_Josef Danhauser_, the son of a Viennese carpenter, occupied himself with the artisan and _bourgeois_ classes. David Wilkie gave him the form for his work and Ferdinand Raimund his ideas. His studio scenes, with boisterous art students caught by their surly teacher at the moment when they are playing their worst pranks, gave pleasure to the class of people who, at a later date, took so much delight in Emanuel Spitzer. His "Gormandizer" is a counterpart to Raimund's _Verschwender_; and when, in a companion picture, the gluttonous liver is supping up the "monastery broth" amongst beggars, and his former valet remains true to him even in misfortune, Grillparzer's _Treuer Diener seines Herrn_ serves as a model for this type. Girls confessing their frailty to their parents had been previously painted by Greuze. Amongst those of his pictures which had done most to amuse the public was the representation of the havoc caused by a butcher's dog storming into a studio. In his last period he turned with Collins to the nursery, or wandered through the suburbs with a sketch-book, immortalising the doings of children in the streets, and drawing "character heads" of the school-teacher tavern _habitués_ and the lottery adventurer. [Illustration: TIDEMAND. ADORNING THE BRIDE.] And this was likewise the province to which _Waldmüller_ devoted himself. Chubby peasant children are the heroes of almost all his pictures. A baby is sprawling with joy on its mother's lap, while it is contemplated with proud satisfaction by its father, or it is sleeping under the guardianship of a little sister; a boy is despatched upon the rough path which leads to school, and brings the reward of his conduct home with rapturous or dejected mien, or he stammers "Many happy returns of the day" to grandpapa. Waldmüller paints "The First Step," the joys of "Christmas Presents," and "The Distribution of Prizes to Poor School Children"; he follows eager juveniles to the peep-show; he is to be met at "The Departure of the Bride" and at "The Wedding"; he is our guide to the simple "Peasant's Room," and shows the benefit of "Almsgiving." Though his pictures may seem old-fashioned in subject nowadays, their artistic qualities convey an entirely modern impression. Born in 1793, he anticipated the best artists of later days in his choice of material. Both in his portraits and in his country scenes there is a freshness and transparency of tone which was something rare among the painters of that time. [Illustration: PETER KRAFFT. THE SOLDIER'S RETURN.]