We find in the collection more landscapes than we thought Mr. H. had painted, but he explains the matter by stating that during his early professional career, while engaged as an assistant to a portrait painter, “putting in back grounds,” he was seized upon by an enthusiastic speculator who was about to erect a city on the Hudson river, at Verplanck’s Point, then a wooded retreat of great beauty. This enthusiast was a generous lover of art, and kept HUNTINGTON during an entire summer, in that vicinity, taking views, and in his close study of nature was then fostered a love for landscape, which he has never forgotten. The artist himself says, of his subsequent works of this kind, that they will not bear the test of a close comparison with nature. They are rather hints and dreams of situations and effects, which he beseeches the visitor to look at lazily and listlessly, through the half-closed eye, and not to expect that truth and reality, which should be found in the works of the professed landscape painter. We cannot agree with the modest artist in his criticism upon himself—on the contrary, we think _there is_ much of that marvelous force and brightness which rivets the attention to COLE’S paintings; of the freshness and atmosphere in which lie the fertile meadows—far stretching distances—the sturdy oaks and beeches, with rich masses of foliage, in DURAND’S calm, expansive compositions, and all of the silvery lightness in moving clouds and transparent running brooks, which the veteran DOUGHTY would magically call into being on the canvas. We think the true passion of boyish love and first devotedness pervades all the occasional outbreaks which have led him from the dull routine of portraits to the green fields, the blue skies, and the silvery streams. The Rondout Scenes, painted three or four years after the modern Cecrops, would have carried art, learning, letters, and men to Verplanck’s Point, and the two elegant Ramapo views (most unfortunately not in the collection when we saw it, but in the possession of JAMES ROSS, Esq. of New Orleans) are living evidences of this. And then the “Moon Light and Fire Light,” drawn in an annual distribution of the Art Union, by the late much lamented Dr. JAMES MILNOR, is one of the most fanciful and artistic combinations of light and shade that could be imagined. Under these circumstances we will not allow Mr. HUNTINGTON to escape the charge of being a very admirable and forcible landscape painter.