Count Raczynski and Friedrich von Uechtritz have given us interesting descriptions of life at Düsseldorf at that time, and their story reads like a chapter of Tacitus' _Germania_. "_Grand dieu! Bons et affectueux allemands!_" exclaimed a Parisian critic of the Count's book in sad emotion, and held up this virtuous German life, as an example worthy of imitation, to his compatriots, the decadents of fashionable artistic Paris, fallen into modern luxury. Undisturbed by the hum of a big city, and without any communication with its surroundings, the Düsseldorf colony of artists lived its life of seclusion. The painters saw none but painters. They herded together in the studios, and the sole recreation in the intervals of their work was a visit to another studio. The whole of the day was devoted to painting; when the picture was complete it went to the art union; and the hours of tediousness were overcome with the assistance of a little intrigue. Hildebrandt possessed the nucleus of a collection of beetles. Lessing, the hunter, collected pipes and antlers, and only felt himself at home in the little room which he occupied with Sohn when it assumed the appearance of a gamekeeper's cottage. Convinced that politics were the ruin of character, they allowed no questions of the day to interfere with the calmness of their artistic life. Few of them ever read a newspaper. In the year of revolution, 1830, their sole interest in the events around them was concentrated in the fear that a war might disturb their idyllic life. The end of the day's work saw them in summer-time bent on a pilgrimage to the Stockkämpchen, to refresh themselves with a cup of buttermilk, to play at bowls, or to enjoy a race among the cabbage patches of the garden. In winter they made a point of meeting at seven o'clock every Saturday night at the inn for a literary reading. Each taking his part they recited the dramas of Tieck, of Calderon, and Lopez; or Uechtritz read extracts from German history, the Crusades, the period of the emperors, the riots of the Hussites. Every Sunday night there met at Schadow's a very distinguished intellectual circle, consisting of Judge Immermann (the reformer of the stage at Düsseldorf), Felix Mendelssohn the composer, Kortum, author of the _Jobsiade_, and Assessor von Uechtritz, with their ladies. But the great gala-days were the theatrical performances which took place twice a week. Under the leadership of Immermann the theatre had become the place whence the young painters gathered their liveliest suggestions. Some of them went even so far as to take part in amateur performances, conducted by Immermann, and given in Schadow's house, under the auspices of the whole of the distinguished society. And thus the pictures of this school were not conceived under the influence of life, but of the theatre. The Düsseldorf artists were youths whose productions were not rooted in life, but in reading and culture; youths who always moved in good