Others, such as _Ludwig Willroider_, _Louis Douzette_, and _Hermann Eschke_, set themselves to observe the German heath and the German forest from similar points of view; the one painted great masses of mountain and giant trees, the other the setting sun, and the third the sea. _Oswald Achenbach_, _Albert Flamm_, and _Ascan Lutteroth_ set out once more on the pilgrimage to the South, where, in contrast to their predecessors, they studied no longer the classic lines of nature in Italy, but the splendour of varied effects of colour in the neighbourhood of Vesuvius and the Bay of Naples. The most enterprising turned their backs on Europe altogether, and began to paint the primæval forests of South America, to which Alexander Humboldt had drawn attention, the azure and scarlet wonders of the tropics, and the gleam and sparkle of the icy world at the ultimate limits of the Polar regions. _Ferdinand Bellermann_ was honoured as a new Columbus when in 1842 he returned home with his sketches, botanically accurate as they were, of the marvels of the virgin forest. _Eduard Hildebrandt_, who in 1843 had already gone through the Canary Islands, Italy, Sicily, North Africa, Egypt, Nubia, Sahara, and the Northern sea of ice, at the mandate of Frederich Wilhelm IV in 1862 undertook a voyage round the world "to learn from personal view the phenomena that the sea, the air, and the solid earth bring forth beneath the most various skies." _Eugen Bracht_ traversed Egypt, Syria, and Palestine, and returned with a multitude of studies from the sombre and majestic landscape of the desert, and from that world of ruins and mountains in the East, and developed them at home into as many pictures. A modicum of praise is due to all these masters for having continually widened the circuit of subject-matter, and gradually disclosed the whole world; and if their works cannot be reckoned as the products of a delicate landscape painting, that is a result of the same taste which prescribed anecdotic and narrative subjects to the _genre_ picture of those years. The landscape painters conquered the earth, but, above all, those parts of it which were geographically remarkable. This they did in the interest of the public. They went with a Baedeker in their pocket into every quarter of the globe, brought with them all the carmine necessary for sunsets, and set up their easels at every place marked with an asterisk in the guidebook. And in these fair regions they noted everything that was to be seen with the said Baedeker's assistance. Through satisfying the interest of the tourist by a rendering, faithful to a hair's breadth, of topographically instructive points, they could best reckon on the sale of their productions.