The home of Holbein's genius offered her at first, doubtless, inspiration enough. But a new star had arisen in German art, and the youthful Swiss was drawn powerfully by its leading away from home--to Munich. The modest city on the verdant Iser began at that period to prove the goal of pilgrimage to every ambitious disciple of art. Miss Linder also heard of it, and, instead of going to Dresden, as she had intended, she turned for her further improvement to Munich. On her arrival in this city she had attained to an age of twenty-seven years; but her devotion to her chosen profession was so earnest, that she entered as a simple pupil the Academy of Fine Arts. In the catalogue of the academy, Emily Linder is inscribed as historical painter, on the 4th of November, 1824. But she frequented the studios only a few weeks. At that time it was customary to accept ladies as pupils; but she soon perceived that the position was hardly a becoming one, surrounded by so many young people of various characters, and all beginners like herself. She therefore had recourse to Professor Schlotthauer for private instruction. Under the guidance of this excellent master, "a veritable house-father in the painter's academy," as Brentano characteristically termed him, she pursued her studies in good earnest, and, according to the representation of her teacher, made rapid progress in the severer style of drawing, in which she had hitherto been less practised than in painting. She soon perfected herself to such an extent that she was enabled to complete her own compositions, and thus derived double satisfaction from her profession. It was indeed a pleasure in those days, competing with so many enthusiastic young artists and with the newly-appearing works in constant view, to labor and strive onward with the rest. This was the time, too, when Cornelius assumed the directorship of the Munich Academy and inaugurated, in grand style, the new era of German art. A wondrous life dawned upon Munich art at that period. Cornelius himself, in his old age, recalled with emotion and enthusiasm this youthful period of new German art. At Rome, thirty years later, on the occasion of the Louis festival of German artists, 20th May 1855, while he was delivering an address so celebrated for its many piquant flashes, he thus painted the joyous industry of those days: