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10 THROUGH NORWAY WITII A KNAPSACK.
Murray’s Handbook—contain little that is characteristic,
beyond some of the landscapes and interiors of what
is called the Düsseldorf school, and is too commonly
regarded in England as really German. The artists
of the so-called Düsseldorf school are Norwegians; but
why they should adopt a German name, and call the
exhibition they had in Bond Street " The German
Gallery," and allow their pictures in the Crystal Palace
to be classed as German, I do not understand. They
stand alone; there never was a " school" of art more
definitely characterized. As landscape-painters they are
pre-eminent: the German artists do not approach them.
Their pictures have not been fairly appreciated in
England, and have found few purchasers. The artists
sank their patriotism for the market sake, and failed in
their object; for they were thus swamped in the wide
sea of German art, while they might have stood alone
high and dry and conspicuous had they frankly called
themselves the Norwegian painters.
In the evening, we—that is, the salmon-fisher and
myself—visit the Klinkenberg, which is the Yauxhall
or Cremorne of Christiania. The chief entertainment
is the merry-go-round, an extensive affair of the kind,
elaborately constructed and placed under cover of a
special building. The fee is one skilling—about a
halfpenny—per ride; the apparatus accommodates some
sixty or eighty })eople. The merry-go-round evidently
holds a higher position in the social scale here than
in England: fathers and mothers, comfortable-looking
middle-aged citizens, .sit seriously on the wooden horses,
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