R U B EN S . A N D C H IL D WIFE . (S ee p ag e Flo rence J ean Ansell Frank Ro Fra rie S . M F R P y p , . , . tl e and K Autho r o f C as s eeps o f Sco tland, ” Amen Ba Inn et . g varian s, c ’ a uthor s; jforewow MU N I CH has long enjoyed a high reputatio n as i a place of study and training for pa nters . Many masters of many lands o w e thanks to the city for some of the knowledge which has brought them glory . This is due in great part to the excellent o ppo rtunities for study of the old masters afforded ma nifi cent i h by the g gallery, the old P nakot ek, which in some respects i s unrivalled by any gallery o f o r m Europe . There exists in the w ld for exa ple no such opportunity for the study of Rubens as in this gallery ; nowhere will one fi nd such a judiciously selected wealth of pictures co vering so wide a range of schools and styles . But the Old Pinakothek is not all . The modern galleries contain superb col no t lections, even though these are to be compared in pow er with the older collectio n . The authors of thepresent volume do not lay claim to the preparation of a revolutionary treatise . The opinions expressed w ill be fo und to follow in the main accepted judgments , necessarily tempered 0 by personal likes and preferences . We h pe that we have produced a book which will enable the ’ Vi a uthor s f Ot CWOt D visitor to the galleries to emplo y his time to the best advantage, and enable the distant reader aided by the numerous illustrations to fo rm some con ce ti n p o of the importance of the galleries . A word on the subject of the spelling of pro per i f e diffi cu lties is names, wh ch o fers p culiar , perhaps in i to order . It is absolutely mpossible to attain any exact standard of consistency i n this matter . The readiest and most useful method we believe is to adopt the forms likely to be most familiar to the h— i i Englis speak ng general reader, and th s we have i o endeavoured to do , leav ng abs lute accuracy as a goal to be striven for in the works of archaeological specialists . i o In add ti n to many reference books on art , we must acknowledge our special indebtedness fo r the ’ facts contained in the fi rst chapter to Von Rebet s in o ffi ci al history of the gallery, published the cata ’ Grau to ff s Gemaldesammlun en logue, and to g Mii nchens ad , on which , though with considerable ditio ns ew Pinako , are based the chapters on the N thek and the Schack Gallery . W IMAREFEN AM B u ust ERG, A g , Gontents C R AP?“ ?AGB Hxsro mr o r TH E PINAKOTH EK Co u s cr- xo n LOWER RHENISH AN D O w D UTCH Scu o o m D UTCH SCHOOL Tms FLEMISH SCH OOL TH E ITALIAN Scu o o x. TH E S PANISH SCH O O L TH E FRENCH SCHOOL NEW PINAKOTH EK TH E Sa cx GALLERY INDEX iLtst of fi llustrations PAGE R —W . F C H UBENS I E AND IL D (See page I 54) Fro ntispz ece R - L D W IBERA . O OMAN WITH A HEN 1 6 W H M K O F ST . IL EL OLN . VERONICA WITH THE HAND K ERC H IE F W — ST. L K VAN DER EYDEN . U E PAINTING A PORTRAIT O F THE VIRGIN M — . H HANS EMLING ST. JO N THE BAPTIST QUENTIN MATSYS . PIETA W L C X MICHAEL O G EMUT . CRU IFI ION ' D i - O F H ALBRECH T nu z R . PORTRAIT IMSELF C — L K A H D . A LBRE T URER U E PAUMGARTNER s ST . G S H EORGE AND TE P EN PAUMGARTNER As ST . EUSTACE — T . ST. D E ALBREC H T D URER . S OHN AND PETER ( J — D . ST. H ST. TAIL) . ALBREC T URER PAUL AND MARK (D ETAIL) — P0RTRA1T O HANS HOL B EIN THE YOUNGER . F Sm BRIAN TUKE — D FRO M C SS REMBRANDT . ESCENT THE RO —Tm: S G ERARD D o v . PINNER H - I O F D H L V PI ETER DE HOOC . NTERIOR A UTC I ING ROOM A P Y O F AT G ADRIAN BROUW ER . ART PEASANTS A AME O F CARDS LA MEINDERT HOBBEMA . NDSCAPE IX l i st Of fll lustrati ons PAGE BAr rL E 0 “ O e RUBENS . 1 THE AMAZ N RUB ENS . HELENA FO URMENT — W - L10N O F . Ru BENs. RUBENS . REATH FRUIT HUNT D — o r VAN YCK . BURGOMASTER ANTWERP AND HIS WIFE D YC D urex . K o r F . VAN . PORTRAIT HIMSEL VAN PORTRAIT O F LADY MARY RUTH VEN D V T Y - A D K P Y A ID ENIERS THE OUNGER . RIN ING ART —L K L L G WILD FRANZ SNYD ERS . IONE SS I IN A BOAR FRA FILI PPO LIPPI . MADONNA TT — v en Y O BO ICELLI . LAMENTATION o THE BOD F C H RIST G — m G Y B G Wo n HIRLANDAJO . MADONNA LOR EIN S H I PPE D BY SAINTS — ? V 01 ST. PERUGINO . ISION BERNARD — RO SEH ED G B IL FRA NCIA . MADONNA IN A RA . O F T R PHAEL MADONNA THE CASA EMPI . APHAEL . CAN IG IAN I HOLY FAMILY Tm AN . MADONNA AND C H ILD E O F F PALMA V ccm o . PORTRAIT HIMSEL T NTO R ET’ I‘O O I . PORTRAIT F A SCULPTOR E O F D V RONESE . PORTRAIT A PROU VENETIAN LADY G u mo REN — Assu mp T10N O x . F THE Vmc m — W TIEPOLO . ORSH IP O F THE MAG! VELASQUEZ . PORTRAIT o r HIMSELF M D C . M URILLO I E PLAYERS MURILLO . ELON EATERS — ZUR BARO N . O ss ST. FRANCIS F A xsx P — ESNB . Y T ANTOINE OUNG Gnu . IN A STRAW HA l i st of 11Ilustrattons PAGE ’ Z G i RL s G REU E . HEAD FEUERBACH . MEDEA Z S FRAN STUCK . IN L ENBA C H PORTRAIT O F PRINC E BISMARCK W SEGANTINI . PLO ING GABRIEL MAx . KATHARINE EMMERICH N TH E B y L E BAC H . SHEPHERD o ID Y Txvo u FEUERBACH . LL IN ~ — ' Bo c m 1N . N Bé cx u n . T I VILLA O THE SEA . R TON N AND EREID . e fi rt of B I m (gammy; CHAPTER I H ISTORY O F TH E PINAK OTH EK C OL LECTION AT the time that the brothers Van Eyck fi rst raised painting o n wood in Germany to the level fi ne fi rst a of a art, a Bavarian prince was their p E ero r tron . John of Bavaria, a grandson of the mp fro L ii t Ludwig, m his seventeenth year Bishop of tich , and later through the expulsion of his niece Jacoba , Count of Luxemburg, Brabant and Holland, 1 22 had in 4 taken Jan Van Eyck into his service , where he remained till the death of the count in w as 1 424 . That his title of a valet de chambre no sinecure is evident fro m 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 do ubt that the fi rst Bavarian royal po r c‘ be a rt of the M uni ch Galleri es traits of an artistic character date from that period . But unfortunately among the many portraits by ac Van Eyck still preserved, not one can safely be cepted as representing the prince whom he served ; i and it is to be deplored, that of the many w dely distributed works of this great master none have i ’ reached Bavaria, as the art treasures of Ludw g s successors were all lost with their possessions in i Brandenburg, T rol and Holland . Regarded from the standpo int of artistic devel o ment in i p the Middle Ages , Bavar a proper was i behindhand . No t only could Rh neland and Sax fro o n enthu si ony, m the eleventh century , boast an astic i i i i cult vat on of art, w th correspond ngly great i i results , but the ne ghbouring eccles astical princi alities i W ii rz bu r p and imperial cit es like g, Bam berg, Regensburg, Augsburg, Ulm and Nuremberg , raised themselves to positions of relatively great i i brill ancy, while Bavarian cit es , even the capitals , i o o r in a rema ned p and destitute of art . Even M i nich , the Emperor Ludwig the Bavarian l ved in a u i t e castle conspicuo sly inart stic , and , until the building of the Frauenkirche ( 1 468 not a sin gle important example of architecture could be i i fo n . i u d S m lar was the situat on of Ingolstadt, in and only Landshut was some advance to be seen , that city boasting not only of an important castle ( Trausnitz ) , but also of the Church of St .