It is not easy for a dilettante to enter into sympathetic relationship with these early pictures of peasant life. They are gaudy in tone, smooth as metal, and the figures stand out hard against the atmosphere, as if they had been cut from a picture-sheet. But the historian has no right to be merely a dilettante. It would be unfair of him to make the artistic conceptions of the present time the means of depreciating the past. For, after all, works of the past are only to be measured with those of their own age, and when one once remembers what an importance these modest "little masters" had for their time it is no longer difficult to treat them with justice. In an age when futile and aimless intentions lost their way in theory and imitation of the "great painting" there blossomed here, and for the first time, a certain individuality of mind and temper. While Cornelius, Kaulbach, and their fellows formed a style which was ideal in a purely conventional sense, and epitomised the art of the great masters according to method, the "_genre_ painters" seized upon the endless variety of nature, and, after a long period of purely reproductive painting, made the first diffident attempt to set art free from the curse of system and the servile repetition of antiquated forms. Even as regards colour they have the honour of preparing the way for a restoration in the technique of painting. Their own defects in technique were not their fault, but the consequence of that fatal interference of Winckelmann through which art lost its technical traditions. They did not enjoy the advantages of issuing from a long line of ancestors. In a certain sense they had to make a beginning in the history of art by themselves; for between them and the older German painting they only met with men who held the ability to paint as a shame and a disgrace. With the example of the old Dutch and Flemish masters before them, they had to knit together the bonds which these men had cut; and considering the æsthetic ideas of the age, this reference to Netherlandish models was an event of revolutionary importance. In doing this they may have been partially influenced by Wilkie, who made his tour in Germany in 1825, and whose pictures had a wide circulation through the medium of engraving. And from another side attention was directed to the old Dutch masters by Schnaase's letters of 1834. While the entire artistic school which took its rise from Winckelmann gave the reverence of an empty, formal idealism to classical antiquity and the Cinquecento, applying their standards to all other periods, Schnaase was the first to give an impulse to the historical consideration of art. In this way he revealed wide and hitherto neglected regions to the creative activity of modern times. The result of his book was that the Netherlandish masters were no longer held to be "the apes of vulgar nature," but took their place as exquisite artists from whom the modern painter had a great deal to learn.