Undoubtedly amongst the younger group of artists there was a great difference in regard to choice of subject. The modern rendering of mood has only had its origin in Germany; it could not finally develop itself there. Just as figure painting, after making so vigorous a beginning with Bürkel, turned to _genre_ painting in the hands of Enhuber and Knaus, until it returned to its old course in Leibl, landscape also went through the apprentice period of interesting subject, until it once more recognised the poetry of simpleness. The course of civilisation itself led it into these lines. When Morgenstern painted his first pictures the post-chaise still rattled from village to village, but now the whistle of the railway engine screams shrill as the first signal of a new age throughout Europe. Up to that time the possibility of travelling had been greatly circumscribed by the difficulties of traffic. But facilitated arrangements of traffic brought with them such a desire for travel as had never been before. In literature the revolution displayed itself by the rise of books of travels as a new branch of fiction. Hackländer sent many volumes of touring sketches into the market. Theodor Mügge made Norway, Sweden, and Denmark the scene of his tales. But America was the land where the Sesame was to be found, for Germany had been set upon the war-trail with Cooper's Indians, it had Charles Sealsfield to describe the grotesque mountain land of Mexico, the magic of the prairie, and the landscapes of Susquehannah and the Mississippi, and read Gerstäcker's, Balduin Möllhausen's, and Otto Ruppius' transatlantic sketches with unwearying excitement. The painters who found their greatest delight in seeing the world with the eyes of a tourist also became cosmopolitan. [Illusration: CALAME. LANDSCAPE.]