In the works of these painters we see abundant reason to believe in the permanent vitality of American landscape art, and evidence that it is not inclined to run in a conventional groove. Just so long as the artists who represent it continue to assert their individuality with such nerve and keen perception of the essential truths of nature, art is in a healthy and progressive condition. If further evidence of this were needed, we might cite the landscapes of J. Appleton Brown, who, after a rather discouraging servitude to Corôt, is at last beginning to show us the reserve power of which he is capable when he is more concerned with nature than with imitating the style and thoughts of another. Ernest Longfellow, a son of the poet, is another exemplar of the sturdy and healthful personality which everywhere crops out in our landscape art. While it cannot be said that his paintings suggest greatness, they breathe a true spirit, and possess a purity of color that is very attractive. D. W. C. Boutelle, long resident at Bethlehem, Pennsylvania, and rarely exhibiting in public in late years, is well known by such works as "The Trout Brook Shower" and engravings of other paintings by him, as an artist of originality and force, who seems to combine in his style some of the best traits of the American School of landscape-painting. [Illustration: "THE ADIRONDACKS."--[HOMER MARTIN.]] E. M. Bannister, of Providence, is also a man of genius. In the matter of drawing he is weak; but, although he has never been abroad, we recognize in his treatment of masses, and the brilliance of his method of managing light and color, the progressive transition through which our landscape art is passing, even when it does not pay allegiance to foreign influences. [Illustration: A LANDSCAPE.--[J. W. CASILEAR.]]