The descriptive name for all these tales, except the last, is idyl. It was, indeed, the period when all Europe (outside the British empire) was viewing the hardy sons of the soil through poetic spectacles. In Germany Auerbach had, in his "Black Forest Village Tales" (1843, 1853, 1854), discarded the healthful but unflattering realism of Jeremias Gotthelf (1797-1854), and chosen, with a half-didactic purpose, to contrast the peasant's honest rudeness and straightforwardness with the refined sophistication and hypocrisy of the higher classes. George Sand, with her beautiful Utopian genius, poured forth a torrent of rural narrative of a crystalline limpidity ("Mouny Robin," "La Mare au Diable," "La Petite Fadette," etc., 1841-1849), which is as far removed from the turbid stream of Balzac ("Les Paysans") and Zola ("La Terre"), as Paradise is from the Inferno. There is an echo of Rousseau's gospel of nature in all these tales, and the same optimistic delusion regarding "the people" for which the eighteenth century paid so dearly. The painters likewise caught the tendency, and with the same thorough-going conscientiousness as their brethren of the quill, disguised coarseness as strength, bluntness as honesty, churlishness as dignity. What an idyllic sweetness there is, for instance, in Tidemand's scenes of Norwegian peasant life! What a _spirituelle_ and movingly sentimental note in the corresponding German scenes of Knaus and Huebner, and, _longo intervallo_, Meyerheim and Meyer von Bremen. Not a breath of the broad humor of Teniers and Van Ostade in these masters; scarcely a hint of the robust animality and clownish jollity with which the clear-sighted Dutchmen endowed their rural revellers. Though pictorial art has not, outside of Russia (where the great and unrivalled Riepin paints the peasant with the brush as remorselessly as Tolstoi and Dostoyefski with the pen), kept pace with the realistic movement in literature, yet there is no lack of evidence that the rose-colored tinge is vanishing even from the painter's spectacles; and such uncompromising veracity as that of Millet and Courbet, which the past generation despised, is now hailed with acclaim in such masters as Bastien-Lepage, Dagnan-Bouveret, and the Scandinavians, Kristian Krog and Anders Zorn.