In the Metropolitan Museum there is an Irish landscape by him done in 1866--“View in County Kerry, Ireland.” There are gray mountains at the back, a green foreground with a pool of water, a gray-blue and whitish sky, a gray atmosphere. At the right middle distance is a white cottage. The rest is treeless upland running into mountain heights that are lost in haze and cloud. The picture is not only remarkable for its simplicity of composition but its absence of small objects or distracting details. Though a mountain landscape, it is broadly seen, largely and simply massed, and painted with a broad flat brush. It may have been repainted in later years, but I am willing to believe from the breadth of its composition that it was painted broadly to correspond, and is to-day substantially as when originally done. This picture is in somewhat violent contrast with another Wyant landscape hanging in the same gallery and dated in the same year--1866. I refer to the large “Mohawk Valley” landscape--an excellent picture, though evidencing limitations perhaps peculiar to America. It is a huge valley view with a gorge and stream in the foreground running down to a fall from which mist is rising. The stream as a pool is seen again emerging in the middle distance. A half-lighted sky with falling rain at the left and warm grays of clouds and blues of distance make up the background, while in the foreground a tall tree at the left is balanced by a group of lesser trees at the right. The whole color-tone is warm (probably from underbasing), especially in the foreground, which shows in grays and browns. It is a symmetrical composition with a central point of sight, and in its detailed elaboration gives no hint of selection or sacrifice. The trees, the ledges of rock in the foreground, the water, the clouds are all exactly drawn and realized to the last item, each one having quite as much importance as its fellow. As for the painting, it is thin, kept thin to allow the underbasing to show through; but it is flatly painted, not stippled. In the latter respect it is an advance on, say, Church’s panorama, “Heart of the Andes,” in the same gallery, where the stippling with white paint produces a glittering, bedizened surface, and the minute drawing of leaves in the foreground runs into petty niggling.