Columbus is also a new world from the hand of the Creator. In comparison with the old countries of Europe, the vegetation is so wondrously lavish, the outlines and minor features struck out with so bold a freshness, and the lakes and rivers so even in their fulness and flow, yet so vast and powerful, that he may well imagine it an Eden newly sprung from the ocean. The Minerva-like birth of the republic of the United States, its sudden rise to independence, wealth, and power, and its continued and marvellous increase in population and prosperity, strike him with the same surprise, and leave the same impression of a new scale of existence, and a fresher and faster law of growth and accomplishment. The interest, with regard to both the natural and civilized features of America, has very much increased within a few years; and travellers, who have exhausted the unchanging countries of Europe, now turn their steps in great numbers to the novel scenery, and ever-shifting aspects of this.

The picturesque views of the United States suggest a train of thought directly opposite to that of similar objects of interest in other lands. There, the soul and centre of attraction in every picture is some ruin of the past. The wandering artist avoids every thing that is modern, and selects his point of view so as to bring prominently into his sketch, the castle, or the cathedral, which history or antiquity has hallowed. The traveller visits each spot in the same spirit—ridding himself, as far as possible, of common and present associations, to feed his mind on the historical and legendary. The objects and habits of reflection in both traveller and artist undergo in America a direct revolution. He who journeys here, if he would not have the eternal succession of lovely natural objects—

must feed his imagination on the future. The American does so. His mind, as he tracks the broad rivers of his own country, is perpetually reaching forward. Instead of looking through a valley, which has presented the same aspect for hundreds of years—in which live lords and tenants, whose hearths have been surrounded by the same names through ages of tranquil descent, and whose fields have never changed landmark or mode of culture since the memory of man, he sees a valley laden down like a harvest waggon with a virgin vegetation, untrodden and luxuriant; and his first thought is of the villages that will soon sparkle on the hill-sides, the axes that will ring from the woodlands, and the mills, bridges, canals, and rail-roads, that will span and border the stream that now runs through sedge and wild-flowers. The towns he passes through on his route are not recognizable by prints done by artists long ago dead, with houses of low-browed architecture, and immemorial trees; but a town which has perhaps doubled its inhabitants and dwellings since he last saw it, and will again double them before he returns. Instead of inquiring into its antiquity, he sits over the fire with his paper and pencil, and calculates what the population will be in ten years, how far they will spread, what the value of the neighbouring land will become, and whether the stock of some canal or rail-road that seems more visionary than Symmes’s expedition to the centre of the earth, will, in consequence, be a good investment. He looks upon all external objects as exponents of the future. In Europe they are only exponents of the past.

There is a field for the artist in this country (of which this publication reaps almost the first-fruits) which surpasses every other in richness of picturesque. The great difficulty at present is, where to choose. Every mile upon the rivers, every hollow in the landscape, every turn in the innumerable mountain streams, arrests the painter’s eye, and offers him some untouched and peculiar variety of an exhaustless nature. It is in river scenery, however, that America excels all other lands: and here the artist’s labour is not, as in Europe, to embellish and idealise the reality; he finds it difficult to come up to it. How represent the excessive richness of the foliage! How draw the vanishing lines which mark the swells in the forest-ground, the round heaps of the chestnut-tops, the greener belts through the wilderness which betray the wanderings of the water-courses! How give in so small a space the evasive swiftness of the rapid, the terrific plunge of the precipice, or the airy wheel of the eagle, as his diminished form shoots off from the sharp line of the summit, and cuts a circle on the sky!

The general architecture of the United States cannot pretend, of course, to vie with that of older countries; yet, taken in connexion with the beautiful position of the towns, no drawing will be found deficient in beauty, while many of the public buildings especially are, as works of art, well worthy the draughtman’s notice. The curiosity now generally excited with regard to this country, by its own progress, and by the late numerous books of travels, will throw a sufficient interest around every point that the pencil could present.