Belvedere: Monatsschrift für Sammler und Kunstfreunde (1.1922)

he often used old glass of the 17th and 18th Century for his technically most
inadequate paintings. The later glass painters of Württemberg, among which
Christian Bührlen in Ulm and C. J. B. Wetzel especially deserve mention,
were almost without exception guided by Munich, and but rarely worked on
hollow glass.
In Bavaria, the most important district for transparent painting in the 19th
Century, all efforts were concentrated on plate glass, chiefly on church
Windows. Neither M. S. Frank, the most prominent regenerator of German
glass painting, nor his immediate successors in Nürnberg, have left us any
piece of round glass in transparent technique; the cylindrical goblet with the
half-length portrait of King Maximilian Joseph of Bavaria of 1823 in the
Schmidt Collection in Reichenberg (Fig. 31), in connection with this school,
forms an exception.
In the following period the fashion of drinking cups in the Mohn style comes
to a close, and it is but in Vienna that we find an after-glow of this char-
ming form of craftmanship.

Belvedere I

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