After Adam, the father of German battle-painters, _Peter Hess_ made an epoch by the earnestness and actuality of his pictures. He too accompanied General Wrede on the 1813-15 campaigns, and has left behind him exceedingly healthy, sane, and objectively viewed Cossack scenes, bivouacs, and the like, belonging to this period; though in his great pictures he aimed at totality of effect just as little as Adam. Confused by the complexity of his material, he only ventured to single out individual incidents, and then put them together on the canvas after the fashion of a mosaic; and, to make the nature of the action as clear as possible, he assumed as his standpoint the perspective view of a bird. Of course, pictures produced in this way make an effect which is artistically childish, but as the primitive endeavours of modern German art they will keep their place. The best known of his pictures are those inspired by the choice of Prince Otto of Bavaria as King of Greece, especially "The Reception of King Otto in Nauplia," which is to be found in the new Pinakothek in Munich. In spite of its hard, motley, and quite impossible colouring, and its petty pedantry of execution, this is a picture which will not lose its value as an historical source. Vigorous _Franz Krüger_ had been long known in Berlin, by his famous pictures of horses, before the Emperor of Russia in 1829 commissioned him to paint, on a huge canvas, the great parade on the _Opernplatz_ in Berlin, where he had reviewed his regiment of Cuirassiers before the King of Prussia. From that time such parade pictures became Krüger's specialty; especially famous is the great parade of 1839, with the likenesses of those who at the time played a political or literary part in Berlin. In these works he has left a true reflection of old Berlin, and bridged over the chasm between Chodowiecki and Menzel: this is specially the case with his curiously objective water-colour portrait heads. Mention should be made of Karl Steffeck as a pupil of Krüger, and Theodor Horschelt--in addition to Franz Adam--as a pupil of Adam. By _Steffeck_, a healthy, vigorous realist, there are some well-painted portraits of horses, and by _Th. Horschelt_, who in 1858 took part in the fights of the Russians against the Circassians in the Caucasus, there survive some of the spirited and masterly pen-and-ink sketches which he published collectively in his _Memories from the Caucasus_. _Franz Adam_, who first published a collection of lithographs on the Italian campaign of 1848 in connection with Raffet, and in the Italian war of 1859 painted his first masterpiece, a scene from the battle of Solferino, owes his finest successes--although he had taken no part in it--to the war of 1870. In respect of harmony of colouring he is perhaps the finest painter of battle-pieces Germany has produced. As I shall later have no opportunity of doing so, I must mention here the works of _Josef Brandt_, the best of Franz Adam's pupils.