_Karl D'Uncker_, who arrived in 1851 and died in 1866, was led by the influence of Vautier to turn to little humorous incidents. After "The Two Deaf Friends" (two old people very hard of hearing, who are making comical efforts to understand each other) and "The Vagabond Musician and his Daughter before the Village Magistrates" there followed in 1858 the scene in "The Pawnshop," which divided the honours of the year with Knaus's "Golden Wedding." He is an artistic compromise between Knaus and Schroedter, a keen observer and a humorous narrator, who takes special pleasure in the sharp opposition of characteristic figures. In his "Pawnshop" and his "Third Class Waiting Room" vagabonds mingle in the crowd beside honest people, beggars beside retired tradesmen, old procuresses beside pure and innocent girls, and heartless misers beside warm-hearted philanthropists. In these satirically humorous little comedies Swedish costume has been rightly left out of sight. This ethnographical element was the _forte of Bengt Nordenberg_, who as a copyist of Tidemand gradually became the Riefstahl of the North. His "Golden Wedding in Blekingen," his "Bridal Procession," his "Collection of Tithes," "The Pietists," and "The Promenade at the Well," are of the same ethnographical fidelity and the same anecdotic dryness. He gets his best effects when he strikes an idyllic, childlike note or one of patriarchal geniality. The "Bridal Procession" received in the village with salvoes and music, "The Newly Married Pair" making a first visit to the parents of one of them, the picture of schoolboys playing tricks upon an old organist, that of children mourning over a lamb slain by a wolf, are, in the style of the sixties, the works of a modest and amiable anecdotist, who had a fine sense for the peaceful, familiar side of everyday life in town and country. [Illustration: BRION. JEAN VALJEAN.] In _Wilhelm Wallander_, as in Madou, noise and frolic and jest have the upper hand. His pictures are like saucy street ditties sung to a barrel-organ. The crowd at the market-place, the gossip in the spinning-room on a holiday evening, hop-pickings, dances, auctions on old estates, weddings, and the guard turning out, are his favourite scenes. Even when he came to Düsseldorf he was preceded by his fame as a jolly fellow and a clever draughtsman, and when he exhibited his "Market in Vingaker" he was greeted as another Teniers. His "Hop-Harvest" is like a waxwork show of teasing lads and laughing lasses. He was an incisive humorist and a spirited narrator, who under all circumstances was more inclined to jest than to touch idyllic and elegiac chords. In his pictures peasant girls never wander solitary across the country, for some lad who is passing by always has a joke to crack with them; it never happens that girls sit lonely by the hearth, there is always a lover to peep out laughing from behind the cupboard door.