The art of the Munich galleries, being a history of the progress of the art of painting, illuminated and demonstrated by critical descriptions of the great paintings in the Old pinakothek, the New pinakothek and the Schack gallery in Munich

Front matter

THEART OFfHE MUNICH •GALLERIES

The original of tliis book is in tine Cornell University Library.

There are no known copyright restrictions in the United States on the use of the text.

Contents

CHAFTEB PAQE

I. History of the Pinakothek Collection i

II. Lower Rhenish and Old Dutch Schools . 33

CHAPTER I HISTORY OF THE PINAKOTHEK COLLECTIONl

At the time that the brothers Van Eyck first raised painting on wood in Germany to the level of a fine art, a Bavarian prince was their first patron. John of Bavaria, a grandson of the Emperor Ludwig, from his seventeenth year Bishop of Liittich, and later through the expulsion of his niece Jacoba, Count of Luxemburg, Brabant and Holland, had in 1422 taken Jan Van Eyck into his service, where he remained till the death of the count in 1424. That his title of a " valet de chambre " was no sinecure is evident from the fact that Jan left his home and his brother and settled at The Hague, where Count John held his court.

As Jan Van Eyck's strength lay in portraiture, there is no doubt that the first Bavarian royal por-

2 Ube Htt of tbe /IDuntcb Galleries

traits of an artistic character date from that period. But unfortunately among the many portraits by Van Eyck still preserved, not one can safely be accepted as representing the prince whom he served; and it is to be deplored, that of the many widely distributed works of this great master none have reached Bavaria, as the art treasures of Ludwig's successors were all lost with their possessions in Brandenburg, Tirol and Holland.

Regarded from the standpoint of artistic development in the Middle Ages, Bavaria proper was behindhand. Not only could Rhineland and Saxony, from the eleventh century on, boast an enthusiastic cultivation of art, with correspondingly great results, but the neighbouring ecclesiastical principalities and imperial cities like Wiirzburg, Bamberg, Regensburg, Augsburg, Ulm and Nuremberg, raised themselves to positions of relatively great brilliancy, while Bavarian cities, even the capitals, remained poor and destitute of art. Even in Munich, the Emperor Ludwig the Bavarian lived in a castle conspicuously inartistic, and, until the rebuilding of the Frauenkirche (1468-88), not a single important example of architecture could be found. Similar was the situation of Ingolstadt, and only in Landshut was some advance to be seen, that city boasting not only of an important castle (Trausnitz), but also of the Church of St. Martin,

Distort of tbe iptnaftotbel^ Collection 3

whose artistic worth greatly exceeded that of the Munich Frauenkirche. Belonging, as do all these churches of the hall type, to the very end of the Middle Ages, they are not even remotely to be compared with a jewel like the late Romanesque dome at Bamberg or the Gothic cathedral at Regensburgi Still more conspicuous was the late development of painting, where the only achievements worth mentioning were in glass painting, which found in Tegernsee its first industrial centre. Otherwise it was not till the beginning of the sixteenth century that Bavarian painting reached a position in any considerable degree superior to that of rude barbarism, the Italian influence of Giotto having found its boundary at the water shed of the Alps, while that of the Netherlands and the Rhine reached its natural frontier at the rivers Lech and Danube. Not only Nuremberg, but also the nearer city of Augsburg, remained for a very long period without visible influence on the Bavarian capital, and Albrecht IV seems to have neither coveted nor possessed a single work by any of the painters of either of these cities. The facilities for travel and transportation of that day were so limited that the distance between Nuremberg and Munich was comparatively great, particularly as Munich was not touched by any of the great commercial roads leading to Italy. As to the more adjacent Augsburg,

4 Zbc Htt ot tbe /iDuntcb eallettes

her relations with the capital seem to have been somewhat strained.

The earliest fostering of painting in the cities of Nuremberg, Augsburg and Regensburg is attributed to Duke Wilhelm IV (died 1550), who gave employment to Altdorfer, Feselen, B. Beham, Burgkmair, Prew, A. Schopfer, L. Refinger and others. Proof of their employment by the Duke is furnished by the portraits of himself and his wife, Jacoba of Baden, painted in 1526, and also in the series of great historical pictures of classical subjects of which the " Alexander in Battle," by Altdorfer, " The Martyrdom of Marcus Curtius," by L. Refinger, " The Siege of Alesia by Caesar," by Feselen, " The Reception of Cloelia by Porsenna," by the same artist, " Esther," by Burgkmair, and the " Discovery of the True Cross," by B. Beham, have been brought together in the Pinakothek. The much defaced " Battle of Cannae " by Burgkmair has remained at Augsburg and the " Battle of Zama " by J. Prew, the Elder, must also have been taken there. Others, however, like " Mucius Scaevola " by Abraham Schopfer, " Horatius Codes " and " Manlius Torquatus " by Refinger, were seized by the Swedes in the Thirty Years' War, and found their way into the National Museum at Stockholm (Nos. 294, 29s, 296). Two pictures of this series have in the past few years been recovered from ftistors of tbe iPinaftotbcft Collectton s

Swedish private owners, viz., " The History of Susannah " by Feselen ( ?) now in the gallery at Burghausen, and the " Lucretia " by Prew, now in Erlangen. Besides these, a " Love Scene " by Cranach and a " Judgment of Paris " by Hans Schopfer, the Elder (Nos. 258 and 297 of the Swedish National Museum), were obtained from the art collection of the Duke of Bavaria.

It was under Albrecht V (1550-79), the magnificent pioneer of the line of princely Bavarian art patrons, that anything like a real collection began its existence, but the " collector's fever " of this prince was intense, and was directed with prodigality and taste to the acquisition of objects of value, magnificent furniture, etc., so that since then the Bavarian treasure chamber, which owes to him the most precious of its treasures, is one of the most valuable in the world. He was less fortunate in his collection of antiques, his principal object being to get together a series of portraits. He was unfortunate in his advisers, and oftener than not was the victim of the duplicity or the ignorance of his Italian agents. Furthermore, his object seems to have been far more the hoarding of curiosities, such as crowded the so-called " art chambers " of the princely courts, than the accumulation of pictures, which latter, even when chosen, were selected far more because of their subjects, than for the sake

6 tCbe art ot tbe /Cunicb Galleries

of art or artist. Portraits play the chief role, emperor, prince or philosopher, famous men, halfmythical heroes, aye, even noted criminals. The descriptions of the period dwell insistently upon works which belong rather to the field of curiosities, for instance, a " Salvator Mundi " " with a little string, by means of which the eyes of the picture could be made to move." Otherwise, the inventories are ignorant and scanty to a point of actual uselessness. Consequently one finds among the nearly seven hundred works mentioned in the Fickler Inventory of 1 598, besides the already mentioned historical painting of William IV, only a few dozen pictures, and among these only three appear to be of especial importance, viz., the lifesize " Lucretia " by Diirer, the " Portrait of the Chancellor Bryan Tuke " by Holbein, and the " Susannah " by Altdorfer.

In the five volumes relating to the acquisition of the art treasures of Albrecht V in the local archives, the purchase of pictures is mentioned only incidentally, without the names of the artists, or in connection with names obviously incorrect. Titian is to be sure, mentioned frequently, but only in connection with the purchase of jewels and antiques, while of works of his brush we learn nothing reliable.

Wilhelm V (1579- 1597) was not in a position

'bistort of tbe pinaftotbefi Collection 7

to indulge such a passion for collecting as that displayed by his predecessor. It is true that annually from 1580 four hundred gulden were appropriated for the purchase of pictures ; but when we consider that with a ducal income of only 112,000 gulden, the church of St. Michael and the Jesuit convent, even after their consecration, devoured during the years 1590-97 the sum of 263,000 gulden; that at the same time the Maxburg in Munich and the old Castle at Schleissheim were being built; that furthermore the pious Duke was endowing churches in all directions and was a generous fosterer of church music (Orlando di Lasso), one can easily appreciate that painting, so far as the practical assistance of the Duke was concerned, was necessarily limited to the decoration of church buildings and the illumination of liturgical books. He was still further handicapped by the pronounced action of the higher social classes of the country, who immediately on the accession of Wilhelm, announced their determination to no longer comply with the demands which the resolute Duke Albrecht had known how to enforce. They insisted upon putting an end to "the ruinous purchase of curious and worthless objects " and insisted that the collection of Albrecht V should be sold; in fact Wilhelm V in 1583 declared that further purchases would be discontinued.

8 ube Hct of tbe /iDunicb Oalleties

The pious wish with reference to the sale of the collection remained, fortunately, ungratified. The cultivated and energetic son of Wilhelm, Maximilian, later the first Elector of Bavaria, seemed much more inclined to follow in the princely footsteps of Albrecht V, than in those of his father, and although the restoration of his palace, almost totally destroyed by fire in 1580, absorbed his means, the treasure chamber and the antique coin collection remained his favourite relaxation. Tlie celebrated cabinet of carved ivory used as a case for the gold coins, and now preserved in the National Museum, was an order given by Max to Christian Angermair of Weilheim.

The first of his line who in painting valued art for art's sake, he acquired for little money, but by means of many letters and acts of grace, his favourite works, viz. Diirer's masterpieces. These included in 1613 the " Paumgartner Altarpiece " from St. Catherine's church at Nuremberg and in 1614 the " Heller Altarpiece " from the Dominican church in Frankfort (burned with the palace in 1729). Then in 1627, despite the calamities of war, he acquired the " Four Apostles " from the Rathaus in Nuremberg, and the first half of the Emperor Maximilian's prayer book.

He also secured Hans Holbein's " Spring of Life," which in 1632 was taken by the Swedes and

Distort of tbe iPinaftotbeft Collection 9

via England carried to Portugal. In intelligent appreciation of the decline of German art, which after Hans Mielich (died 1573), Christopher Schwartz (died 1597), and Adam Elsheimer (died 1620) had wholly sacrificed its independence in characterless imitation of Italian art, especially that of Tintoretto, and on the other hand, in anticipation of the brilliant development of the art of the Netherlands, Max surrounded himself with artists from that country, whose work was to be the decoration of his castles. Among these Peter de Witte became a sort of intendant. Apparently too, he favoured the German artists who had been educated under Netherland influence, for example Nicholas Prugger, the court painter, to whom he gave employment for a long time.

The building of Heidelberg Castle possibly gave access to Northern artists and induced a leaning towards Northern art in contradiction to the Italian inclinations of the Imperial and ecclesiastical courts of South Germany, opening to the Netherlands the way to precedence in painting. At firsts of course, the war rendered any great advance in this direction impossible; but we learn, through a letter from Rubens to Sir Dudley Carleton (16 18), that he had delivered the great "Lion Hunt " to the Duke of Bavaria, which painting was the nucleus of the Rubens collection in Munich.

lo Ubc Hrt of tbe /iDuntcb Galleries

Later the gallery was robbed far more than enriched, especially during the second half of the war, so calamitous for Bavaria, when it was scarcely possible even to think of art.

Maximilian's successor, Ferdinand Maria (1651- 79), turned, but temporarily, in other directions. He married Henrietta Adelaide of Savoy, and through this connection found himself surrounded by Italian architecture, sculpture, painting and music. In addition he felt so keenly the influence of the time that his acquisitions were almost wholly in the temporarily highly valued field of the Eclectics, and therewith fell to the low level of the decadent style of the day. Furthermore Ferdinand Maria was far more interested in the decoration of his castles in Munich and Nymphenburg, and the Theatinerkirche, than in the actual collecting of pictures.

It remained for his son and successor Max Emmanuel (1679- 1 726) to make the collection of paintings one of the greatest in Europe. His long connection with the courts of Spain, France, Germany, and Italy afforded him rich opportunities, and, unaccustomed to place any restraint upon his own inclinations, he always found either the means or the credit to purchase what he desired. In consequence, in the first few years of his reign, he had acquired such additions to the collection that he

IbistorB ot tbe ipinaftotbeft Collection n

considered it necessary to add to Castle Schleissheim a special wing for a gallery, for which the architect E. Zuccali was called from Italy in 1684, and devoted himself to the work until the occupation of Bavaria by the Austrians.

As Governor of the Netherlands, Max Emmanuel found increased inspiration as a collector, and in a single transaction in 1698 with Gisbert van Cuelen at Antwerp he spent 90,000 Brabantine gulden for one hundred and five selected canvases. Among these were twelve Rubens, of which the life-sized portrait of Helena Fourment, with the naked child on her knees, two other portraits of her, two landscapes, the " Walk in the Garden," and "Peace and War" are still in the gallery; while " Mars and Venus " and " Lot and His Daughters " were presented by the Emperor to the Duke of Marlborough during the Austrian occupation. The " Adoration of the Three Kings " was taken to France in 1800 and is now at Lyons, and the " Diana with the Beasts " by Snyders was taken as part of the dowry of the Grand Duchess Mathilde, to Darmstadt. Of the same origin as the foregoing were the fifteen Van Dycks, of which even now the portraits of the organist Liberti, the painter de Wael and his wife, the sculptor Col3nis de Nole and his wife, the Duke of Croy and his consort, and the " Crucifixion " are ornaments of

12 ube art of tbe /iDuntcb ©alleries

the Pinakothek, while " Charles I on Horseback " through the presentation already mentioned passed to the Duke of Marlborough, and from his collection in 1885 to the National Gallery at London. Six others have disappeared entirely. Snyders' " Lion and Wild Boar," two large hunting scenes by Peter de Vos, with two by Fyt and two by Boel were in the collection. There were eight paintings by Brouwer, of which the most important was given by Max Joseph III in exchange to Herr von Triva, who also secured four Claudes at the same time. Besides these there were the two large de Heems, as well as the " Still Life " by Verendael and de Heem, three flower studies and seven others by Brueghel, a landscape by Paul Bril (circular), five by Wouverman, a Gerard Dou, two large flower studies by Monnoyer, and finally the celebrated " Dice Players " by Murillo.

Besides this immense acquisition, the last payment for which was not made until 1774, Max Emmanuel, inspired by the frequent opportunities incidental to the War of the Spanish Succession, left unused no opportunity to obtain treasures even beyond the bounds of his revenues. As Carl Albert (1726-45) and Max Joseph III (1745-77) did little or nothing to enrich the gallery, one is safe in accepting the collection, as described in the Schleissheimer inventory of 1761 as being in the main that

DtstotB of tbe tt>inaftotbeft Collection 13

of the time of Max Emmanuel. That inventory refers to 1,016 paintings, and it is possible that an equally large number could have been counted in the castles of Munich, Nymphenburg, and Dachau. We find, however, in Schleissheim comparatively few important Italian works, among them " Charles V " and " Vanity " by Titian (the latter formerly attributed to Giorgione), the double portrait by Bordone, " Jupiter and Antiope " by Paul Veronese (formerly called a Titian), and " St. Peter " by Ribera. To the previous Rubens are added the " Massacre of the Innocents," " Meleager and Atalanta," " Helena Fourrrtent " (full length), " Peter and Paul," and to be added to the Van Dycks already mentioned are the portraits of the etcher Malery, '• Mary Ruthven," " Spinola," " Mirabella," the beautiful sketch of the " Battle of Martin d'Eglise " and the magnificent picture, " Rest During the Flight into Egypt." Besides eleven Brouwers, there were seventeen Teniers, a couple of dozen by Jan Brueghel, and half a hundred more striking Dutch pictures. Of Murillos we find in 1788 three in Munich (a spurious copy of the " Card Players " not included). Many of these are doubtless jewels from the Spanish crown, which fell to the share of the Elector, before the death of the Crown Prince ended Max Emmanuel's candidature for the Spanish throne.

14 Ube Hrt of tbe /IDunfcb aallerfes

In 1777 Max III died, and with his death ended the Bavarian line of the Wittelsbachs. According to the family statutes the principal heir to the Palatinate, Karl Theodor, became also ruler of tlie Bavarian provinces, which combination opened up the possibility of unusual growth through the addition of the art treasures of the Palatinate to those of Bavaria. But Karl Theodor was prejudiced against Mvmich as a home, and was always hoping to re-establish his capital in the Palatinate, so he left his gallery at Dtisseldorf, and contented himself with erecting for the Bavarian collections a building in Munich, where access was easy even for amateurs and students. This gallery is on the north side of the palace garden, is architecturally unimportant, and is now used for housing the Ethnographic Museum and a collection of casts. An attractive picture of this gallery, in which were housed pictures got together in Munich and Schleissheim, is given by Rittenhaus in his " Merkwiirdigkeiten Mtinchens " (1788). Karl Theodor, however, did not neglect to enrich the gallery by purchases, principally Dutch cabinet pictures, among them some striking productions, as the " Dutch Interior with a Woman Reading " by de Hooch, but it was only at the close of his life that he determined to move his Mannheim collection to Munich.

This collection was established by the Elector

Distori? of tbe pinaftotbeft Collection is

Karl Philipp, the last descendant of the line of Pfalz-Neuburg, who cared neither to restore Heidelberg, nor to remove the remote capital of his ancestors to Diisseldorf, and it was further enriched by Karl Theodor. The principal dealer in these transactions seems to have been Nicholas de Pigage, who in 1783 made a demand for 65,000 livres, and was later granted an annuity of 5,500 livres payable in Mannheim from the Alsatian revenues. The collection of 758 pictures was mostly Dutch. To it belong the two great Rembrandts, " The Holy Family" and "The Sacrifice of Isaac" (formerly attributed to Bol), also the "Man and Wife " by Ferdinand Bol, four Brouwers, including the " Village Barber," several Adrian and Isaac Ostades, and many by Dou and Mieris. Particularly valuable are Terborch's " Boy with Dog," J. Steen's " The Brawl," " Admiral van Tromp," by Nicholas Eliasz and du Jardin's " Sick Goat." There are also several canvases by the German master Elsheimer, compared with whom the once highly honoured Netscher and Denner scarcely deserve mention. The Flemish schools are very sparsely represented; still the collection furnishes the works of Rubens, " The Shepherd Idyll," " The Sabine Women," and the alleged portrait of the master's mother. This collection contained also by Van Dyck that little jewel, the " Portrait of i6 ttbe Hct of tbe /iDunfcb ©alleries

Snayers," and the large " St. Sebastian." By- Brueghel and Balen there were no less than twenty-two cabinet pictures, among them the " Flora," for whose beauty Rubens is partly responsible. Among the few Italian pictures in the collection, were those of the school of Naples, represented in no mean way by the " Martyrdom of St. Andrew," "The Death of Seneca," and the "Woman with the Hen " by Ribera, and others by Carlo Dolce, and his school. The " Pastry Eaters " by Murillo was also included.

When after Karl Theodor's death in 1799 the Pfalz-Zweibriicken line succeeded in the person of Max Joseph, a third Palatine collection from Zweibriicken was added to the general Wittelsbach possessions. This collection, originally of two thousand or more pieces, had, during the Revolution, survived so many dangers, that its very existence seemed a wonder. On the approach of the Sansculottes in 1793 it was rescued at the last moment, just before Castle Carlsberg in Homburg, where it had been stored, was destroyed by fire along with the costly cabinet of natural curiosities which had been left there. The collection was next located in Mannheim, still in a very doubtful position as to safety. For not only was the protection promised in a special article of the treaty with the French in 1795, insufficient, but it was again placed

RIBERA. OLD WOMAN WITH A HEN.

Distort ot tbe iPinaftotbeft Collectton 17

in great danger during the siege of the city by the Austrians, when it was removed to subterranean vaults. A still greater danger threatening the collection was also outlived, viz., the scheme planned by Rumford for its sale, the motive for which was the depressed condition of Max Joseph's finances. This fortunately did not proceed beyond the transfer of the medal and jewel collections, before Karl Theodor died and the ducal family of Zweibriicken succeeded to the Bavarian electorate.

The conveyance of the Zweibriicken collection to Munich in 1799, from its dangerous position at Mannheim, was rendered possible only by the prudence of Mannlich, and his readiness to make sacrifices ; but even then its dangers were by no means passed, for the safety of the Bavarian capital was anything but secured. Scarcely were the pictures distributed among Munich, Schleissheim and Njmiphenburg, when once again a number of the best works were withdrawn, and from early in 1800 to October, 1801, concealed in Ansbach. In the spring of 1800 when General Moreau occupied Munich, not only did General LeCourbe seize for his private ownership a number of paintings from the royal castle, but the French Commissioner of Science and Art in Germany, Citizen Neveu, selected in Munich and Schleissheim seventy-two canvases as booty. There was a promise given of reci8 Zbc art of tbc /iDunicb (Balleries

ompense after the establishment of peace, but the only guarantee for this was the character and sense of justice of the First Consul. At all events the promise to replace the pictures stolen from the German galleries by works of French masters, was not considered seriously until the general reclamation of 1814, which act so far as the Bavarian paintings were concerned, was performed by Franz Thursch and G. Dillis. The latter on October 15, 1815, gave a receipt for twenty-eight canvases from the Louvre, which had been taken frorri Munich and Schleissheim, but at the same time advised his court to renounce all claims to the other two-thirds, which had been placed in either the provincial museums or the various churches of France, as the expense and labour of recovering them, would exceed the importance of their possession.

Although on the whole Dillis was correct in his estimate, as among the twenty-eight pictures recovered there were only three really important ones, Titian's " Crowning with Thorns," Rubens' " Meleager," and the " Combat between Alexander and Darius " by Altdorfer, it is nevertheless true that by the renunciation of the others, several very valuable works were lost, for example Rubens' " Adoration of the Three Kings," one of the earliest works of the master, now in Lyons.

The increase of the Bavarian paintings by the

IbistorB ot tbe iPinaftotbeft Collection 19

collection from Zweibriicken had gradually been reduced to 964. The peculiar impress given by the preponderance of French over German artists is explained by the locality of Zweibriicken. Among the French pictures specially worthy of mention are the two great Claudes, " Sunrise " and " Midday," the " Cook paring Turnips," by Chardin, and the " Girl's Head " by Greuze, besides others by Poussin, Le Brun, Le Moine, Le Prince, Subleyras, Desportes and others. Among the Flemish masters Rubens is not to be found, but eight Teniers are mentioned. The majority of better canvases are from Holland, by the two Ruysdaels, Ostade, Wouverman, Berchem, Both, and the two de Heems. Besides these we must not forget the " Dutch Cook " by Metzu, and the two large Wynants and the great Hondekoeter, now in Schleissheim.

These collections had scarcely been placed in the galleries in Munich and Schleissheim and the castles of Munich and Njnnphenburg, when in 1803 large additions were made, occasioned by the secularization of the ecclesiastical estates in Bavaria and the Tyrol. Unfortunately, in addition to the fact that a great deal was squandered, the transfer was in the hands of inartistic commissioners, besides which the gallery officials, although doubtless keen critics of Dutch and late Italian works, knew

30 Ube Hrt ot tbe /iDuntcb Gallerfes

nothing of the art of the fifteenth and sixteenth centuries. The works attributed to Dtirer, Holbein, and Cranach were absolutely ludicrous; besides these the names of Scorel and Israel van Meckenen were apparently the only ones at their command and were applied indiscriminately. Everything else was simply old Franconian, and as to distinction between the different schools, Van Eyck, Cologne, Suabian and Franconian, there was not a sign. When one considers the state of learning at that time one can scarcely reproach these functionaries, still it does seem unpardonable as well as irreparable, that in that critical moment all reliable bookkeeping, with reference to the places of acquisition, was neglected, thereby sacrificing a mass of important artistic data. The fact that a large number of altarpieces were torn from their places and piled in masses unstretched, to be later either buried or sold at absurd prices, is the least of their crimes, although by that means a great number of churches were uselessly defaced.

The result of the secularization was particularly to release pictures of the Old German schools, among the monasteries contributing being those of Kempten, Ottobeuren, Benedictbeuren, Tegernsee, Kaisheim, Ulm and Wettenhausen. Nor were there wanting works of a later period, as the great " Crucifixion " by Tintoretto, taken from the ttistots of tbe ^inaliotbeft Collection 21

church of St. Augustine in Munich; Rubens' " Trinity " from the same church, and his " Woman of the Apocalypse" from Freising Cathedral; the " Adoration of the Magi " by Tiepolo from the cloister of Schwarzach. The galleries of the bishops of Wiirzburg and Bamberg, which had fallen, like the others, under the act of secularization, contained works of no less importance. In 1803 and 1804 the castles of Dachau, Neuburg and Haag were rifled, and although a few valuable pictures came to light, Munich did not gain much by the transfer. At the same time or a little later came the annexations of the free imperial cities, the margravates and foundations of Franconia, and although the pictures here were of more importance, none of these places has much to complain of. The galleries of Bamberg, Augsburg and Nuremberg have received since far more than was then taken from them, and the gallery of Ansbach remains practically intact in the castle there, as is also the case with the castle of the former Elector of Mayence at Aschaffenburg, where there is a collection of the greatest value.

All the other acquisitions from the whole kingdom taken together, stand in value far behind that of one single one, the gallery of Dusseldorf. In the last days of his electorate, while still Duke of Berg, Max Joseph ordered the removal of this col-

22 Zbc Hrt ot tbe /iDuntcb Galleries

lection to Munich (Dec. 31, 1805). It is well-known that through the marriage of the Elector Palatine Philipp Ludwig of Neuburg-Sulzbach with Anna, heiress of Wilhelm, Duke of Julich and Berg, Diisseldorf came into the possession of the Palatinate. The son of the above couple, Wolfgang Wilhelm, married in 1613 the daughter of Duke Wilhelm V of Bavaria, and in the same year was converted to Catholicism, much to the distress of his father. This marriage, by reason of the ownership of the dukedom of Jiilich and Berg (so near the Netherlands), opened the way to the establishment of a connection with Rubens, and later with Van Dyck. From the former in 1618, he purchased for 3,500 gulden the large " Last Judgment " and in 1620 four other altarpieces, principally for the new Jesuit church in Neuburg. These works are now in the Rubens Room in the Pinakothek. Later he found opportunity for personal negotiation with Van Dyck, who sold him, besides other works, the superb picture of " Wolfgang Wilhelm with a Dog," now in the Van Dyck Room. The correspondence with Rubens, relative to these transactions, is still preserved. It does not appear that Wolfgang Wilhelm was interested in his galleries when making these purchases, nor does his son and successor Philipp Wilhelm (165 3- 1690) appear to have been more interested. When this latter sue-