For Munich a similar importance was won by the Hamburg painter _Christian Morgenstern_, who, like all artists of this group, imitated the Dutch in the tone of his colour, though as a draughtsman he remained a fresh and healthy son of nature. Even what he accomplished in all naïveté between 1826 and 1829, through direct study of Hamburg landscape, is something unique in the German production of that age. His sketches and etchings of these years assure him a high place amongst the earliest German "mood" painters, and show that as a landscapist he had at that time made the furthest advance towards simplicity and intimacy of feeling. A journey to Norway, undertaken in 1829, and a sojourn at the Copenhagen Academy, where he worked up his Norwegian studies, only extended his ability without altering his principles; and when he came to Munich in the beginning of the thirties his new and personal intuition of nature made a revolution in artistic circles. The landscape painters learnt from him that Everdingen, Ruysdael, and Rembrandt were contemporaries of Poussin, that foliage need not be an exercise of style, and is able properly to indicate the nature of the tree. He discovered the beauty of the Bavarian plateau for the Munich school. Even the first picture that he brought with him from Hamburg displayed a wide plain shadowed by clouds--a part of the Lüneberg heath--and to this type of subject he remained faithful even in later days. Himself a child of the plains, he sought for kindred motives in Bavaria, and found them in rich store on the shore of the Isar, in the quarries near Polling, at Peissenberg, and in the mossy region near Dachau. His pictures have not the power of commanding the attention of an indifferent spectator, but when they have been once looked into they are seen to be poetic, quiet, harmless, sunny, and thoughtful. He delighted in whatever was ordinary and unobtrusive, the gentle nature of the wood, the surroundings of the village, everything homely and familiar. If Rottmann revelled in the forms of Southern nature, Morgenstern abided by his native Germany; where Lessing only listened to the rage of the hurricane, Morgenstern hearkened to the quiet whisper of the breeze. The shadows of the clouds and the radiance of the sun lie over the dark heath, the moonlight streams dreamily over the quiet streets of the village, the waves break, at one moment rushing noisily and at another gently caressing the shore. Later, when he turned to the representation of the mountains, he lost the intimacy of feeling which was in the beginning peculiar to him. In mountain pictures, often as he attempted ravines, waterfalls, and snowy Alpine summits, he never succeeded in doing anything eminently good. These pictures have something petty and dismembered, and not the great, simple stroke of his plains and skies.