MARINE PAINTERS--Willem van de Velde Elder and Younger, Backhuisen, Vlieger, together with the flower and fruit painters like Huysum, Hondecoeter, Weenix, have all been prolific workers, and almost every European gallery, especially those at London, Amsterdam, and in Germany, have examples of their works; Van der Werff and Philip van Dyck are seen at their best at Dresden. The best works of the modern men are in private collections, many in the United States, some examples of them in the Amsterdam and Hague Museums. Also some examples of the old Dutch masters in New York Hist. Society Library, Yale School of Fine Arts, Met. Mus. New York, Boston Mus., and Chicago Institute. CHAPTER XVIII. GERMAN PAINTING. BOOKS RECOMMENDED: Colvin, _A. Durer, his Teachers, his Rivals, and his Scholars_; Eye, _Leben und Werke Albrecht Durers_; Foerster, _Peter von Cornelius_; Foerster, _Geschichte der Deutschen Kunst_; Keane, _Early Teutonic, Italian, and French Painters_; Kuegler, _Handbook to German and Netherland Schools, trans. by Crowe_; Merlo, _Die Meister der altkolnischer Malerschule_; Moore, _Albert Durer_; Pecht, _Deutsche Kunstler des Neunzehnten Jahrhunderts_; Reber, _Geschichte der neueren Deutschen Kunst_; Riegel, _Deutsche Kunststudien_; Rosenberg, _Die Berliner Malerschule_; Rosenberg, _Sebald und Barthel Beham_; Rumohr, _Hans Holbein der Jungere_; Sandrart, _Teutsche Akademie der Edlen Bau, Bild-und Malerey-Kunste_; Schuchardt, _Lucas Cranach's Leben_; Thausig, _Albert Durer, His Life and Works_; Waagen, _Kunstwerke und Kunstler in Deutschland_; E. aus'm Weerth, _Wandmalereien des Mittelalters in den Rheinlanden_; Wessely, _Adolph Menzel_; Woltmann, _Holbein and his Time_; Woltmann, _Geschichte der Deutschen Kunst im Elsass_; Wurtzbach, _Martin Schongauer_. EARLY GERMAN PAINTING: The Teutonic lands, like almost all of the countries of Europe, received their first art impulse from Christianity through Italy. The centre of the faith was at Rome, and from there the influence in art spread west and north, and in each land it was modified by local peculiarities of type and temperament. In Germany, even in the early days, though Christianity was the theme of early illuminations, miniatures, and the like, and though there was a traditional form reaching back to Italy and Byzantium, yet under it was the Teutonic type--the material, awkward, rather coarse Germanic point of view. The wish to realize native surroundings was apparent from the beginning.