_Ludwig Ebner_, _Paul Boehm_, and _Otto von Baditz_, which have a German sound, one comes across such names as _Koloman Déry_, _Julius Aggházi_, _Alexander Bihari_, _Ignaz Ruskovics_, _Johann Jankó_, _Tihamér Margitay_, _Paul Vagó_, _Arpad Fessty_, _Otto Koroknyai_, _D. Skuteczky_, etc. [Illustration: _L'Art._ MARCHAL. THE HIRING FAIR.] But setting aside the altered names and the altered locality and garb, the substance of these pictures is precisely the same as that of the Munich pictures of twenty years before: dance and play, maternal happiness, wooing, and the invitation to the wedding. Instead of the _Schuhplattler_ they paint the Czarda, instead of the drover's cottage the taverns of Pesth, instead of the blue Bavarian uniform the green of the Magyar Hussars. Their painting is tokay adulterated with Isar water, or Isar water with a flavour of tokay. What seems national is at bottom only their antiquated standpoint. It is a typical development repeating itself in the nineteenth century through all branches of art; the sun rises in the West and sets in the East. Any other progress than that of the gradual expansion of subject-matter cannot be established in favour of the productions of all this _genre_ painting. In colour and in substance they represent a phase of art which the leading countries of Europe had already left behind about the middle of the century, and which had to be overcome elsewhere, if painting was again to be what it had been in the old, good periods. [Illustration: _Seemann, Leipzig._ PETTENKOFEN. A HUNGARIAN VILLAGE (PENCIL DRAWING).]