In the late eighteenth century one species of beauty was illustrated and recommended by William Gilpin. That was the beauty of the rough or rugged objects and termed the picturesque because of its agreeableness in a picture. Further Uvedale Price also maintained that the two opposit qualities of roughness, and of sudden variation, joined to that of irregularity, were the most efficient causes of the picturesque. Both recongnized the Picturesque as a third aesthetic category in addition to the Sublime and Beautiful. But this new category, though there some temporal controversy happened, was not so prevalent in the aesthetics of the Continent as the sublime was. The reason why it remained provincial seems to be that this concept was presented after all to denote the landscape beauty of the country of Great Britain, and it is needless to say that the natural scenery varies and changes according to the local places. Thus in this paper I have tried to make clear this concept of picturesque and the real background of it.