his native country, heard once more the peaceful chime of its Sabbath bells. And this is what gives his works their human, inward truth, little as they may be authentic documents as to the population of Tyrol. Later this will be more impartially recognised than it possibly can be at present. The larger the school of any artist, the more it will make his art trivial; and thus for a time the originality of the master himself seems to be mere trifling. The Tyrolese were depreciated in the market by Defregger's imitators; only too many have aped his painting of stiff leather breeches and woollen bodices, without putting inside them the vivid humanity which is so charming in a genuine Defregger. But his position in the history of art is not injured by this. He has done enough for his age; he has touched the hearts of many by his cheerful, fresh, and healthy art, and he would be certain of immortality had he thrown aside his brush altogether from the time when the progress of painting left him in the rear. With Defregger, the head of the Tyrolese school, Gabl and Mathias Schmidt, standing at a measurable distance from him, may find a well-merited place. _Mathias Schmidt_, born in the Tyrolese Alps in the same year as Defregger, began with satirical representations of the local priesthood. A poor image-carver has arrived with his waggon at an inn, on the terrace of which are sitting a couple of well-fed ecclesiastics, and by them he is ironically called to account as he offers a crucifix for sale. A young priest, as an austere judge of morals, reproves a pair of lovers who are standing before him, or asks a young girl such insidious questions at the bridal examination that she lowers her eyes, blushing. His greatest picture was "The Emigration of the Zillerthal Protestants." Amongst later works, without controversial tendencies, "The Hunter's Greeting" and "The Lathered Parson" may be named. The latter is surprised by two pretty girls while shaving. To these may be added "The Parson's Patch," a picture of a robust housekeeper hastily mending a weak spot in the pastor's inexpressibles just before service. Shortly after Defregger had painted his picture of "Speckbacher," _Alois Gabl_ came forward with his "Haspinger preaching Revolt," and followed it up by smaller pictures with a humorous touch, representing a levy of recruits in Tyrol, the dance at the inn interrupted by the entrance of the parson, magnates umpiring at the shooting butts, a bar with laughing girls, and the like.