Germany: Louis Knaus, Benjamin Vautier, Franz Defregger, Mathias Schmidt, Alois Gabl, Eduard Kurzbauer, Hugo Kauffmann, Wilhelm Riefstahl.--The Comedy of Monks: Eduard Grützner.--Tales of the Exchange and the Manufactory: Ludwig Bokelmann, Ferdinand Brütt.--Germany begins to transmit the principles of _genre_ painting to other countries.--France: Gustave Brion, Charles Marchal, Jules Breton.--Norway and Sweden stand in union with Düsseldorf: Karl D'Uncker, Wilhelm Wallander, Anders Koskull, Kilian Zoll, Peter Eskilson, August Jernberg, Ferdinand Fagerlin, V. Stoltenberg-Lerche, Hans Dahl.--Hungary fructified by Munich: Ludwig Ebner, Paul Boehm, Otto von Baditz, Koloman Déry, Julius Aggházi, Alexander Bihari, Ignaz Ruskovics, Johann Jankó, Tihamér Margitay, Paul Vagó, Arpad Fessty, Otto Koroknyai, D. Skuteczky.--Difference between these pictures and those of the old Dutch masters.--From Hogarth to Knaus.--Why Hogarth succumbed, and _genre_ painting had to become painting pure and simple.--This new basis of art created by the landscapists 194 CHAPTER XXIII LANDSCAPE PAINTING IN GERMANY The significance of landscape for nineteenth-century art.--Classicism: Joseph Anton Koch, Leopold Rottmann, Friedrich Preller and his followers.--Romanticism: Karl Friedrich Lessing, Karl Blechen, W. Schirmer, Valentin Ruths.--The discovery of Ruysdael and Everdingen.--The part of mediation played by certain artists from Denmark and Norway: J. C. Dahl, Christian Morgenstern, Ludwig Gurlitt.--Andreas Achenbach, Eduard Schleich.--The German landscape painters begin to travel everywhere.--Influence of Calame.--H. Gude, Niels Björnson Möller, August Cappelen, Morten-Müller, Erik Bodom, L. Munthe, E. A. Normann, Ludwig Willroider, Louis Douzette, Hermann Eschke, Carl Ludwig, Otto v. Kameke, Graf Stanislaus Kalkreuth, Oswald Achenbach, Albert Flamm, Ascan Lutteroth, Ferdinand Bellermann, Eduard Hildebrandt, Eugen Bracht.--Why many of their pictures, compared with those of the old Dutch masters, indicate an expansion of the geographical horizon, rather than a refinement of taste.--The victory over interesting-subject-matter and sensational effect by the "_paysage intime_" 230 CHAPTER XXIV THE BEGINNINGS OF "PAYSAGE INTIME"