It was in 1841 that Leutze went to Düsseldorf to study, and thus introduced a new influence into our art, which hitherto, so far as it had acknowledged foreign influences, had been swayed by the schools of Italy and Britain. The effect was evident when, a few years later, Worthington Whittredge, a native of Ohio, went to Düsseldorf, and studied under the guidance of Achenbach. Very naturally his style showed for a time the effect of foreign methods; but he was guided by a native independence of action that enabled him in the end to assimilate rather than to imitate, like most of our artists at this time, and his later landscapes are thoroughly individual and American, although doubtless improved by foreign discipline. As a faithful delineator of the various phases of American wood interiors, Mr. Whittredge has deservedly won a permanent place in the popular favor. Some of his landscapes, representing the scenery of the great West, have also been large in treatment and effective in composition; but his skies sometimes lack atmosphere and ideality. Like his master, Durand, J. W. Casilear began his career as an engraver; and the success he achieved in this department is attested by his very clever engraving of Huntington's "Sibyl." Since he drifted into landscape-painting, Casilear has produced many delicately finished and poetic scenes, distinguished by elegance and refinement rather than dash or originality; and somewhat the same observations would apply to the tender landscapes of James A. Saydam. In such dreamy, pleasant, but not very vigorous paintings as that of his "Valley of the Pemigewasset," Samuel L. Gerry has also attracted favorable attention. [Illustration: "HIGH TORN, ROCKLAND LAKE."--[JASPER F. CROPSEY.]] The work of a genuine poet is apparent in the canvases of R. W. Hubbard. Repose and pensive harmoniousness of treatment characterize his simple and winsome, if not stirring, transcripts of the more familiar phases of our scenery. They are idyls in color. What Hubbard has done for New England landscape, J. R. Meeker, of St. Louis, has attempted for the "lakes of the Atchafalaya, fragrant and thickly embowered with blossoming hedges of roses," and the live-oaks spreading their vast arms, like groined arches of Gothic cathedrals, festooned with the mystically trailing folds of the Spanish moss, along the lagoons of the South-west, where the sequestered shores are haunted by the pelican and the gayly colored crane, and the groves are melodious with the rapturous lyrics of the mockingbird, the improvisatore of the woods. If not always successful in the tone of his pictures, it may be conceded that Mr. Meeker has approached his subject with a reverent and poetic spirit, and has often rendered these scenes with much feeling and truth.