Alte Pinakothek Research Articles

Tracing the history of past treatments: A multi-analytical study of a 16th-century panel painting copy after Raphael

A multi-analytical investigation and ad hoc sampling method designed to support the conservation treatment of a 16th-century panel painting are described in this work.The painting, titled Madonna of the Tent and owned by the Musei Reali Torino (Turin, Italy), had been historically attributed to Raffaello Sanzio and subsequently identified as a copy after the Master – the original version of which is displayed at the Alte Pinakothek in Munich (Germany). The conservation treatment was recently carried out at Centro per la Conservazione ed il Restauro dei Beni Culturali “La Venaria Reale” (CCR), located in Venaria Reale (Turin, Italy). The work was particularly opaque and yellowed, suggesting the presence of different overlaying varnishes and, likely, overpainting.The scientific study of this work had two main aims: knowing the exact number and composition of the overlaying varnishes to select the best cleaning solution, and detecting the possible presence of overpainting, over the original stratigraphy.Coupling macro X-ray fluorescence scanning (MA-XRF), hypercolorimetric multispectral imaging (HMI), and UV–vis–NIR fiber optic reflectance spectroscopy (FORS) allowed for general mapping and characterization of color paints and pigments. Observing and analyzing some cross sections with an optical microscope under Vis and UV light and SEM/EDS was essential for understanding the stratigraphy. An ad hoc sampling method and further micro-invasive analyses were required for an accurate study of the chemical composition of the varnishes and their position in the stratigraphy. Especially the image of a cross section under UV light was a guide to selectively remove the scrapings for Fourier transform infrared spectroscopy (FTIR) and pyrolysis-gas chromatography/mass spectrometry (Py-GC/MS) analyses; based on perceptible differences in UV-induced luminescence (UVL) of the layers, sampling of the varnishes was carried out, layer by layer, under a UV lamp.This work describes the complex process necessary to answer crucial questions in the conservation field. The adopted protocol exploited the full ability and complementarity of each imaging and spot technique used. The outcomes and methodological approach enabled us to trace the history of the past treatments and support the recent conservation treatment of the painting.

Hans Döllgast, post-war reconstruction and modern architecture

The works of post-war reconstruction in Munich by the German architect Hans Döllgast (1891–1974) have become a reference point for interpretative modern architectural responses to damaged heritage. In the context of Berlin’s museum restorations of the past fifteen years, leading designers from David Chipperfield to Roger Diener have paid tribute to Döllgast’s inspirational restitution of the Alte Pinakothek art museum in Munich in the 1950s. This article revisits Döllgast’s contribution to reconstruction by drawing on a wider corpus of his writings. Döllgast’s critical attitude to Modernism is examined not as a quirk, but rather as a key to his distinct achievements in reconstruction. Unlike existing accounts that assess his work by case studies, the article focuses on cross-cutting themes in Döllgast’s approach. It challenges the tendency to over-privilege the iconography of ruination in Döllgast and draws attention to his underlying interest in continuity in modern architecture.

Rethinking Art Museum Spaces and Investigating How Auxiliary Paths Work Differently

It has been recognized that one of the key issues in designing museums is the interaction between the layout of space and the layout of objects, and spatial configurations are strongly related to didactic narratives, social implications, and curatorial intentions. However, it has not yet been examined thoroughly how museums work from a spatial perspective. Apart from the layout of objects, spatial configurations play an important role in creating various walking sequences, ranging from main routes to auxiliary paths. Art museums in particular can be characterized by such deviations generated by the auxiliary path, but they are hardly understood from this aspect. Therefore, this study aims to explore the auxiliary paths and examine how they work through in-depth theoretical analysis based on space syntax. By analyzing four art museums in terms of isovist attributes, syntactic measures, spatial sequences, and possible trails, it has been concluded that in the cases of the Uffizi Gallery and the Moderna Museet, spatial sequences work conservatively, so that auxiliary paths are channeled back to the gathering space. This is because the walking experience is strongly correlated with visual syntactic features such as connectivity, integration, and intelligibility. Conversely, walking sequences in the case of the Centre Pompidou and the Alte Pinakothek work generatively, and auxiliary paths are rarely related to the gathering space because the walking experience is strongly concerned with visual geometric properties such as isovist area/perimeter and occlusivity.

Radial distribution of figures in Leonardo’s and Renaissance paintings

Via a dedicated software program it has been possible to overlap circular drawings (such as the Academia Leonardo da Vinci woodcut and the Islamic Samsha sun-symbol) with paintings by Leonardo (Madonna Litta, Madonna Benois) and by Botticelli (Madonna del Libro). These paintings show a radial distribution of the figures of Madonna and Child, with the Child’s head embracing an inner circle that then expands to encompass the Madonna’s head as well. This radial distribution of figures imparts to these paintings a unique harmony and radiance that is absent in the Byzantine icons representing the same subjects over the centuries, from about the third century AC till the fall of Byzantium (Constantinopolis). Interestingly, the Madonna and Child (Tempi Madonna) by Raffaello at the Alte Pinakothek, although painted in 1508, does not follow this rule. However his masterpiece Madonna della Seggiola, 1513–1514, shows the same radial distribution as found in Leonardo’s paintings, suggesting that Raffaello had studied the works of the Maestro and appreciated this peculiar disposition of the heads of the two figures.

Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia

Mistrzowie dawni. Szkic do dziejów dziewiętnastowiecznego pojęcia

The First modern museums of art: the birth of an institution in 18th- and early-19th-century Europe

It is a comelling account of the origins of the world's most important museums. In the 18th and early 19th centuries the first modern, public museums of art appeared throughout Europe, setting a standard for the nature of such institutions that has made its influence felt to the present day. Although the emergence of these museums was an international development, their shared history has not been systematically explored until now. Taking up that project, this volume includes chapters on fifteen of the earliest major examples, from the Capitoline Museum in Rome, opened in 1734, to the Alte Pinakothek in Munich, opened in 1836. These essays consider a number of issues, such as the nature, display, and growth of the museums' collections and the role of the institutions in educating the public.

The Writing on the Wall

Peter Cornelius's murals in the Alte Pinakothek in Munich broke new ground for museum decoration. Following Friedrich Schlegel's dictum, "The best theory of art is its history," they provided simultaneously a history and a theory of art. Inspired by Raphael's Vatican grotesques, the program's conceptual basis was the Romantic arabesque, an artificial combination of heterogeneous elements—from narrative histories and personifications to symbolic ornaments—whose meaning depended on an endless cross-referencing. Cornelius's innovations were taken up as well as challenged by Wilhelm von Kaulbach's monumental decorations in the Neue Museum in Berlin, which shifted from the history of art to a world history of civilization and religion. Despite the projects' differences, they align in their subordination of museum architecture to pictorial discourse. In an age, when star architects attempt to trump collections with their buildings, these museum murals present a productive challenge to notions of looking and the question of how to achieve (or steer) a collection's legibility.

The Patronage of Rembrandt's Passion Series: Art, Politics, and Princely Display at the Court of Orange in the Seventeenth Century

IntroductionBetween 1633 and 1646, Prince Frederik Hendrik of Orange (1584-1647) commissioned and purchased seven paintings by Rembrandt. Commonly known as the Passion Series, the paintings remain an intriguing puzzle in the world of Rembrandt studies. The Passion paintings do not, in fact, narrate the story of Christ's Passion. Two scenes from the childhood of Christ (the Adoration of the Shepherds and Circumcision) are included, while major events of the Passion (such as the Crucifixion) are omitted. Furthermore, the paintings are on different supports, in different styles, and were assembled in a piecemeal fashion at irregular intervals over more than 15 years. Yet the series remains the most prestigious commission in Rembrandt's career. Made for the premier patron of art in the Northern Netherlands, it was by any standards among the artist's most valuable (as well as lucrative) projects.Seven paintings made up the Passion group in 1646; today, six survive, in the Alte Pinakothek in Munich. In chronological order of production, they are: the Descent from the Cross (1633); the Raising of the Cross (1633); the Ascension (1636); the Entombment (by 1639) and Resurrection (by 1639); and the Adoration of the Shepherds (1646). A Circumcision (1646) has been lost, though a copy of the composition may exist in the Herzog Anton Ulrich Museum, Braunschweig.1 There are two main reasons to think about these paintings as a group: the first is their common size and format (about 90 x 70 cm, with slight variations, all with semicircular arched tops and ebony frames). The second is the fact that they were all owned by Frederik Hendrik, stadhouder in the Northern Netherlands and Prince of Orange-Nassau.The paintings have garnered relatively little sustained attention in Rembrandt scholarship, perhaps due to their visual oddity (a perception exacerbated by the sadly worn condition of the six remaining paintings). The scholarly focus has been on the artist, and on the seven letters in Rembrandt's own hand that survive regarding this commission. By contrast, the role of the patron has been minimized. Most scholarship on the paintings simply states the fact that they were made for the Prince while discussing separate issues such as Rembrandt's stylistic development or biography.2 In this article, I will focus on the patronage of these works, their location within a larger system of court display, and their reception and interpretation. As writers on patronage have pointed out, court art and architecture in the early modern period was invested with important functions and carried significant weight in a ruler's quest to define and solidify power.3 Since the Passion series was a court commission, re-establishing its courtly context (both in its physical setting and audience) provides a new understanding of the frame of reference within which the series operated.Enter the PatronFrederik Hendrik was the third son of the famous champion of Dutch independence, Willem van Orange-Nassau (also known as Willem de Zwijger, or 'the Taciturn'), and one of several military heroes and stadhouders from that aristocratic family. From youth he was groomed to serve the United Provinces and further the family interests. Frederik Hendrik learned military skills at the elbow of his elder half-brother Maurits van Orange, the renowned general and military strategist. Frederik Hendrik acquired diplomatic and social skills during service to his godfather King Henri IV of France, and from his well-connected French Hugenot mother, Louise de Coligny.Like his father and brother, Frederik Hendrik served as stadhouder in the Northern Netherlands. The stadhouder (literally, 'city-holder,' or governor in today's terms) post derived from the nation's earlier history as a part of the Burgundian and Hapsburg empires. In those days, trusted local aristocrats were appointed by absent rulers to govern on their behalf. During the Republic, the stadhouder instead served the States-General, the sovereign governmental body made up of representatives from the regent class across the Netherlands. …

The attribution and sitter of the Munich Portrait of a Young Man in a Fur Coat

ABSTRACTIn the mid seventeenth century, Carlo Ridolfi attributed to Giorgione a Portrait of a Young Man in a Fur Coat, now in the Alte Pinakothek, Munich. However, Ridolfi was confused about much of Giorgione's oeuvre, and his ascription is now generally discarded. Currently, most scholars believe that the portrait was executed by Palma Vecchio, but style and chronology suggest otherwise, and in this paper Mauro Lucco's attribution of the painting to Sebastiano Luciani, known later in his career as Sebastiano del Piombo, is endorsed. Ridolfi also stated that the young man in the Munich portrait was a member of the Fugger family of Augsburg, and the reasons for accepting this are sound. Here, the sitter is recognised as Anton Fugger (1493–1560), an identification that is supported by biographical details, and through comparison with other known likenesses.

Christology of Nicholas of Cusa and Christological Iconography in Self-Portraits of Albrecht Dürer

The identification with Christ in self-portrayal of Albrecht Dürer is most often based on Dürer’s empathy with Christ’s passion although in some cases a more complex idea of christomimesis can not be excluded. This is most evident in his Self-Portrait in a Fur-Collared Robe (1500, Alte Pinakothek, Munich). The article concentrates on the possible influence of Nicholas of Cusa’s Christology on the iconography of Dürer’s Self-Portrait of 1500 – a theory much discussed in the last fifty years. The comparative analysis of philosophy of Nicholas of Cusa and Dürer’s artistic and written opus brings to light surprisingly close views on beauty, harmony, ideal proportions, and the importance of mathematics in visual arts. Even more important is the common notion of Man and the relationship between Man and God. Cusanus’s teachings on Christ mark a new stage in the history of Christian humanism: by describing Christ as “homo perfectus” and Man as “alter Deus” the Cusan emphasizes a close relationship between Christ and Man, thus paving the way for the revolutionary humanistic notion of Man as (almost) equal to God. The relationship is so intimate that according to the Cusan a man who tries to envisage His true image – vera icon Christi – will finally see it as a mirror-reflection of his own face. That is precisely the case in Dürer’s Self-Portrait in Munich: Dürer depicts himself as Christ because the real image of God is actually a mirror in which the spectator’s own features are reflected.

Rochus, der Schutzheilige der Ärzte und Krankenhäuser – ein teledermatologisches Quiz

The painting "St. Rochus with an angel" by Quinten Massys in the Alte Pinakothek in Munich was utilized for a teledermatological quiz. First, only a detail of the plague bubo on the thigh was sent electronically to all physicians in our department. The answers were correct descriptions, but the interpretations quite heterogeneous. In a second set, the full painting together with the hint- Pinakothek - was given. Now the number of descriptively correct diagnoses was high; one resident knew the name of the featured individual and his diagnosis. This example demonstrates one problem with teledermatology - when viewing a clinical picture, relevant additional information is frequently essential in order to make a correct diagnosis. In addition, this presentation of saint physicians and hospitals, the holy Rochus, better known to those who are under his protection.

The Recovered Modello of P. P. Rubens' "Disembarkation at Marseilles". The Problem of Control and Censorship in the Cycle "Life of Maria de' Medici"

The cycle Life of Maria de' Medici painted by Peter Paul Rubens, which was executed by the artist for the Western Gallery in Palais du Luxemburg in Paris (1622-1625), was subject to political control, first and foremost by the entourage of the Queen Mother herself, and in the final stages also by King Louis XIII. One of the proofs of the existence of a system of control over the cycle are Rubens' bozzetto and modello for Disembarkation at Marseilles. The bozzetto, dated 1622, is in the collection of Alte Pinakothek in Munich, the modello - in a private collection and has not so far been described at length in literature. The modello was executed by Rubens; it may have been completed with the help of Rubens' then co-worker, Justus van Egmont. The sense of the changes in the composition of Disembarkation of Maria de' Medici at Marseilles (bozzetto - modello - painting) can be explained by the likely intervention of one of the clergymen (probably Abbe Saint-Ambroise) from the Queen Mother's immediate entourage. After the rejection of Rubens' original composition (bozzetto in the Alte Pinakothek in Munich), the artist had to paint another painting - modello (which by definition is larger in format than bozzetto and represents a greater degree of precision with regard to detail) in order to win the court's approval for the new composition. It is the only painting which exists in an intermediary format in-between a sketch (bozzetto) and a large-sized, monumental painting from the Louvre. The modello must have originated after the bozzetto; it was probably painted in Paris in May 1623, due to controversies which arose around the final version of The Disembarkation at Marseilles.

Peter Paul Rubens, Galileo Galilei Und Die Schlacht Am Weißen Berg

P. P. Rubens's Apocalyptic Woman, painted 1623-1625 for the cathedral of Freising as its altarpiece, and now in the Alte Pinakothek in Munich, has recently been interpreted as a work imbued with several layers of meaning. One of these layers refers to specific historical circumstances under which the painting came into being - especially to the fact it was ordered by Maximilian of Bavaria, the head of imperial troops at the Battle fought on the White Mountain near Prague on 8 November 1620. In this article, this topical significance of the painting, proposed by Konrad Renger in 1990, is further substantiated by connecting Rubens's depiction of the moon therein with a passage in Galileo Galilei's Sidereus Nuncius of 1610, where the round cavity around the middle of the moon was compared in its shape with Bohemia on the map of earth. In Rubens's picture, this shape can be seen under the right foot of the Apocalyptic Woman.

Knabe im Atelier und Bücherstilleben, zwei frühe Gemälde von Jan Lievens und ihr Leidener Kontext: Rembrandt, Jan Davidz. de Heem, Pieter Codde

AbstractA painting entitled Le jeune Dessinateur (the young draughtsman), identified in 1932 by Hans Schneider as an early work by Jan Lievens and hung in the Louvre together with Rembrandt, should still, according to prevailing scholarly opinion, be attributed to the much younger Wallerent Vaillant on the basis of a reproduction engraving with his address. It was made after Vaillant and Michael Sweerts had come across the more than 30-year old Lievens painting in about 1660 which inspired them to make variants of their own in the style of their times - variants which Vaillant also published as engravings. This important consequence underlines the status of an unrecognised major work by the young Jan Lievens, a work which in terms of content and form has much to tell us about painting in Leiden around 1628. The curious iconography (the boy is not drawing, but studying drawings, in keeping with Schneider's understanding of the title, Knabe in Atelier (Boy in the Studio), is found only in Pieter Codde's work of that period. Codde owned many works by Leiden painters, prompting Abraham Bredius to suggest as early as 1888 that this Amsterdam painter worked in Leiden for a while. A studio prop in the form of a plaster cast of the infant Jesus from Michelangelo's Bruges Madonna casts a new light on Lievens' interest in the great exemplars of classical art, an interest which Constantijn Huygens failed to perceive when he visited the studio. Lievens had depicted the figure before, in oblique perspective ; it was evidently important for the training of his ability to render three-dimensionality. The group of studio plaster casts is related to a hitherto anonymous Leiden Still Life with Books dating from about 1628, in the Alte Pinakothek, Munich. Discussed earlier in connection with Lievens, this still life is now assigned to Lievens himself, an attribution which is supported by additional arguments. The choice of motif and monochrome colouring has aspects in common with the Vanitas and still lifes with books painted by Jan Davidz. de Heem during the same period and endorsing, with new arguments, his connection with Lievens' and Rembrandt's circle. Lievens' Boy in the Studio, finally, is of significance for the interpretation of Rembrandt's Young Painter in the Studio in Boston, painted at the same time. The two pictures would appear to be linked by antithetical basic statements and art education.

Observations concerning an autograph Variant by Hans von Aachen

Summary Hans von Aachen's Triumph of Truth over Deceit in the Detroit Institute of Arts could be an antecedent to the more highly finished and resolved version in Munich, Alte Pinakothek. The landscape backgrounds are attributed to a collaborator, possibly to Pieter Stevens.

Did squinting cause the 'Dürerblick'?

During his working life, Albrecht Dürer (1471–1528) produced a number of oil paintings, over 400 prints and about 1200 drawings (Strieder 1982). His highly detailed and inspired woodcuts and copperplate engravings were brilliant. Some of Dürer's allegorical work, such as ‘Melencolia’ (Fig. 1), tempts its observers to make their own interpretations, but it has always refused to give up all its secrets. Melencolia 1. Albrecht Dürer. Copperplate engraving, 1514. 24 × 19 cm. An explanatory text on the painting ‘Piper and Drummer’ (Fig. 2) (Polland 1991) states that the drummer is gazing toward the piper with empathy, and claims that the drummer is a hidden self-portrait of Dürer. This appears to be highly likely, as the figure bears a striking resemblance to those in other self-portraits. However, when we look more closely at this painting (Fig. 3), we see that Dürer's right eye squints outwards and upwards, while his left eye stares straight ahead. Dürer suffered from a right-side exotropia and hypertropia. In the German literature on the subject, this look is referred to as the ‘Dürerblick’ (Strebel 1937) and it is seen repeatedly in his many self-portraits (Fig. 4). The fact that this is actually a case of a defective position of the left eye − because Dürer used a mirror to paint his self-portraits − is irrelevant in this connection. Piper and Drummer. Albrecht Dürer. Oil on wood, 1503–1504. 95 × 51 cm. Reproduced with permission of the Wallraf-Richartz Museum, Cologne. Detail of Fig. 2. Self-portrait with Landscape. Albrecht Dürer. Oil on wood, 1498. 52 × 41 cm. Reproduced with permission of the Prado Museum, Madrid. A defective eye position is also seen in ‘Self-portrait with Bandage’ (Fig. 5), and, looking at this drawing, we may wonder why Dürer was holding his hand in front of his right eye. Could he have suffered from a paralysis with diplopia? If this were so, it would explain his compensatory turning of the head in the self-portraits and account for the fact that he holds his hand in front of his right eye. In any event, Dürer showed no sign of squinting at 13 years of age (Fig. 6), although the same defective position of the eye can be detected in a portrait of his mother (Fig. 7), which would imply that he might have inherited a tendency to squint. In contrast, no such defective position is seen in the well-known portrait of Dürer's father that hangs in the National Gallery in London. Self-portrait with Bandage. Albrecht Dürer. Pen drawing, 1491. 20 × 21 cm. Repro-duced with permission of the University Library of Erlangen-Nürnberg. Self-portrait as a Boy. Albrecht Dürer. Silver point drawing, 1484. 27 × 20 cm. Re-produced with permission of the Albertina Museum, Vienna. Dürer's Mother Barbara. Albrecht Dürer. Charcoal drawing, 1514. 41 × 30 cm. Re-produced with permission of the City Museum of Berlin. Dürer was a painter who idealized his subjects to a great extent; he was also marked by the religion of his time. He was a major theoretician and wrote many treatises on subjects such as perspective. He may have suffered from incomplete binocular vision due to his squinting. He may also have been nearsighted in his squinting eye, which in many self-portraits appears to be larger than the other eye. In certain paintings, such as ‘Birth of Christ’ (Alte Pinakothek, Munich), the picture appears to be compressed, which could indicate some difficulty with binocular vision. It is also interesting that many of his paintings include extremely small, detailed figures. It would be difficult for a painter with normal vision to execute these miniatures, as well as his detailed copper plate engravings, without using a magnifying glass, which in all probability Dürer did not have. Possible nearsightedness in one eye would undeniably have made such painting easier.

THE MUNICH DÜRER ATTACK: CONSERVATION AND RESTORATION OF THE DAMAGED PANELS

Five painting by Albrecht Dürer in the Alte Pinakothek, Munich, were seriously damaged by an attack with sulphuric acid. First attempts at cleaning showed that this would involve additional loss of original material. Since all the affected areas registered a pH between 1 and 2, thorough neutralization of the damaged portions seemed unavoidable. After experimenting unsuccesfully with wet chemical neutralizing solutions it was decided to use the ion-exchange method. The ion-exchange resin was preconditioned in the laboratory and applied to the damaged ar as in the form of a watery paste, working under a microscope. After drying overnight, the powdery compound was removed with a mini vacuum cleaner. This treatment was in most cases sufficient to reduce the acidity level to a moderate pH of 6 or 7. It was then necessary to consolidate the damaged areas. Partly because of the enhanced porosity of the exposed ground layer, and also to avoid unnecessary re-wetting of the affected parts, a mixture of beeswax and dammar resin was chosen. A traditional wax-chalk filler will be used before retouching.

THE MUNICH DÜRER ATTACK: THE REMOVAL OF SULPHURIC ACID AND ACID COMPOUNDS BY USE OF A CONDITIONED ION-EXCHANGE RESIN

AbstractIn April 1988 five panels by A. Durer at the Alte Pinakothek, Munich were damaged by an act of vandalism. Large areas of the paint layers, the ground’ and even the wooden support were severely affected by concentrated sulphuric acid. This contribution discusses first measures taken after the attack. Possible chemical reactions between the painting materials and the acid are identified. The analytical results allow reevaluation of the conventional adsorption and neutralization procedures so far applied. An alternative treatment with a specially conditioned ion exchange resin is proposed. Its application turned out to be very effective in softening the crusts, adsorbing acid reaction products as well as neutralizing the remaining parts. The preparation and the handling of the ion-exchange resin are discussed in detail.

Extension of the exhibition rooms at the Alte Pinakothek, Munich

(1962). Extension of the exhibition rooms at the Alte Pinakothek, Munich. Museum International: Vol. 15, No. 3, pp. 146-151.

The Master of the Life of the Virgin

The realisation of the honour and devotion that are due to our Lady in Mediaeval and early Renaissance times, engendered a corresponding increase in pictorial representation of scenes from her life and the childhood of our Lord. It is not infrequent that the source of the inspiration and the materials are to be traced to the Apocryphal legends. The heretical trends they contain and the dubious authenticity of many of the accounts have long rendered them suspect in the eyes of the Church. Notwithstanding this, the mind of the mediaeval artist was particularly susceptible to the graphic and imaginative nature of some of the stories, besides they served to satisfy the desire for a greater knowledge of the small intimacies of the life of the Holy Family. The arrival in London of the collection from the Munich Alte Pinakothek affords a unique opportunity to see the treasures for many people in this country; they will remain on view until August the 7th. The collection contains, among other things, part of a fifteenth century German altarpiece by an anonymous artist called ‘The Master of the Life of the Virgin’, this series being his greatest known work. It consists of eight panels representing ‘Joachim and Anna at the Golden Gate’, ‘The Birth of the Virgin’, ‘Her Presentation in the Temple’ and the ‘Marriage of the Virgin’ in the upper row; ‘The Annunciation’, ‘The Visitation’, ‘The Presentation in the Temple’ and ‘The Assumption of Our Lady’ in the lower row. The unity of the series is now lost because of its dispersal—part permanently remains in England.