(and, as in some cases artists are present, ability to produce) art. Teniers first depicted Archduke Leopold Wilhelm with his collection in two pictures dated 1651 (one in Petworth House and the other in the Royal Museums of Fine Arts of Belgium). The only other dated gallery painting by Teniers is dated 1653. The fact that the other gallery paintings of Teniers are not dated has made it difficult to establish a chronology and evolution of his work in this genre. Two of the ten known gallery paintings with Archduke Leopold Wilhelm have similar compositions and include the same paintings: the large, undated canvas in the Kunsthistorisches Museum likely followed the equally large painting dated 1651 in Petworth House. The others are all independently composed and display different works or when the same works are included they are hung in a different order. Although Teniers's gallery paintings depict pictures known to have been part of the Archduke's collection, the precise arrangements in which he depicted those pictures is believed to be fictional. Teniers strove in these paintings to arrive at a visual survey of the collection. Some of the paintings show the Archduke visiting the collection accompanied by courtiers and other art collectors. Teniers included in some a portrait of himself apparently in the act of providing his patron some explanation on a particular work of art in the collection. In the Archduke Leopold Willem in his gallery at Brussels (c. 1650, Kunsthistorisches Museum) Teniers included a portrait of Jan Anton van der Baren (the third man from the right) who later followed the Archduke upon his return to Vienna where he took over Teniers's role as director and cataloger of the Archduke's collection. It is likely that these gallery paintings of the Archduke's collection were painted to memorialize and eulogize it and anyone associated with it. The gallery painting with Archduke Leopold Wilhelm in Peftord House was made on copper. This was unusual for a picture of such a large size and was presumably done so that the Archduke could send it as a present to Philip IV of Spain. By sending this work to Philip IV, the Archduke may have intended to pay homage to his uncle as a prominent connoisseur of Italian painting known for his large collection at the Royal Alcazar of Madrid. His secondary intention may have been to demonstrate to the King that his