Amongst the Norwegians belonging to this group is _V. Stoltenberg-Lerche_, who with the aid of appropriate accessories adapted the interiors of cloisters and churches to _genre_ pictures, such as "Tithe Day in the Cloister," "The Cloister Library," and "The Visit of a Cardinal to the Cloister," and so forth. _Hans Dahl_, a _juste-milieu_ between Tidemand and Emanuel Spitzer, carried the Düsseldorf village idyll down to the present time. "Knitting the Stocking" (girls knitting on the edge of a lake), "Feminine Attraction" (a lad with three peasant maidens who are dragging a boat to shore in spite of his resistance), "A Child of Nature" (a little girl engaged to sit as model to a painter amongst the mountains, and running away in alarm), "The Ladies' Boarding School on the Ice," "First Pay Duty," etc., are some of the witty titles of his wares, which are scattered over Europe and America. Everything is sunny, everything laughs, the landscapes as well as the figures; and if Dahl had painted fifty years ago, his fair maidens with heavy blond plaits, well-bred carriage, and delicate hands that have never been disfigured by work, would undoubtedly have assured him no unimportant place beside old Meyerheim in the history of the development of the _genre_ picture. An offshoot from the Munich painting of rustics shot up into a vigorous sapling in Hungary. The process of refining the raw talents of the Magyar race had been perfected on the shores of the Isar, and the Hungarians showed gratitude to their masters by applying the principles of the Munich _genre_ to Magyar subjects when they returned home. The Hungarian rooms of modern exhibitions have consequently a very local impress. Everything seems aboriginal, Magyar to the core, and purely national. Gipsies are playing the fiddle and Hungarian national songs ring forth, acrobats exhibit, slender sons of Pusta sit in Hungarian village taverns over their tokay, muscular peasant lads jest with buxom, black-eyed girls, smart hussars parade their irresistible charms before lively damsels, and recruits endeavour to imbibe a potent enthusiasm for the business of war from the juice of the grape. Stiff peasants, limber gipsies, old people dancing, smart youths, the laughing faces of girls and bold fellows with flashing eyes, quarrelsome heroes quick with the knife, tipsy soldiers and swearing sergeants, drunkards, suffering women and poor orphans, pawnshops and vagabonds, legal suits, electioneering scenes, village tragedies and comic proposals, artful shop-boys, and criminals condemned to death, the gay confusion of fairs and the merry return from the harvest and the vintage, waxed moustaches, green and red caps and short pipes, tokay, Banat wheat, Alfoeld tobacco, and Sarkad cattle,--such are the elements worked up, as the occasion demanded, either into little tales or great and thrilling romances. And the names of the painters are as thoroughly Magyar as are the figures. Beside