A landscape-painter who chose a range of subjects similar to those of Church, and accompanied him in one of his South American trips, was Louis R. Mignot, of South Carolina, who died in London some eight years ago. He was inspired by a rapturous enthusiasm alike for the tender and the brilliant aspects of nature, and appears to us to have been one of the most remarkable artists of our country. He can be justly ranked with the pioneers who first awoke the attention of the nation to a consciousness of the beauty, glory, and inexhaustible variety of the scenery of this continent, which had fallen to them as a heritage such as no other people have yet acquired. Mignot was at once a fine colorist and one of the most skilled of our painters in the handling of materials; his was also a mind fired by a wide range of sympathies; and whether it was the superb splendor of the tropical scenery of the Rio Bamba, in South America, the sublime maddening rush of iris-circled water at Niagara, or the fairy-like grace, the exquisite and ethereal loveliness of new-fallen snow, he was equally happy in rendering the varied aspects of nature. It is greatly to be regretted that the most important works of this artist are owned in England, whither he resorted at the opening of the civil war. "Snow in Hyde Park," which he painted not long before his death, is one of the noblest productions of American landscape-painting. [Illustration: "A WINTER SCENE."--[LOUIS R. MIGNOT.]] The American marine art of this period has been represented by a number of artists, although they have been by no means so numerous or capable as the maritime character of our people would have led us to expect. William Bradford, by origin a Quaker, has made to himself a name for his enterprise in going repeatedly to Labrador to study icebergs, and has executed some effective compositions, which have won him fame at home and abroad. Some of his coast scenes are also spirited, although open to the charge of technical errors. Charles Temple Dix, who unfortunately died young, painted some dashing, imaginative, and promising compositions; and Harry Brown, of Portland, has successfully rendered certain coast effects. But our ablest marine-painter of this period seems to have been James Hamilton, of Philadelphia, who was beyond question an artist of genius. His color was sometimes harsh and crude; but he handled pigments with mastery, and composed with the virile imagination of an improvisatore. Errors can doubtless be found in his ships, or the forms of his waves; but he was inspired by a genuine enthusiasm for the sea, and rendered the wildest and grandest effects of old ocean with breadth, massiveness, and power. We have had no marine-painter about whose works there is more of the raciness and flavor of blue water.