In the nineteenth century, museums developed in close symbiosis with the discipline of art history. The necessity of categorizing objects and ordering them into narratives was inherent to both; hence, museological practices informed historical and theoretical studies, and vice versa. In Vienna, Rudolf Eitelberger championed the idea that art history had to rely on the intimate scrutiny of artworks, and that the museum and university were inseparable. His influence resonated across the Monarchy, as professionals such as Alois Riegl in Vienna, Izidor Kršnjavi in Zagreb and Károly Pulszky in Budapest took on dual roles as museum curators and university lecturers.