lhadow. In a third ftage 
of his progrefs, lie was remarked as a painter of gardens 
the mbit green, of paradifial groves, where nymphs were 
feeking fequeftered baths in (haded rivulets. I lliil re¬ 
coiled! in the gallery at Florence a painting of his on 
alabafter, which reprefents Chrift healing the-blind Bar- 
timeus. The figures (land on an elevated foreground ; 
in the diftance are purple mountains peering above fore (is 
of palm ; hills clad with the olive and the vine ; the brook 
Kedron, fhining as it winds, and bordered with dwellings 
of a beautiful architedture ; a remote view of the inajeftic 
holy city ; all together forming one of the richeft land- 
r i n g. 
fcapes on which the eye of man can reft; and all contri¬ 
buting to enhance the value of the miracle, and toinfpire 
gratitude to the giver of fight. Few fubjedts are fo well 
adapted for the profpedt-painter, as this, to (ink the figures 
in the fcene ferving to imprefs the topic. Finally, Paul Brill 
chofe to delineate temples, columns, triumphal arches, 
claflical ruins, and edifices, a tafte which he bequeathed 
to his friend Nieuland, who completed his laft produc¬ 
tions.” 
Among the Italians, the earlieft landfcape-painters 
were, Bernazzano of Milan, and Muziano of Brefcia. 
Both were remarkable for the rufticity of their fcenery; 
inafmuch that the latter got the nick-name of The Coun¬ 
try Boy, II Giovane dei Paefi. Fabrizio Parmegiano and 
Giorgione Barbarelli have alfo left fomething of a name 
for imitating ordinary objedts, and making trees diftin- 
guiftiable from one another. 
Titian, by the accidental ufe of his pencil in the deli¬ 
neation of mountain-fcenery, became the founder of he¬ 
roic landfcape. Fiorillo enumerates Viola and Angioli 
among thofe who firlf profited by the noblenefs of his man¬ 
ner, and who carried aerial perfpedtive, or the art of be¬ 
dimming diftances, to a new perfection. But Salvator 
Rofa, born in 1614, was in this line of art to attain the 
higheft rank. Simplicity of defign and fublimity of im- 
preflion mark his eyery composition. In his landfcapes he 
aims at exciting a (hudder, a fort of panic fear, by the wild 
horrors of the fcene. His forefts have a gloom which an¬ 
nounces to the paflenger a homelefs and inextricable la¬ 
byrinth full of abyfles. His mountains look like decaying 
pillars of the world. The approach of night is his dar¬ 
ling hour, banditti his favourite company. 
A Dutch artift, named Peter Molyn, attempted to com¬ 
pete with Salvator Rofa, and acquired among the Italians 
the nick-name of II Cavalier eTempeJla, from his rage for 
painting ftorms, and violent accidents of life. 
In the time of Salvator Rofa, two other artifts acquired 
a rival celebrity. Gafpar Dughet, called alfo PmtJJin, 
after his relation and mailer, was born at Rome in 1613. 
He ftudieu the bolder phenomena of nature, and imitated 
them fuccefsfully ; but quitted this romantic fcenery for 
a (offer charadter of landfcape, acquired by taking views 
at Tivoli, Albano,Frefcati,and in fuch enchanted grounds. 
His verdure is too uniform and diffufe; the (hapes of his 
leaves he varies more than the moderns, who ftudy grofs 
effedt; but the dingy colouring, efpecially of his fore¬ 
grounds, delays the effedt of his beautiful compofitions. 
His figures are commonly heroic or mythologic, and ope¬ 
rate, like a poetic infcription at the bottom of an en¬ 
graving, in attuning the fancy to the fcene. He made 
written defcriptions of the pidtures he expofed forfale; 
and his price, though moderate, was inexorable. The 
third man of this illuftrious triumvirate, and now the 
molt admired of the three, was Claude Gelee, called de 
Lorraine, from the province in which he was born, about 
the year 1600. He has all the grace and claflical tafte of 
Dughet, with a brighter and more various colouring; and 
he efpecially excels in the effedts of funfhine. He may 
have been furpafted by Titian in wild and romantic fce¬ 
nery, and grandeur of ftyle in defign ; but neither he nor 
any other has ever equalled Claude's truth and purity of 
colour and effedt. Hitherto the perfection with which he 
has represented the effedt of the atmofphere is unrivalled. 
Even Cuyp (his cotemporary) and our own Wilfon, who 
have arrived the neareft to him, (till lack his completion 
of effedt. Their art i's more apparent than his in his bed 
works ; and great chaftity and lweetnefs of tafte appear 
generally to have governed his choice of fcene and of 
parts. Nicolo Poufii.n has left a great number of higlily- 
interefting landfeapes, in a (tyle peculiarly his own. He 
appears to have delighted in the hues ot the earth and 
trees after wet, and without fun ; and in the tones of 
twilight; which admirably coincide with his choice of 
fcenery and the clafllc objedls he introduced into it. By 
Wilfon, the tafte and talent of Claude for producing the 
