128 THE FINE ARTS. 
on copper by him. Tischbein, Figer, Grassi, and Von Langer are also of 
the number of those who distinguished themselves, although in an opposite 
manner. The German Artists’ Union, founded in Rome in 1811, had the 
effect of adding heartiness to the prevailing character of the painting of that 
time; although we observe here and there a somewhat mystical tendency 
and in the drawing an approximation to or at least a preference for the 
older school, whose forms of art are but incompletely wrought out. The 
choice of subject was now confined in a good measure to the New Testa- 
ment and the cycle of legends. The most celebrated masters of this period 
and phase of art are Cornelius, Overbeck, W. Schadow, Veit, Jul. Schnorr, 
and afterwards Wach, Hess, Vogel, the brothers Riepenhausen, Begas, 
Nacke, and J. Scheffer. The exertions of king Louis I. of Bavaria gave 
birth to a new era for art in general and painting in particular; at the same 
time he recalled fresco-painting from its oblivion by the commissions for 
great wall-paintings which he distributed among the most celebrated masters 
of the age, vzz. Cornelius, Schnorr, Hess, Zimmermann, and Schlotthauer. 
In this manner was formed the Munich school of painting, from which have 
proceeded, in addition to a great number of excellent easel-pictures, the 
frescoes of the Glyptothek, the Royal Palace, All Saints’ Chapel, &., and 
by the younger artists, Hermann, Von Schwind, Schorn, Stirmer, and 
Stilke, the frescoes of the arcades of the court garden, the Odeon, the 
protestant church, the Isar gate, &c. The opposite of the Munich school, 
the school of the ideal forms, is found in the Disseldorf school under W. 
Schadow, which may properly be termed a school of naturalists, as they 
combine a faithful imitation of nature in conformation and coloring, with 
richness of thought and feeling, without attempting any peculiar idealiza- 
tion of forms. The most distinguished masters of this school are Lessing, 
Bendemann, Hildebrand, Hiibner, Sohn, Steinbriick, Kohler, Camphausen, 
Hasenclever, and Leutze. The last named, at present in America, was born 
in Germany, and received his artistic education in Diisseldorf, although he 
lived the greater part of his youth in Pennsylvania. His great talent and 
true artistic zeal have gained for him a place among the first of his school. 
In Frankfort on the Maine, Veit formed a school of painting, in which, 
among others, we find Rethel, Steinla, and Settegast; while the Vienna 
school adhered more to the manner of Overbeck. To this latter belong 
Ruppelwieser, Fihrich, Binder, and many others. In Dresden, Bende- 
mann and Hiibner, being invited to take up their abode there, gave that 
direction to art which has been followed up by Peschel, Richter, Oehme, 
and others. In Stuttgart, Gegenbauer (frescoes) and Dietrich pursued 
nearly opposite paths ; in Berlin, Begas and Wach took the lead, and were 
followed by Hensel, Hopfgarten, and others; but at present Kaulbach of 
Munich, the most eminent of all.German painters, exerts his powerful 
influence on all lines of art in Berlin. In Prague, Ruben, a pupil of the 
Munich school, labors for the revival of art, which in the middle ages 
(see p. 122) was pursued here with a good deal of success. The number 
of genre painters at the head of whom stand P. Hess, Htbner, Schrédter, 
and others, as also that of landscape painters, is considerable. Among the 
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