sketch of a scene made from nature. Titian is known to have drawn numerous sketches in particular localities, but not one has been identified in his pictures. In nearly every painting of Nicholas Poussin the Roman Campagna may be recognized, and here he must have made thousands of sketches during the forty years he spent in the district, yet the most patient examination has failed to identify a single spot in his many beautiful views. So with Gaspar Poussin, who, unlike his famous brother-in-law, occasionally set up his easel in the open air; and with Claude who never left off sketching in his long life. The greatest landscapes are those which are true to nature generally, but are untrue in respect of any particular natural scene. Seeing that in landscape the production of sensorial beauty only is within the power of the painter, and that the beauty is enhanced as nature is the more closely imitated, it is obvious that for the work to have a permanent interest, the scene depicted and the incidents therein should be of common experience, otherwise the full recognition of the beauty is likely to be retarded by the reasoning powers being involuntarily set to work in the consideration of the exceptional conditions. Naturally the term "common experience" has a varied application. What is of common experience in scenery among people in a temperate climate, is rare or unknown to those living under the burning sun of Africa. The artist is fully aware of this, and in designing his work he takes into account the experience of the people who are likely to see his paintings. A view of a scene in the East, say in Palestine or Siam, may be a beautiful work and be recognized as true because the conditions depicted are commonly known to exist; it would further have an informative value which would result in added pleasure; but among people habituated to a temperate climate it would tire more quickly than a scene of a kind to which they are daily accustomed. In the one case an effort, however slight, is required to accommodate the view to experience, and in the other the whole meaning of the scene is instantaneously identified with its beauty.