1 our glorious history, have been permitted to die, their lineaments forgotten before they have crumbled to dust! Had they been as faithful servants of a despotism, they would have stood in marble and bronze upon proudly inscribed pedestals. Should freemen be less grateful than tyrants? It is by such uses that the moral power of Art is best exerted on the popular mind; and we can well pardon the awkward multitude of legs in TRUMBULL'S picture, when we know that it has carried to every dwelling of our people a perpetuation of the sublime assembly, which declared our national independence. What inexhaustible studies are afforded by the aborigines of Northern America, now passing away with noiseless tread that leaves no trail, which the plough will not soon obliterate! They had no art, and a more than Cimmerian darkness hides their story before the white man came; its fatal catastrophe cannot long be delayed, yet let them not be as though they had never been! We owe this duty to them and to the inquirers of future centuries. Their physical peculiarities, their costume, their habits at rest, in war, or in the chase; their moral characteristics, and not a few scenes of their contest with civilization, supply to both chisel and pencil subjects at once novel and various for every style of delineation. We are proud of our sculptors, who can achieve no mean distinction in the walk beaten by so many mighty predecessors of GREENOUGH, now by no means duly appreciated; of POWERS (would that the chain were shivered from the beautiful limbs of his slave! it is a paltry method of helping out the story, most unworthy of his genius); and of CRAWFORD, whose Orpheus is like a dream of classic poetry; but we must congratulate BROWN upon his having received an inspiration truly American, when he chose the Indian for the model of some recent works. He has entered an untried and vast field, which his severe education in the antique well its him to explore; and it is earnestly to be hoped that no withholding of proper sympathy may compel his abandonment of the best chance for high and permanent distinction he could expect or desire. When we consider the distinctive scenery of our country, the undulating outline of our mountains, the majestic flow of our rivers, the thundering cataract and the innumerable cascades, the placid lakes embosomed among the hills, and their multitudinous islands, the contrasts of nature in her wildest grace and most rugged grandeur with the tranquil charms of progressive cultivation, and the gorgeous magnificence of our autumnal forests, the paradise of color, we are not surprised that Landscape painting should have many and enthusiastic votaries. Here also there is large scope, and, indeed, a necessity for originality. The fundamental canons of Art must remain the same, but the painter of American scenery will find himself wanting, however he may study foreign artists, unless he closely and faithfully observe nature as it is displayed here. Our skies, our atmosphere, the shapes of our trees and the hues of their foliage, our very rocks are so peculiar, that to an eye which has never looked upon the reality, a representation of them may seem false, or at least exaggerated. The accomplished critic, Mrs. JAMIESON, has said, that when she first saw a Claude in England, she thought, "How beautiful!" but when she saw the effects of that magic pencil in Italy, she exclaimed, "How like!" The same thing might occur with a true picture of an American landscape. Here are many various effects not met with elsewhere, and as delightful as they are peculiar. For these and other obvious reasons, next to the painter of portraits who ministers to the proudest affections of our hearts, the painter of landscapes has met with most general favor; and a volume like this in the reader's hand, must be a most welcome contribution to the public taste. We have not a few artists in this line who deserve mention, and some high praise, if an award of merit was the presumptuous purpose of this essay; but no one will forbid a grateful tribute to the memory of him, who has been to America what GIORGIONE was to Italy, RUYSDAEL to Holland, and GAINSBOROUGH to England, THOMAS COLE, the head of the American school of Landscape painting. The works which he has left behind him are his best eulogy. He revelled amidst the splendors of the frost-touched woods almost to intoxication. As we look upon the scenes he represents we are oftentimes oppressed by the dazzling richness of the hues, while we confess the fidelity of the painter, and thank him for his tribute to the surpassing beauties, which the hand of nature has scattered so lavishly and on so grand a scale over the mountains and valleys of our native land. Even after such enjoyment, it is most pleasing, if we may turn to a picture of the ever-faithful and everjudicious DURAND, who never applies his pencil without impressing upon the canvas pure and delicious traces of a calm, chastened spirit; or to the charming summer fields of DOUGHTY, as they swim in silvery brightness before our fortunate eyes. These gentlemen our younger artists have done well to emulate, and some have studied well; while they show, not by servile imitation, but by following ever their own peculiar tendencies under the teaching of happy example. Among those, who are now daily presenting us with creditable landscapes, it is perhaps invidious to make particular mention of any; yet it would be unjust not to name CHURCH and KENSETT, both of whom are rapidly gaining a high degree of acknowledged distinction, which must yield them a most satisfactory return for their well-directed enthusiasm. Early youth is naturally imitative, and, for that reason, timid. Our Art has not passed the period of its youth, nor acquired suf ficient boldness and self-reliance. With more maturity we may expect more originality. It were strange indeed if, with so many new lessons from Nature, the great teacher, our artists should content themselves with doing only what has been done before. The history of American Art will one day be a matter of curious interest. Specimens of some, especially among our earlier artists, are already becoming rare. A permanent collection of pieces, from each hand, would be very instructive, and a happy monument. It could now be made without great difficulty, and continued easily. would not be very great, and its exhibition might defray, at The cost least, the 、 current expenses. An Historical Gallery of National Art! gestion is not undeserving of thought. The sug : |