Miss Legaré’s intense enjoyment of the beauties of nature in this favored region during a three months’ residence gave her an invincible repugnance to the work of copying the productions of any human artist. She always painted in oil; and, having brought no materials with her, could not transfer to her sketches the colors she so admired while on the spot. But memory had faithfully treasured these delicious pictures, and on her return to Charleston she lost no time in putting them on canvas. “A View on the Suwannee,” now in possession of the widow of Colonel Cogdell, was pronounced by him a master-piece. Another view on the French Broad, illustrating the distinguishing characteristics of the scenery of that river, was purchased in 1834 by the proprietors of the Art Union in New York. The first scene that had so struck Miss Legaré was painted on too large a scale. It was, however, much admired; and the same subject, represented in smaller compass, is esteemed a finer picture. In Miss Legaré’s landscapes she gives to her coloring and combinations as much idealizing as truth to nature will admit. An artist, who was delighted both with her music and her painting, observed of the latter to her brother Hugh, “It is natural, but more beautiful than nature; it is poetical.” Another, when Hugh remarked that she must go to Italy, replied, “No, your sister studies our own wild nature--rich, romantic, glowing under a tropical sun, luxuriant when touched with frost; if she go to Italy, or study the old landscape-painters, she may give a finer finish, but it will be artificial.” These artistic criticisms gave her encouragement; and when she repeated to Mr. Cogdell what was said in praise of her works, he would say, triumphantly, “I told you so, but you would not believe me!” Her rich foregrounds, transparent water, and distant mountains, as well as her skies and foliage, have been highly praised by Sully and other eminent artists. She owed to Mr. Cogdell her introduction to the science of perspective, having been accustomed in early efforts to be guided by the eye alone. A knowledge of anatomy was of use, as she always introduced figures into her landscapes, painted with fidelity and spirit. She excels, besides, in the delineation of animals, wild and domestic, especially dogs, cows, and sheep. A Spanish pointer, painted nearly of life size, was so perfect in anatomy that Dr. Sewell of Washington pronounced it a study for a student of that branch. “The Hounds of St. Bernard” is an admirable painting. The piteous, appealing expression in the face of one that is represented howling for aid struck even every child who saw it. A little girl exclaimed, “How sorry that dog is! he is afraid the people won’t come.” Besides animals, Miss Legaré has painted portraits; but this branch never enlisted her enthusiasm--that was for landscapes.