New England, on whose barren musical soil we have already descanted, and who has not hitherto disputed to the Old World her privilege of pouring out on our untutored continent the accumulated wealth of years of musical study and training, has at last gone far to redeem her reputation of artistic nullity, by producing the greatest landscape painter of which the country can boast. With us, the superiority of atmospheric effects over most countries, and the great variety and originality of American scenery, have united in bringing the landscape painter into existence, and the public have assured this existence by fostering applause and pecuniary compensation. Nature, thus prodigal of gifts to America, has, in a crowning act of munificence, conferred also a painter, capable of interpreting her own most recondite mysteries, and of faithfully transcribing the beauties revealed to all eyes in their simple majesty. Immensity of theme possesses no terrors for Mr. Church's essentially American genius; his facile brush recoils not before the gigantic natural elements of his own land, but deals as readily and composedly with the unapproachable sublimity of Niagara and the terrible beauty of icebergs as with the peace of simple woodland scenes and the glowing sentiment of the tropics. To tread the beaten path of landscape painting, and offer to the public a tame transcript of the glories he has beheld, is repugnant to the creative power of this true artist; but when form, color, and the legitimate means at his command fail to embody all he would express, his suggestive faculty is generally of force sufficient to reach all beholders, even those of feeblest imagination. In standing before the _Falls of Niagara_, one can, in fancy, feel the cool moisture of spray, rising, incense-like, through a rainbow of promise, from the inspired canvas, together with the earth's tremor at the roar of mad waters rushing headlong to a desperate death. This inestimable quality of suggestiveness is preserved in Mr. Church's pictures when deprived of the aid of color and reduced to mere black and white in engraving, a fact bearing equally conclusive testimony to their inherent correctness of lines and elegance of composition. Mr. Church's prominent characteristics of hardy vigor and adventurous treatment of a subject, seem to have monopolized his artistic nature, to the frequent exclusion of tenderness, either in idea or in the handling of color. The painting, in our eyes, least open to this objection, is _Twilight in the Wilderness_--a dreamy picture of inexpressible sadness, of a tearful silence that is felt, and of a loneliness too sacred to be profaned by human intrusion. The gorgeous panorama of the _Heart of the Andes_, its snowy mountain peaks, and plains glowing with tropical verdure, is too bewildering in its complicated grandeur to excite dreams of beauty so tender and sadness so touching.