lace. Schnorr (1794-1872) followed in the
same style with the Niebelungen Lied, Charlemagne, and Barbarossa for
subjects. Kaulbach (1805-1874) was a pupil of Cornelius, and had some
ability but little taste, and not enough originality to produce great
art. Piloty (1826-1886) was more realistic, more of a painter and
ranks as one of the best of the early Munich masters. After him Munich
art became _genre_-like in subject, with greater attention given to
truthful representation in light, color, texture. To-day there are a
large number of painters in the school who are remarkable for
realistic detail.

DUSSELDORF SCHOOL: After 1826 this school came into prominence under
the guidance of Schadow. It did not fancy monumental painting so much
as the common easel picture, with the sentimental, the dramatic, or
the romantic subject. It was no better in either form or color than
the Munich school, in fact not so good, though there were painters who
emanated from it who had ability. At Berlin the inclination was to
follow the methods and ideas held at Dusseldorf.

The whole academic tendency of modern painting in Germany and Austria
for the past fifty years has not been favorable to the best kind of
pictorial art. There is a disposition on the part of artists to tell
stories, to encroach upon the sentiment of literature, to paint with a
dry brush in harsh unsympathetic colors, to ignore relations of
light-and-shade, and to slur beauties of form. The subject seems to
count for more than the truth of representation, or the individuality
of view. From time to time artists of much ability have appeared, but
these form an exception rather than a rule. The men to-day who are the
great artists of Germany are less followers of the German tradition
than individuals each working in a style peculiar to himself. A few
only of them call for mention. Menzel (1815-1905) is easily first, a
painter of group pictures, a good colorist, and a powerful pen-and-ink
draughtsman; Lenbach (1836-1904), a forceful portraitist; Uhde
(1848-), a portrayer of scriptural scenes in modern costumes with much
sincerity, good color, and light; Leibl (1844-1900), an artist with
something of the Holbein touch and realism; Thoma, a Frankfort painter
of decorative friezes and panels; Liebermann, Gotthardt Kuehl, Franz
Stuck, Max Klinger, Greiner, Truebner, Bartels, Keller.

[Illustration: FIG. 93.--MENZEL. A READER.]

Aside from these men there are several notable p