progressed across Europe and into Russia Adam wrote, sketched and painted. He was present at all the major actions and witnessed the triumphant march into the smouldering ruins of Moscow. There seems little doubt that Adam was depressed, by what he had witnessed. After the key Battle of Borodino he described his feelings on visiting the battlefield.... The scene was one that filled me with horror. I felt paralysed and, only by calling to mind the countless other horrors I had been witness to in this frightful campaign, could I shake myself from my stupor .... He returned early from Moscow arriving in Munich in December 1812 thus missing the painful decimation of the Grande Armée as it retreated from Moscow. He remained on Prince Eugene's staff for a further three years during which time Adam produced seventy-seven colour plates depicting the aftermath of the conflict. They show devastated landscapes, battlefields strewn with corpses, bewildered civilians, battle weary soldiers and razed towns. The memoirs that accompany each plate provide a frank composition to the war that Adam witnessed. Post 1815 Career In 1815, with the Napoleonic wars drawing to a close, Adam relocated permanently to Munich, where he was court painter to Maximilian I Joseph of Bavaria, a position that allowed him to complete commissions for many prominent families in Bavaria and Austria. Albrecht Adam's studio became a centre for aspiring artists not least his three painter sons: Benno, Eugen and Franz. Theodor Horschelt, who later became known for his paintings of the Russian Caucasian War was a frequent visitor. In 1824, his former employer Prince Eugene died and Adam began collating the images of the Russian Campaign gathering them together under the title Voyage pittoresque et militaire. The lithographs published in Munich between 1828 and 1833, were based on the sketches he had taken during the campaign and remain of considerable historical significance. They proved a considerable commercial success and the images have been used many times since the first edition. A number of original drawings and images in oil are held by the Hermitage Museum in St. Petersberg. Royal patronage continued under Ludwig I with commissions including a painting of the Battle of Borodino for the Royal Munich Residenz in 1838. Adam also painted, for Maximilian von Leuchtenberg, twelve battle scenes to hang in his palace in St Petersburg. On 18 March 1848, the Milanese rebelled against Austrian