A quarter of a century later we find these artists in undiminished authority, for Mason (“The English Garden,” 1772) declares that the true law-givers in the realm of the picturesque are Claude, Salvator Rosa, and Ruysdael. An interesting illustration of the general acceptance of the Italian or Dutch masters comes in 1754 from the realm of house decoration. In that year Mr. Jackson of Battersea published “An Essay on the Invention of Engraving and Printing ... and the Application of it to the Making of Paper Hangings” in which he advised, in order to show “the Taste of the owner,” “the introduction into the Pannels of the Paper” of prints taken from “the works of Salvator Rosa, Claude Lorrain, Gasper Poussin, Berghem, or Wouverman or any other great master” in landscape. But perhaps, after all, no class of writers shows more clearly the tendency to regard English scenes from the point of view of Italian landscape art than do the early travelers. Dr. Brown in his famous “Letter from Keswick” says that to give a complete idea of the beauty of that region would require the united powers of Claude, Salvator, and Poussin. “The first should throw his delicate sunshine over the cultivated vales, the scattered cots, the groves, the lake, and wooded islands. The second should dash out the horror of the rugged cliffs, the steeps, the hanging woods, and foaming waterfalls; while the grand pencil of Poussin should crown the whole with the majesty of impending mountains.” So, too, Mr. Cradock says his utmost of Snowdon when he boldly declares that it is as rich a region to him as Tivoli or Frascati, and that “the romantic imagination of Salvator Rosa was never inspired with a more tremendous idea, nor his extravagant pencil never produced a bolder precipice.” Mr. Hutchinson in praising Keswick and Skiddaw says that “Claude in his happiest hour never struck out a finer landscape.” In a summary of the glories of the Lake District he says, “The painters [_sic_] of Poussin describe the nobleness of Hulls-water; the works of Salvator Rosa express the romantic and rocky scenes of Keswick; and the tender and elegant touches of Claude Loraine, and Smith, pencil forth the rich variety of Windermere.” West’s “Guide” is professedly written in the interests of landscape painting, but not of English landscape art, though by 1778 there was strong and abundant English work. In each scene West still finds suggestions of Italian painters only. Throughout his tour he marked many “Stations” from which the artist in search of material could get hints for pictures. On Coniston Lake he would find verified “the delicate touches of Claude,” on Windermere-water “the noble scenes of Poussin,” on Derwentwater “the stupendous, romantic ideas of Salvator Rosa.” A traveler across Lancaster Sands would see the mountain of Ingleborough from “as happy a point of view as that selected by Claude in his picture of Soracte on the Tyber.” The region of the Langdale