After Achenbach there came a whole series of artists from the North who began to depict the mountains of their native Norway under the strong colour effects of the Northern sun. The majestic formations of the fjords, the emerald green walls of rock, the cloven valleys, the terrible forest wildernesses, and the mountains of Norway dazzlingly illuminated and reflecting themselves like glittering jewels in the quiet waters of sapphire blue lakes, were interesting enough to afford nourishment for more than one landscapist. _Knud Baade_, who worked from 1842 in Munich, after a lengthy sojourn at the Copenhagen Academy and with Dahl in Dresden, delighted in moonlight scenes, gloomy fir forests, and midnight suns. The sea rises in waves mountain high, and tosses mighty vessels like withered leaves or dashes foaming against the cliffs of the shore. Fantastic clouds chase each other across the sky, and the wan moonlight rocks unsteadily upon the waves. More seldom he paints the sea lit up afar by the moon, or the fjord with its meadows and silver birches; and in such plain pictures he makes a far more attractive effect than in those which are wild and ambitious, for his diffident, petty execution is, as a rule, but little suited to restless and, as it were, dramatic scenes of nature. Having come to Düsseldorf in 1841, _Hans Gude_ became the Calame of the North. Achenbach taught him to approach the phenomena of nature boldly and realistically, and not to be afraid of a rich and soft scale of colour. Schirmer, the representative of Italian still landscape, guided him to the acquisition of a certain large harmony and sense for style in the structure of his pictures, to beauty of line and effective disposition of great masses of light and shade. This quiet, sure-footed, and robust realism, which had, at the same time, a gift of style, became the chief characteristic of his Northern landscapes, in which, however, the mutable and fleeting moods of nature were all the more neglected. Here are Norwegian mountain landscapes with lakes, rivers, and waterfalls, then pictures of the shore under the most varied phases of light, or grand cliff scenery with a sombre sky and a sea in commotion. Hans Gude, living from 1864 in Carlsruhe, and from 1880 in Berlin, is one of those painters whom one esteems, but for whom it is not possible to feel great enthusiasm--one of those conscientious workers who from their very solidity run the risk of becoming tedious. His landscapes are good gallery pictures, soberly and prosaically correct, and never irritating, though at the same time they seldom kindle any warm feeling.