his "Wood Nymph" excited the Munich public to indignation, just as the nude female figures of Courbet had roused indignation about the same time in Paris. Pictures painted with singular sureness of hand were executed by him during the few years that he yet had to live--portraits of dogs, landscapes of a flaming glow of colour, single figures of red-haired Bacchantes and laughing flower-girls, old men dying, and charming fairy pictures. The nearer he came to his death the more his powers of work seemed to increase. The most remarkable ideas came into his head. He drew, and painted without intermission designs which had occupied him for years. "I feel," he said, "like an architect who has been commissioned to carry out a great building, and I cannot do it: I must die." But the impulse which he had given in more than one direction had further issues. As Hans Thoma in later years continued the work of the great Frankfort master in the province of fairy-tale, _Wilhelm Leibl_ realised Müller's realistic programme. [Illustration: WILHELM LEIBL. _Kunst für Alle._] Wilhelm Leibl, son of the conductor of music in the cathedral, was born at Cologne on 23rd October 1844. At Munich he entered the studio of _Arthur van Ramberg_, that unjustly forgotten master who, both by his own work and by his activity as a teacher, exercised upon the younger Munich school a far healthier influence than Piloty. Ramberg was a modern man, was always eager to come into immediate contact with life and break the fetters of tradition which hung everywhere upon that generation. He was an aristocrat and a dandy, and, having occupied himself in the beginning with romantic fairy subjects, he painted, soon after his migration to Munich, a series of pictures from modern life--"Dachau Girls on Sunday," "The Return from the Masked Ball," "A Walk with the Tutor," "The Meeting on the Lake," "The Invitation to Boat," and others, which rose above the mass of contemporary productions by their great distinction, fragrance, and grace. At a time when others held nothing but the smock-frock fit for representation, Ramberg painted the fashionable modern costume of women. And when others devoted themselves to clumsy _genre_ episodes, he created songs without words that were full of fine reserve, nobility, and delicate feeling. _Rudolf Hirth_, who made a stir with his "Hop Harvest"; _Albert Keller_, the tasteful painter of fashionable life; _Karl Haider_, the sincere and conscientious miniature painter whose energy of manner had a suggestion of the old masters, together with Wilhelm Leibl, all issued from Ramberg's school, not from Piloty's.