The Flemish landscapes were dominant. Lucas van Valckenborch’s cityscapes of Linz and Antwerp, and the colour-intensive landscapes with history scenes by Jan Brueghel and Roelant Savery, were presented together with views of the Rhine by the Dutchman Herman Saftleven. The latter artist had been active during the late seventeenth century and used a different visual language than the aforementioned Flemings: the atmosphere created by him through light unify his wide panoramas and sometimes give them a southern, and at other times a northern character.
In the centre of the main wall on the left, the preceding history and subsequent development of the crude peasant genre was visualised: from the “Brothel Scene” of ca 1540 by the anonymous Antwerp artist today known as the “Braunschweig Monogrammist” in the lower register, and the “Peasant Fair” from the first half of the seventeenth century attributed to “Daniel Vinck-Boons”, to Stalbemt’s “Village Church Festival” from the mid-seventeenth century.

The arrangement of the portraits on the entrance side of the room gives an impression of arbitrariness, but it likewise provided the visitor the opportunity to understand the development of portrait painting over a period of more than a century.