Whilst the realistic movement in both towns was confined to particular masters, Munich had once again the mission of becoming a guiding influence. Here all the tendencies of modern art have left the most distinct traces, all movements were consummated with most consistency. The heroes of Piloty followed the divinities of Cornelius, and these were in turn succeeded by the Tyrolese peasants of Defregger, and amid all this difference of theme one bond connected these works: for interesting subject was the matter of chief importance in them, and the purely pictorial element was something subordinate. The efforts of the seventies had for their object the victory of this pictorial element. It was recognised that the talent for making humorous points and telling stories, which came in question as the determining quality in the pictures of monks and peasants of the school of Defregger and Grützner, was the expression of no real faculty for formative art--that it was merely technical incompleteness complacently supported by the lack of artistic sensibility in the public which had produced this narrative painting. It was felt that the task of formative art did not consist in narrative, but in representation, and in representation through the most sensuous and convincing means which stood at its disposal. A renewed study of the old masters made this recognition possible. [Illustration: GÜSSOW. THE ARCHITECT. (_By permission of M. H. Salomonson, Esq., the owner of the picture._)]