In Vienna the _genre_ painters seem to owe their inspiration especially to the theatre. What was produced there in the province of grand art during the first half of the century was neither better nor worse than elsewhere. The Classicism of Mengs and David was represented by _Heinrich Füger_, who had a more decided leaning towards the operatic. The representative-in-chief of Nazarenism was _Josef Führich_, whose frescoes in the Altlerchenfeld Church are, perhaps, better in point of colour than the corresponding efforts of the Munich artists, though they are likewise in a formal way derivative from the Italians. Vienna had its Wilhelm Kaulbach in _Carl Rahl_, its Piloty in _Christian Ruben_, who, like the Munich artist, had a preference for painting Columbus, and was meritorious as a teacher. It was only through portrait painting that Classicism and Romanticism were brought into some sort of relation with life; and the Vienna portraitists of this older régime are even better than their German contemporaries, as they made fewer concessions to the ruling idealism. Amongst the portrait painters was _Lampi_, after whom followed _Moritz Daffinger_ with his delicate miniatures; but the most important of them all was _Friedrich Amerling_, who had studied under Lawrence in London and under Horace Vernet in Paris, and brought back with him great acquisitions in the science of colour. In the first half of the century these assured him a decided advantage over his German colleagues. It was only later, when he was sought after as the fashionable painter of all the crowned heads, that his art degenerated into mawkishness. [Illustration: TIDEMAND. THE SECTARIANS.]