Some of the best of Tryon’s earlier work is included in a series of landscapes and marines which he painted for the hall of a collector in Detroit. One of his series, “Dawn--Early Spring,” is remarkable for its simplicity. The foreground is a low, marshy field, back of which an almost uniform line of trees runs the whole width of the horizon. Yet this painting, with all its simplicity, is so full of imagination that a beholder feels the dawn and the bleakness of March sinking irresistibly into his mind. It is Tryon’s method to conceal his art, and make us feel the emotion in a picture without knowing why we feel it. All his paintings have the same subtle simplicity. Among the best known are his “Winter” and “A Scene at New Bedford.” PREPARED BY THE EDITORIAL STAFF OF THE MENTOR ASSOCIATION ILLUSTRATION FOR THE MENTOR, VOL. 1, No. 26, SERIAL No. 26 [Illustration: HEART OF THE ANDES By F. E. CHURCH Metropolitan Museum of Art] _AMERICAN LANDSCAPE PAINTERS_ _Frederick Edwin Church_ SIX Many people like to find something unusual or striking in a picture. To these the paintings of Frederick Edwin Church make a special appeal. The range of Church’s art is wide, and covers subjects chosen from many parts of the world. Before cameras were invented nobody could tell, unless he went there himself, just what a tropical forest looked like. Therefore, when Church wanted to paint something mysterious and wonderful he traveled to South America, among the mountains and through jungles of which few people in northern countries had any idea. It was not strange that critics should praise the landscapes he painted on his return,--scenes by moonlight across a luxuriant growth of palms and creepers, or high mountain peaks with animals of the tropics lurking about the foreground. So enthusiastically were his canvases received, both at home and abroad, that the young artist soon revisited those regions, and made further studies, which met with equal success. The greatest of his South American works is “The Heart of the Andes.” Feeling at length that he had learned enough of one country, and desiring a wider field for his genius, Church turned northward. “Niagara Falls from the Canadian Shore” is a picture known to everyone. A journey to Labrador gave him new opportunities, quite the opposite of what he had experienced in the tropics. We have the result in “Icebergs,” one of his best canvases. For him nothing was too difficult. Soon afterward Church left America, made southern Europe his study, and went on from there into Palestine. “The Parthenon,” a picture showing that magnificent temple in the middle distance, with no other object prominent enough to lessen the majesty of its ancient ruined architecture, is the most famous record of this European period in the artist’s life.