"The Dance" was the first picture which followed that of "Speckbacher," and it was circulated through the world in thousands of reproductions. There are two delightful figures in it: the pretty milkmaid who looks around her, radiant with pleasure, and the wiry old Tyrolese who is lifting his foot, cased in a rough hobnail shoe, to dance to the _Schuhplattler_. At the same time he painted "The Prize Horse" returning to his native village from the show decked and garlanded and greeted exultantly by old and young as the pride of the place. "The Last Summons" was again a scene from the Tyrolese popular rising of 1809. All who can still carry a rifle, a scythe, or a pitchfork have enrolled themselves beneath the banners, and are marching out to battle over the rough village street. The wives and children are looking earnestly at the departing figures, whilst a little old woman is pressing her husband's hand. Everything was simply and genially rendered without sentimentality or emphasis, and the picture even makes an appeal by its colouring. As a sequel "The Return of the Victors" was produced in 1876: a troop of the Tyrolese levy is marching through its native mountain village, with a young peasant in advance, slightly wounded, and looking boldly round. Tyrolese banners are waving, and the fifes and drums and clarionet players bring up the rear. The faces of the men beam with the joy of victory, and women and children stand around to welcome those returning home. Joy, however, is harder to paint faithfully than sorrow. It is so easy to see that it has been artificially worked up from the model; nor is Defregger's picture entirely innocent on this charge. [Illustration: _Hanfstaengl._ DEFREGGER. SPECKBACHER AND HIS SON.] [Illustration: _Hanfstaengl._ DEFREGGER. THE WRESTLERS.]