With regard to the actual views and other less ambitious productions of Cole, we can only say that the entire number might be estimated at about one hundred. The majority of them are illustrative of European scenery, but of those which are truly American, it may be said that they give a more correct and comprehensive idea of our glorious scenery, than do the productions of any other American artist. In looking upon his better pictures of American scenery we forget the pent-up city, and our hearts flutter with a joy allied to that which we may suppose animates the woodland bird, when listening in its solitude to the hum of the wilderness. Perpetual freedom, perpetual and unalloyed happiness, seem to breathe from every object which he portrays, and as the eye wanders along the mountain declivities, or mounts still farther up on the chariot-looking clouds, as we peer into the translucent waters of his lakes and streams, or witness the solemn grandeur and gloom of his forests, we cannot but wonder at the marvelous power of genius. The style of our artist is bold and masterly. While he did not condescend to delineate every leaf and sprig which may be found in nature, yet he gave you the spirit of the scene. To do this is the province of genius, and an attainment beyond the reach of mere talent. The productions of Cole appeal to the intellect more than to the heart, and we should imagine that Milton was his favorite poet. He loved the uncommon efforts in nature, and was constantly giving birth to new ideas. He had a passion for the wild and tempestuous, and possessed an imagination of the highest order. He was also a lover of the beautiful, and occasionally executed a picture full of quiet summer-like sentiment: but his joy was to depict the scenery of our mountain land, when clothed in the rich garniture of autumn. He was the originator of a new style, and is now a most worthy member of that famous brotherhood of immortals whom we remember by the names of Lorraine, Poussin, Rosa, Wilson, and Gainsborough.