In 1870, _Eduard Kurzbauer_, who died young, in his "Fugitives Overtaken" executed a work representing an entire class of painted illustrations. A young man who has eloped with a girl is discovered with her by her mother in a village inn. The old lady is looking reproachfully at her daughter, who is overwhelmed by shame and penitence; the young man is much moved, the old servant grave and respectful, the young landlady curious, and the postilion who has driven the eloping pair has a sly smirk. Elsewhere Kurzbauer, who is a fresh and lively anecdotist, painted principally episodes, arraying his figures in the peasant garb of the Black Forest: a rejected suitor takes a sad farewell of a perverse blonde who disdains his love; or the engagement of two lovers is hindered by the interference of the father. [Illustration: _Cassell & Co._ DEFREGGER. ANDREAS HOFER APPOINTED GOVERNOR OF THE TYROL.] _Hugo Kauffmann_, the son of Hermann Kauffmann, planted himself in the interior of village taverns or in front of them, and made his dressed-up models figure as hunters, telling incredible tales, dancing to the fiddle, or quarrelling over cards. Another North German, _Wilhelm Riefstahl_, showed how the peasants in Appenzell or Bregenz conduct themselves at mournful gatherings, at their devotions in the open air, and at All Souls' Day Celebrations, and afterwards extended his artistic dominion over Rügen, Westphalia, and the Rhine country with true Mecklenburg thoroughness. He was a careful, conscientious worker, with a discontent at his own efforts in his composition, a certain ponderousness in his attempts at _genre_; but his diligently executed pictures--full of colour and painted in a peculiarly German manner--are highly prized in public galleries on account of their instructive soundness. After the various classes of the German peasantry had been naturalised in the picture market by these narrative painters, _Eduard Grützner_, when religious controversy raged in the seventies, turned aside to discover drolleries in monastic life. This he did with the assistance of brown and yellowish white cowls, and the obese and copper-nosed models thereto pertaining. He depicts how the cellarer tastes a new wine, and the rest of the company await his verdict with anxiety; how the entire monastery is employed at the vintage, at the broaching of a wine cask or the brewing of the beer; how they tipple; how bored they are over their chess or their dice, their cards or their dominoes; how they whitewash old frescoes or search after forbidden books in the monastery library. This, according to Grützner, is the routine in which the life of monks revolves. At times amidst these figures appear foresters who tell of their adventures in the chase, or deliver hares at the cloister kitchen. And the more Grützner was forced year after year to make up for his decline as a colourist, by cramming his pictures with so-called humour, the greater was his success.