Essay on American Scenery
The Essay, which is here offered, is a mere sketch of an almost illimitable subject-American Scenery; and in selecting the theme the writer placed more confidence in its overflowing richness than in his own capacity for treating it in a manner worthy of its vastness and importance.
It is a subject that to every American ought to be of surpassing interest; for, whether he beholds the Hudson mingling waters with the Atlantic-explores the central wilds of this vast continent, or stands on the margin of the distant Oregon, he is still in the midst of American scenery-it is his own land; its beauty, its magnificence, its sublimity-all are his; and how undeserving of such a birthright, if he can turn towards it an unobserving eye, an unaffected hearts!
Before entering into the proposed subject, in which I shall treat more particularly of the scenery of the Northern and Eastern States, I shall be excused for saying a few words on advantages of cultivating a taste for scenery, and for exclaiming against the apathy with which the beauties of external nature are regarded by the great mass, even of our refined community.
It is generally admitted that the liberal arts tend to soften our manners; but they do more-they carry with them the power to mend our hearts.
Poetry and Painting sublime and purify thought, by grasping the past, the present, and the future-they give the mind a foretaste of its immortality, and thus prepare it for performing an exalted part amid the realities of life. And rural nature is full of the same quickening spirit-it is, in fact, the exhaustless mine from which the poet and the painter have brought such wondrous treasures-an unfailing fountain of intellectual enjoyment, where all may drink, and be awakened to a deeper feeling of the works of genius, and a keener perception of the beauty of our existence. For those whose days are all consumed in the low pursuits of avarice, or the gaudy frivolities of fashion, unobservant of nature's loveliness, are unconscious of the harmony of creation -
What to them is the page of the poet where he describes or personifies the skies, the mountains, or the streams, if those objects themselves have never awakened observation or excited pleasure? What to them is the wild Salvator Rosa, or the aerial Claude Lorrain?
There is in the human mind an almost inseparable connexion between the beautiful and the good, so that if we contemplate the one the other seems present; and an excellent author has said, "it is difficult to look at any objects with pleasure-unless where it arises from brutal and tumultuous emotions-without feeling that disposition of mind which tends towards kindness and benevolence; and surely, whatever creates such a disposition, by increasing our pleasures and enjoyments, cannot be too much cultivated."
It would seem unnecessary to those who can see and feel, for me to expatiate on the loveliness of verdant fields, the sublimity of lofty mountains, or the varied magnificence of the sky; but that the number of those who seek enjoyment in such sources is comparatively small. From the indifference with which the multitude regard the beauties of nature, it might be inferred that she had been unnecessarily lavish in adorning this world for beings who take no pleasure in its adornment, who in grovelling pursuits forget their glorious heritage. Why was the earth made so beautiful, or the sun so, clad in glory at his rising and setting, when all might be unrobed of beauty without affecting the insensate multitude, so they can be "lighted to their purposes?"
It has not been in vain-the good, the enlightened of all ages and nations, have found pleasure and consolation in the beauty of the rural earth. Prophets of old retired into the sollitudes of nature to wait the inspiration of heaven. It was on Mount Horeb that Elijah witnessed the mighty wind, the earthquake, and the fire; and heard the "still small voice"- hat voice is YET heard among the mountains! St. John preached in the desert;-the wilderness is YET a fitting place to speak to God. The solitary Anchorites of Syria and Egypt, though ignorant that the busy world is man's noblest sphere of usefulness, well knew how congenial to religious musings are the pathless solitudes.
He who looks on nature with a "loving eye," cannot move from his dwelling without the salutation of beauty; even in the city the deep blue sky and the drifting clouds appeal to him. And if to escape its turmoil-if only to obtain a free horizon, land and water in the play of light and shadow yields delight- let him be transported to those favored regions, where the features of the earth are more varied, or yet add the sunset, that wreath of glory daily bound around the world, and he, indeed, drinks from pleasure's purest cup. The delight such a man experiences is not merely sensual, or selfish, that passes with the occasion leaving no trade behind; but in gazing on the pure creations of the Almighty, he feels a calm religious tone steal through his mind, and when he has turned to mingle with his fellow men the chords which have been struck in that sweet communion cease not to vibrate.
In what has been said I have alluded to wild and uncultivated scenery; but the cultivated must not be forgotten, for it is still more important to man in his social capacity - necessarily bringing him in contact with the cultured; it encompasses our homes, and, though devoid of the stern sublimity of the wild, its quieter spirit steals tenderly into our bosoms mingled with a thousand domestic affections and heart-touching associations-human hands have wrought, and human deeds hallowed all around.
And it is here that taste, which is the perception of the beautiful, and the knowledge of the principles on which nature works, can be applied, and our dwelling-places made fitting for refined and intellectual beings.
If, then, it is indeed true that the contemplation of scenery can be so abundant a source of delight and improvement, a taste for it is certainly worthy of particular cultivation; for the capacity for enjoyment increases with the knowledge of the true means of obtaining it.
In this age, when a meagre utilitarianism seems ready to absorb every feeling and sentiment, and what is sometimes called improvement in its march makes us fear that the bright and tender flowers of the Imagination shall all be crushed beneath its iron tramp, it would be well to cultivate the oasis that yet remains to us, and thus preserve the germs of a future and a purer system.:And now, when the sway of fashion is extending widely over society-poisoning the healthful streams of true refinement, and turning men from the love of simplicity and beauty to a senseless idolatry of their own follies-to lead them gently into the pleasant paths of Taste would be an object worthy of the highest efforts of genius and benevolence. The spirit of our society is to contrive but not to enjoy-toiling to produce more toil-accumulating in order to aggrandize. The pleasures of the imagination, among which the love of scenery holds a conspicuous place, will alone temper the harshness of such a state; and, like the atmosphere that softens the most rugged forms of the landscape, cast a veil of tender beauty over the asperities of life.
Did our limits permit I would endeavor more fully to show how necessary to the complete appreciation of the Fine Arts is the study of scenery, and how conducive to our happiness and well-being is that study and those arts; but I must now proceed to the proposed subject of this essay-American Scenery!
There are those who through ignorance or prejudice strive to maintain that American scenery possesses little that is interesting or truly beautiful-that it is rude without picturesqueness, and monotonous without sublimity-that being desititute of those vestiges of antiquity, whose associations so strongly affect the mind, it may not be compared with European scenery. But from whom do these opinions come? From those who have read of European scenery, of Grecian mountains, and Italian skies, and never troubled themselves to look at their own; and from those travelled ones whose eyes were never opened to the beauties of nature until they beheld foreign lands, and when those lands faded from the sight wore again closed and for ever; disdaining to destroy their trans-atlantic impressions by the observation of the less fashionable and unfamed American scenery. Let such persons shut themselves up in their narrow shell of prejudice-I hope they are few,-and the community increasing in intelligence, will know better how to appreciate the treasures of their own country.
I am by no means desirous of lessening in your estimation the glorious scenes of the old world-that ground which has been the great theatre of human events-those mountains, woods, and streams, made sacred in our minds by heroic deeds and immortal song-over which time and genius have ended an imperishable halo. No! But I would have it t emembered that nature has shed over this land beauty and magnificence, and although the character of its scenery may differ from the old world' s, yet inferiority must not therefore be inferred; for though American scenery is destitute of many of those circumstances that give value to the European, still it has features, and glorious ones, unknown to Europe.
A very few generations have passed away since this vast tract of the American continent, now the United States, rested in the shadow of primaeval forests, whose gloom was peopled by savage beasts, and scarcely less savage men; or lay in those wide grassy plains called prairies-
And, although an enlightened and increasing people have broken m upon the solitude, and with activity and power wrought changes that seem magical, yet the most distinctive, and perhaps the most impressive, characteristic of American scenery is its wildness.
It is the most distinctive, because in civilized Europe the primitive features of scenery have long since been destroyed or modified-the extensive forests that once overshadowed a great part of it have been felled-rugged mountains have been smoothed, and impetuous rivers turned from their courses to accommodate the tastes and necessities of a den~se population-the once tangled wood is now a grassy lawn; the turbulent brook a navigable stream-crags that could not be removed have been crowned with towers, and the rudest valleys tamed by the plough.
And to this cultivated state our western world is fast approaching: but nature is still predominant, and there are those who regret that with the improvements of cultivation the sublimity of the wilderness should pass away; for those scenes of solitude from which the hand of nature has never been lifted, affect the mind with a more deep toned emotion than aught which the hand of man has touched. Amid them the consequent associations are of God the creator-they are his undefiled works, and the mind is cast into the contemplation of eternal things.
As mountains are the most conspicuous objects in landscape, they will take the precedence in what I may say on the elements of American scenery.
It is true that in the eastern part of this continent there are no mountains that vie in altitude with the snow-crowned Alps- that the Alleghanies and the Catskills are in no point higher than five thousand feet; but this is no inconsiderable height; Snowdon in Wales, and Ben-Nevis in Scotland, are not more lofty; and in New Hampshire, which has been called the Switzerland of the United States, the White Mountains almost pierce the region of perpetual snow. The Alleghan es are in general heavy in form; but the Catskills, although not broken into abrupt angles like the most picturesque mountains of Italy, have varied, undulating, and exceedingly beautiful outlines-they heave from the valley of the Hudson like the subsiding billows of the ocean after a storm.
American mountains are generally clothed to the summit by dense forests, while those of Europe are mostly bare, or merely tinted by grass or heath. It may be that the mountains of Europe are on this account more picturesque in form, and there is a grandeur in their nakedness; but in the gorgeous garb of the American mountains there is more than an equivalent; and when the woods "have put their glory on," as an American poet has beautifully said, the purple heath and yellow furze of Europe's mountains are in comparison but as the faint secondary rainbow to the primal one.
But in the mountains of New Hampshire there is a union of the picturesque, the sublime, and the magnificent; there the bare peaks of granite, broken and desolate, cradle the clouds; while the valleys2 and broad bases of the mountains rest under the shadow of noble and varied forests; and the traveller who passes the Sandwich range on his way to the White Mountains, of which it is a spur, cannot but acknowledge, that although in some regions of the globe nature has wrought on a more stupendous scale, yet she has no where so completely married together grandeur and loveliness-there he sees the sublime melting into the beautiful, the savage tempered by the magnificent.
I will now speak of another component of scenery, without which every landscape is defective-it is water. Like the eye in the human countenance, it is a most expressive feature. in the unrippled lake,- which mirrors all surrounding objects, we have the expression of tranquility and peace-in the rapid stream, the headlong cataract, that of turbulence and impetuosity.
In this great element of scenery, what land is so rich? I would not speak of the great Lakes, which are in fact inland seas-possessing some of the attributes of the ocean, though destitute of its sublimity; but of those smaller lakes, such as Lake George, Champlain, Winnipisiogee, Otsego, Seneca, and a hundred others, that stud like gems the bosom of this country. There is one delightful quality in nearly all these lakes-the purity and transparency of the water. In speaking of scenery it might seem unnecessary to mention this; but independent of the pleasure that we all have in beholding pure water, it is a circumstance which contributes greatly to the beauty of landscape; for the reflections of surrounding objects, trees, mountains, sky, are most perfect in the clearest water; and the most perfect is the most beautiful.
I would rather persuade you to visit the "Holy Lake," the beautiful "Horican,"3 than attempt to describe its scenery- to behold you rambling on its storied shores, where its southern expanse is spread, begemmed with isles of emerald, and curtained by green receding hills-or to see you gliding over its bosom, where the steep and rugged mountains approach from either side, shadowing with black precipices the innumerable islets-some of which bearing a solitary tree, others a group of two or three, or a "goodly company," seem to have been sprinkled over the smiling deep in Nature's frolic hour. These scenes are classic-History and Genius have hallowed them. War's shrill clarion once waked the echoes from these now silent hills-the pen of a living master has portrayed them in the pages of romance-and they are worthy of the admiration of the enlightened and the graphic hand of Genius.
Though differing from Lake George, Winnipisiogee resembles it in multitudinous and uncounted islands. Its mountains do not stoop to the water's edge, but through varied screens of forest may be seen ascending the sky softened by the blue haze of distance-on the one hand rise the Gunstock Mountains; on the other the dark Ossipees, while above and far beyond rear the "cloud caps" peaks of the Sandwich and White Mountains.
I will not fatigue with a vain attempt to describe the lakes that I have named; but would turn your attention to those exquisitely beautiful lakes that are so numerous in the Northern States, and particularly in New Hampshire. In character they are truly and peculiarly American. I know nothing in Europe which they resemble; the famous lakes of Albano and Nemi, and the small and exceedingly picturesque lakes of Great Britain may be compared in size, but are dissimilar in almost every other respect. Embosomed in the primitive forest, and sometimes overshadowed by huge mountains, they are the chosen places of tranquility; and when the deer issues from the surrounding woods to drink the cool waters, he holds his own image as in a polished mirror,-the flight of the eagle can be seen in the lower sky; and if a leaf falls, the circling undulations chase each other to the shores unvexed by contending tides.
There are two lakes of this description, situated in a wild mountain gorge called the Franconia Notch, in New Hampshire. They lie within a few hundred feet of each other, but are remarkable as having no communication-one being the source of the wild Amonoosuck, the other of the Pemigiwaset. Shut in by stupendous mountains which rest on crags that tower more than a thousand feet above the water, whose rugged brows and shadowy breaks are clothed by dark and tangled woods, they have such an aspect of deep seclusion, of utter and unbroken solitude, that, when standing on their brink a lonely traveller, I was overwhelmed with an emotion of the sublime, such as I have rarely felt. It was not that the jagged precipices were lofty, that the encircling woods were of the dimmest shade, or that the waters were profoundly deep; but that over all, rocks, wood, and water, brooded the spirit of repose, and the silent energy of nature stirred the soul to its inmost depths.
I would not be understood that these lakes are always tranquil; but that tranquility is their great characteristic. There are times when they take a far different expression; but in scenes like these the richest chords are those struck by the gentler hand of nature.
And now I must turn to another of the beautifiers of the earth-the Waterfall; which in the same object at once presents to the mind the beautiful, but apparently incongruous idea, of fixedness and motion-a single existence in which we perceive unceasing change and everlasting duration. The waterfall may be called the voice of the landscape, for, unlike the rocks and woods which utter sounds as the passive instruments played on by the elements, the waterfall strikes its own chords, and rocks and mountains re-echo in rich unison. And this is a land abounding in cataracts; in these Northern States where shall we turn and not find them? Have we not Kaaterskill, Trenton, the Flume, the Genesee, stupendous Niagara, and a hundred others, named and nameless ones, whose exceeding beauty must be acknowledged when the hand of taste shall point them out?
In the Kaaterskill we have a stream, diminutive indeed, but throwing itself headlong over a fearful precipice into a deep gorge of the densely wooded mountains-and possessing a singular feature in the vast arched cave that extends beneath and behind the cataract. At Trenton there is a chain of waterfalls of remarkable beauty, where the foaming waters, shadowed by steep cliffs, break over rocks of architectural formation, and tangled and picturesque trees mantle abrupt precipices, which it would be easy to imagine crumbling and "time disparting towers."
And Niagara! that wonder of the world!-where the sublime and beautiful are bound together in an indissoluble chain.4 In gazing on it we feel as though a great void had been filled in our minds-our conceptions expand-we become a part of what we behold! At our feet the floods of a thousand rivers are poured out-the contents of vast inland seas. In its volume we conceive immensity; in its course, everlasting duration; in its impetuosity, uncontrollable power. These are the elements of its sublimity. Its beauty is garlanded around in the varied hues of the water, in the spray that ascends the sky, and in that unrivalled bow which forms a complete cincture round the unresting floods.
The river scenery of the United States is a rich and boundless theme. The Hudson for natural magnificence is unsurpassed. What can be more beautiful than the lake-like expanses of Tapaan and Haverstraw, as seen from the rich orchards of the surrounding hills? hills that have a legend, which has been so sweetly and admirably told that it shall not perish but with the language of the land. What can be more imposing than the precipitous Highlands; whose dark foundations have been rent to make a passage for the deep-flowing river? And, ascending still, where can be found scenes more enchanting? The lofty Catskills stand afar off-the green hills gently rising from the flood, recede like steps by which we may ascend to a great temple, whose pillars are those everlasting hills, and whose dome is the blue boundless vault of heaven.
The Rhine has its castled crags, its vine-clad hills, and ancient villages; the Hudson has its wooded mountains, its rugged precipices, its green undulating shores-a natural majesty, and an unbounded capacity for improvement by art. Its shores are not besprinkled with venerated ruins, or the palaces of princes; but there are flourishing towns, and neat villas, and the hand of taste has already been at work. Without any great stretch of the imagination we may anticipate the time when the ample waters shall reflect temple, and tower, and dome, in every variety of picturesqueness and magnificence.
In the Connecticut we behold a river that differs widely from the Hudson. Its sources are amid the wild mountains of New Hampshire; but it soon breaks into a luxuriant valley, imd flows for more than a hundred miles, sometimes beneath the shadow of wooded hills, and sometimes glancing through the green expanse of elm-besprinkled meadows. Whether we see it at Haverhill, Northampton, or Hartford, it still possesses that gentle aspect; and the imagination can scarcely conceive Arcadian vales more lovely or more peaceful than the valley of the Connecticut-its villages are rural places where trees overspread every dwelling, and the fields upon its margin have the richest verdure.
Nor ought the Ohio, the Susquehannah, the Potomac, with their tributaries, and a thousand others, be omitted in the rich list of American rivers-they are a glorious brotherhood; but volumes would be insufficient for their description.
In the.Forest scenery of the United States we have that which occupies the greatest space, and is not the least remarkable; being primitive, it differs widely from the European. In the American forest we find trees in every stage of vegetable life and decay-the slender sapling rises in the shadow of the lofty tree, and the giant in his prime stands by the hoary patriarch of the wood-on the ground lie prostrate decaying ranks that once waved their verdant heads in the sun and wind. These are circumstances productive of great variety and picturesqueness-green umbrageous masses- lofty and scathed trunks-contorted branches thrust athwart the sky-the mouldering dead below, shrouded in moss of every hue and texture, form richer combination than can be found in the trimmed and planted grove. It is true that the thinned and cultivated wood offers less obstruction to the feet, and the trees throw out their branches more horizontally, and are consequently more umbrageous when taken singly; but the true lover of the picturesque is seldom fatigued-and trees that grow widely apart are often heavy in form and resemble each other too much for picturesqueness. Trees are like men, differing widely in character; in sheltered spots, or under the influence of culture, they show few contrasting points; peculiarities are pruned and trained away, until there is a general resemblance. But in exposed situations, wild and uncultivated, battling with the elements and with one another for the possession of a morsel of soil, or a favoring rock to which they may cling-they exhibit striking peculiarities, and sometimes grand originality.
For variety, the American forest is unrivalled; in some districts are found oaks, elms, birches, beeches, planes, pines, hemlocks, and many other kinds of trees, commingled -clothing the hills with every tint of green, and every variety of light and shade.
There is a peculiarity observable in some mountainous regions, where trees of a genus band together-there often may be seen a mountain whose foot is clothed with deciduous trees, while on its brow is a sable crown of pines; and sometimes belts of dark green encircle a mountain horizontally, or are stretched in well-defined lines from the summit to the base. The nature of the soil, or the courses of rivulets, are the causes of this variety;-and it is a beautiful instance of the exhaustlessness of nature; often where we should expect unvarying monotony, we behold a charming diversity. Time will not permit me to speak of the American forest trees individually; but I must notice the elm, that paragon of beauty and shade; the maple, with its rainbow hues; and the hemlock, the sublime of trees, which rises from the gloom of the forest like a dark and ivy-mantled tower.
There is one season when the American forest surpasses all the world in gorgeousness-that is the autumnal;-then every hill and dale is riant in the luxury of color-every hue is there from the liveliest green to deepest purple-from the most golden yellow to the intensest crimson. The artist looks despairingly upon the glowing landscape, and in the old world his truest imitations of the American forest, at this season, are called falsely bright, and scenes in Fairy Land.
The sky will next demand our attention. The soul of all scenery, in it are the fountains of light, and shade, and color. Whatever expression the sky takes, the features of the landscape are affected in unison, whether it be the serenity of the summer's blue, or the dark tumult of the storm. It is the sky that makes the earth so lovely at sunrise, and so splendid at sunset. In the one it breathes over the earth the crystal-like ether, in the other the liquid gold. The climate of a great part of the United States is subject to great vicissitudes, and we complain; but nature offers a compensation. These very vicissitudes are the abundant sources of beauty-as we have the temperature of every clime, so have we the skies-we have the blue unsearchable depths of the northern sky-we have the upheaped thunder-clouds of the Torrid Zone, fraught with gorgeousness and sublimity-we have the silver haze of England, and the golden atmosphere of Italy. And if he who has travelled and observed the skies of other climes will spend a few months on the banks of the Hudson, he must be constrained to acknowledge that for variety and magnificence American skies are unsurpassed. Italian skies have been lauded by every tongue, and sung by every poet, and who will deny their wonderful beauty? At sunset the serene arch is filled with alchymy that transmutes mountains, and streams, and temples, into living gold.
But the American summer never passes without many sunets that might vie with the Italian, and many still more gorgeous-that seem peculiar to this clime.
Look at the heavens when the thunder shower has passed, and the sun stoops behind the western mountains-there the low purple clouds hang in festoons around the steeps-in the higher heaven are crimson bands interwoven with feathers of gold, fit for the wings of angels-and still above is spread that interminable field of ether, whose color is too beautiful to have a name.
It is not in the summer only that American skies are beautiful; for the winter evening often comes robed in purple and gold, and in the weltering sun the iced groves glitter as beneath a shower of diamonds-and through the twilight heaven innumerable stars shine with a purer light than summer ever knows.
I will now venture a few remarks on what has been considered a grand defect in American scenery-the want of associations, such as arise amid the scenes of the old world.
We have many a spot as umbrageous as Vallombrosa, and as picturesque as the solitudes of Vaucluse; but Milton and Petrarch have not hallowed them by their footsteps and immortal verse. He who stands on Mont Albano and looks down on ancient Rome, has his mind peopled with the gigantic associations of the storied past; but he who stands on the mounds of the West, the most venerable remains of American antiquity, may experience the emotion of the sublime, but it is the sublimity of a shoreless ocean un-islanded by the recorded deeds of man.
Yet American scenes are not destitute of historical and legendary associations-the great struggle for freedom has sanctified many a spot, and many a mountain, stream, and rock, has its legend, worthy of poet's pen or the painter's pencil. But American associations are not so much of the past as of the present and the future. Seated on a pleasant knoll, look down into the bosom of that secluded valley, begirt with wooded hills-through those enamelled meadows and wide waving fields of grain, a silver stream winds lingeringly along-here, seeking the green shade of trees- there, glancing in the sunshine: on its banks are rural dwellings shaded by elms and garlanded by flowers-from yonder dark mass of foliage the village spire beams like a star. You see no ruined tower to tell of outrage-no gorgeous temple to speak of ostentation; but freedom's offspring- peace, security, and happiness, dwell there, the spirits of the scene. On the margin of that gentle river the village girls may ramble unmolested-and the glad school-boy, with hook and line, pass his bright holiday-those neat dwellings, unpretending to magnificence, are the abodes of plenty, virtue, and refinement. And in looking over the yet uncultivated scene, the mind's eye may see far into futurity. Where the wolf roams, the plough shall glisten; on the gray crag shall rise temple and tower-mighty deeds shall be done in the now pathless wilderness; and poets yet unborn shall sanctify the soil .
It was my intention to attempt a description of several districts remarkable for their picturesqueness and truly American character; but I fear to trespass longer on your time and patience. Yet I cannot but express my sorrow that the beauty of such landscapes is quickly passing away-the ravages of the axe are daily increasing-the most noble scenes are made destitute, and oftentimes with barbarism scarcely credible in a civilized nation.6 The wayside is becoming shadeless, and another generation will behold spots, now rife with beauty, desecrated by what is called improvement; which, as yet, generalty destroys Nature's beauty without substituting that of Art. This is a regret rather than a complaint; such is the road society has to travel; it may lead to refinement in the end, but the traveller who sees the place of rest close at hand, dislikes the road that has so many unnecessary windings.
I will now conclude, in the hope that, though feebly urged, the importance of cultivating a taste for scenery will not be forgotten, Nature has spread for us a rich and delightful banquet. Shall we turn from it? We are still in Eden; the wall that shuts us out of the garden is our own ignorance and folly. We should not allow the poet' s words to be applicable to us-
May we at times turn from the ordinary pursuits of life to the pure enjoyment of rural nature which is in the soul like a fountain of cool waters to the way-worn traveller; and let us
"Essay on American Scenery" was first published in the American Monthly Magazine 1 (January 1836): 1-12. It has been reprinted in American Art 1700-1960: Sources and Documents, ed. John W. McCoubrey (Englewood Cliffs, N.J.: PrenticeHall, 1965) .
1. William Cullen Bryant (1794-1878), "The Prairies," lines 1-2
2. "Vallies" in the source.
3. Horican: A fictitious name for Lake George used by James Fenimore Cooper in his Indian romances. In a footnote in The Last of the Mohicans (1826) Cooper comments on the lake's attractive setting: "The beauties of Lake George are well known to every American tourist. In the height of the mountains which surround it, and in artificial accessories, it is inferior to the finest of the Swiss and Italian lakes, while in outline and purity of water it is fully their equal, and in the number and disposition of its isles and islets much superior to them altogether. There are said to be some hundreds of islands in a sheet of water less than thirty miles long. The narrows which connect what may be called, in truth, two lakes, are crowded with islands to such a degree as to leave passages between them frequently of only a few feet in width. The lake itself varies in breadth from one to three miles." Lake George is located in the foothills of the Adirondack Mountains in eastern New York. This long, narrow lake was the scene of many bloody conflicts during the French and Indian Wars.
4. See Cole's poem "Niagara" in Thomas Cole's Poetry, ed. Marshall B. Tymn (York, Pa., 1972).
5. "Are" in the source.
6. Cole was disturbed that the forests were disappearing. In a letter to his patron, Luman Reed (March 26, 1836), Cole complains that trees were being destroyed to make way for a railroad. See also Cole's 1834 poem "On seeing that a favorite tree of the Author's had been cut down--, " which deals with this subject on a smaller scale.
When Thomas Cole accepted Frederic Edwin Church as his only pupil in May 1844, Cole was twice the age of his student. Many differences separated these two artists that have been so compared over time. Thomas Cole came from a working class, British family, was self-trained in the arts, and worked assorted jobs such as wallpaper designer and theatrical stage scenery painter before being discovered by Asher B. Durand and John Trumbull.
In opposition, Frederic Edwin Church was born in Hartford, Connecticut to a prominent family, and wrote and was accepted to Cole’s artistic supervision at the age of eighteen. While Cole did not receive fame until his thirties, Frederic Edwin Church exhibited at the National Academy of Design at age nineteen. Although it may be true that Church probably would not have received this exalted attention and praise without the help of this American master, it is important to point out the simple but important differences between these two landscapists.
Thomas Cole sought a “higher sort of landscape” than mere representation. He brought the landscape traditions of Constable and Turner with him to the United States, and ignited a Romantic era that dominated the art of the thirties and forties. Cole’s art was filled with old world associations, extolling the values of wilderness, while warning against the coming of “the ravages of the axe” and the destruction of America’s “most venerable remains of American antiquity” . Raised with Calvinist ideals, Thomas Cole combined landscape and allegory to teach a moral lesson. Works such as The Expulsion from the Garden of Eden, The Voyage of Life, and his unfinished series, The Cross and the World exemplify his religious views, his style, and his dedication to the teaching power of allegory.
During Church’s two years with Cole, he closely observed and studied the artist at work, sometimes taking an idea from Cole’s list of subjects to paint. At work with the premier American landscape painter of the time, it must have seemed beneficial at his early age to imitate the master. Church’s first work to be exhibited at the National Academy of Design, Twilight Among the Mountains (1845), bears a remarkable resemblance to Cole’s The Old Mill at Sunset (1844). Both of these circular canvases contain a river and tree scene at sunset, the only main difference between the two being Church’s repositioning of the tree. This imitation is repeated with Cole’s 1832-1836 work, Landscape with Ruined Tower. In 1846, Church paints a 9x13 work on millboard, entitled New England Landscape with ruined Chimney, replacing Cole’s vision of the ruins of Europe with the new ruins of American industry. Although Church imitated Cole in the most respectable way, by this time, Church was developing his own personal style. At this time, when Church was “most susceptible to influence from his master, he leaned more toward naturalism, emphasizing it for its own sake, than toward romanticism”
Thomas Cole died February 11, 1848 from pleurisy. Two months later, Frederic Edwin Church had finished his tribute to Cole, entitled To the Memory of Cole. It was on exhibit from May - September of 1848 in a memorial exhibit to Cole. In this memorial, Church paints a sunset over Catskill Mountain, the mountain that Cole so loved and painted. A cross centers of the composition, which is entangled with spring flowers. A river flows; a felled stump symbolizes Cole’s life cut short, and three trees on the right mark the trinity. A pyramid of clouds rises above the horizon, and is split into three separate layers. This pyramid points up towards heaven, assuring the audience and Church himself that Cole has gone to a better place. Church quotes Cole by depicting white, celebratory clouds at the top of the pyramid, while the darker clouds at the bottom reinforce Church’s feelings of grief. An interesting aspect of this image is the overlapping of seasons and time. The sunset symbolizes Cole’s departure from this earth while, simultaneously, a morning light is cast upon Cole’s grave marker. The season seems to be the end of autumn, turning to winter, but strangely the flowers bloom upon Cole’s grave. This interchanging of seasons and time of day can be read as a mixture of feelings that Church felt at this time, sad for the death of his friend and mentor, but proud of his achievements and sure that they will carry his name on forever.
After the memorial exhibit, Church returned to his work, finishing Above the Clouds at Sunset (1848). This work can be read as Church’s attempt to get over his grieving and start anew, and also as recreation.