figures; 1846 finished work purchased by King Ludwig I of Bavaria for the royal collections; 1853 installed in Neue Pinakothek, Munich.; 1842 Kaulbach's replica for the stairway murals of the Neues Museum, Berlin commissioned by King Frederick William IV of Prussia; 1866 completed; 1943 destroyed by war damage.
 1852, a coloured caricature was used as a cover design for the June number of the satirical Journal pour rire, published by Charles Philipon.
 1854, Gustave Courbet, The Meeting.
1856, Gustave Doré, twelve folio-size illustrations of The Legend of The Wandering Jew.
 1876, Maurycy Gottlieb, Ahasver. National Museum, Kraków.
 1888, Adolf Hirémy-Hirschl, Ahasuerus at the End of the World. Private Collection.
 1899, Samuel Hirszenberg, The Eternal Jew. Exhibited in Lodz, Warsaw and Paris in 1899, now in the Israel Museum, Jerusalem.

20thhow the figure cannot settle down and is forced to keep wandering.

In ideology (19th century and after)
By the beginning of the eighteenth century, the figure of the "Wandering Jew" as a legendary individual had begun to be identified with the fate of the Jewish people as a whole. After the ascendancy of Napoleon Bonaparte at the end of the century and the emancipating reforms in European countries connected with the policy of Napoleon and the Jews, the "Eternal Jew" became an increasingly "symbolic ... and universal character" as the continuing struggle for Jewish emancipation in Prussia and elsewhere in Europe in the course of the nineteenth century gave rise to what came to be referred to as "the Jewish Question".

Before Kaulbach's mural replica of his painting Titus destroying