Of all the Düsseldorf artists, Karl Frederick Lessing (whose style lies between the old and new school), Ludwig Knaus, and the brothers Achenbach, are the best known in America. In Cincinnati some of the best pictures of Lessing, and Andreas and Oswald Achenbach can be seen in private galleries, while in Boston and New York “The Golden Wedding” and the “Holy Family,” Knaus’s _chief-d´œuvres_, can be found. The latter picture proved to be too valuable for the Empress of Russia (by whom it had been ordered) to take,[I] and so fell into the hands of a wealthy New York lady, who was attracted toward it when it was on exhibition in Berlin two years ago. Lessing’s original sketch of “The Martyrdom of Huss,” is in Cincinnati, as well as some of Andreas Achenbach’s best marine pictures. The names of Schräder, Schirmer, Hübner, Knille, Hoff, and Gelhardt, are not so well known outside of Germany. The German artists, with the exception of Makart, who, as an Austrian, does not class himself with the northern German school, left such an indescribably blank page in the Philadelphia Exposition, owing to their indifference and timidity, and want of energy in sending off their pictures, that the American mind is sadly prejudiced against German art. The French pictures have so long crowded the market that not until some young disciples of the Munich school returned to New York several years ago, would they believe that there was such a thing as German art. And now the impression is that it all concentrates in Munich. What is to be done with Knaus, Werner, Richter, Knille, Gussow, and the other distinguished names in northern Germany? In Knaus, to whom we have already referred, and who has been recently called to Berlin as director of one of the newly-established “Meister Ateliers,” one finds that rare accordance of the character of the man with the peculiar excellencies of his productions. His _genre_ pictures reflect his own spirit. He is as genuine, unaffected, and fresh in his feelings as the children he paints. Werner, the director of the Royal Academy of Berlin, made the designs for the Column of Victory, and has a tremendous productive power, almost equal to Makart, but he is far from possessing the luxuriant imagination and oriental instinct for color that distinguishes the latter from the artists of his day. Gentz paints with vigor and fine sentiment oriental pictures. He has spent much time in the East, and has innumerable treasures for his house, which is one of the most attractive in Berlin.