pictures on subjects from the history of the North, and his
portraits. Only a few of the later ones show any tendency
toward more thorough characterization; these few are, in
a way, Eckersberg before Eckersberg; they are more nearly
in his spirit than the portraits painted by Hornemann--
quite as able an artist--in his latest years under the direct
influence of the torch-bearer of Danish art.

On the rest of the older men who lived on into his time,
Eckersberg made little if any impression. There is a slight
trace in the work from the 1820's of Hans Hansen, a pupil
or imitator of Juel's, of little ability. As an historical
painter, Kratzenstein-Stub formed his style after Thorvald-
sen's; as a portrait painter, more or less after Gérard's.
Fritzsch, the painter of flowers, got his style, his effective
composition, and the free swing of his brush from Monnoyer
and other seventeenth century French or Dutch flower spe-
cialists. Gebauer, likewise, had studied the galleries more
diligently than nature. He by no means lacked delicate
and romantic feeling for the animals and the landscapes he
painted, but he did lack the courage to depend on his own
impressions. In composition and in coloring he followed
his Dutchmen to the end.

The art of the outgoing period thus persisted, to some
extent, into the first years of the nineteenth century in Den-
mark. The majority of its devotees, however, wore out
their moribund existence in the shadow, taking no place in
the light of truth which Eckersberg's art spread abroad like
the brightness of day; in this light the seedlings of future
Danish art were sprouting and growing green in abundance.

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