In 1859, after his second trip south, Church painted his monumental The Heart of the Andes, another composite of South American landscapes and a re-interpretation of Humboldt's aesthetic ideas. The Andes of Ecuador depicted little tropical flora and its details were subdued by the strong light. (A contemporary critic in Harper's Weekly commented that all detail, all shape [is] lost in the vastness of the gorges.) It excluded Chimborazo, the Ecuadorian mountain then thought to be the world's highest. In the 1859 painting, Church more clearly cataloged the diversity of plants and topography, culminating in Chimborazo, and used a more naturalistic lighting.