File:Nuremberg and its art to the end of the 18th century. (1905) (14777160932).jpg

Identifier: nurembergitsartt00repa (find matches)
Title: Nuremberg and its art to the end of the 18th century.
Year: 1905 (1900s)
Authors: Rée, Paul Johannes, b. 1858 Palmer, G. H. (George Henry), b. 1871, tr
Subjects: Art
Publisher: London : H. Grevel & Co. New York : C. Scribner's Sons (etc., etc.)
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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coin engraver,medallist and pewterer, they mark the highest point that work in pewter hasever reached. Enderlein not only cast his work in pewter but he also cuthimself, in Kelheimer stone, the shapes for his works, which were most richly,and tastefully decorated with figures as well as with arabesques, grotesquesand cartouches. He often availed himself of other peoples models. Thushis greatest work, the Temperance Dish (fig. 98), of which there are severalvariants, is a reproduction, with only trifling changes, of a similar workby Briot. The plaque has in its centre a figure of Temperance, and, round I40 CASPAR ENDERLEIN. this, the Four Elements in beautiful cartouches. On the edge, in eight framedspaces, are Minerva and the seven Liberal Arts. The christening bowl ofSt. Lawrences Church, preserved in the Germanic Museum, is similar in com-position, but in the centre are the Madonna and Child in place of the figureof Temperance. On the ewer belonging to it spaces were left, amid the
Text Appearing After Image:
Fig. 98. C. Enderlein: Temperance Dish.From Demiani: Das Edelzinn. (Hiersemann, Leipzig.) ornamental decorations, to contain representations of the four Seasons and thefour Quarters of the Globe. Besides his fine pewter intended for display,Enderlein also made ordinary pieces for use, and he was the first to makechandeliers in this material. The brasiers, or Beckschlager, as they were first called at Nurembergin 1373, provided show-pieces, as well as simple ones intended for use. Theyproduced,— in repousse, chased and stamped work,— the great brass basins that BRASIERS AND ARMOURERS. 141 formed an important Nuremberg export, until the art fell into decline in theseventeenth century. The gold- and silversmiths were also rivalled by the armourers, whowere skilled in repousse-work, chasing and etching. Their work, with that ofthe Augsburg masters, was in demand all over the world. Their craft had

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