DOI Page / Citation link:
https://doi.org/10.11588/diglit.28460#0606
Division A.—Sohool of Nuremberg.—Ornamental Designs. 545
4. A THIED DESIGrN FOR WALL DECORATION WITH A FOUNTAIN.
The middle structure ends in a cupola, and is flanked by two tall pro-
jecting square columns. The niche contains a cylindrical water vessel
with a tap; just above the latter is a cherub’s head. The circle in the
basin is shaded with oblique lines, which perhaps represent a grating
instead of perforations. To 1. and r. of columns which flank the niche are
circles containing the mark and monogram (the latter reversed). Single
border-line.
[271 (cut at top) x 150.] Ou tlie back of a portrait of Frederick III of Saxony,
after Diirer’s engraving (not after Cranach).
Purchased from Messrs. Gfraves, 1848.
5. A FOURTH DESIGfN FOR WALL DECORATION WITH A FOUNTAIN.
The middle structure again ends in a cupola, and is flanked by two tall
projecting square columns. The niche is empty ; perforations are marked
in the basin.
[210 x 128.] On the back of a woodcut, somewhat in Beham’s manner, representiug
three peasant women (p. 498, no. 16).
In the inventory of 1837.
This woodcut is not signed, but may safely be attributed to the designer of nos. 1-4.
6. DESIGN FOR A WOODEN BEDSTEAD.
This woodcut contains apparently three designs, placed at different
angles, the relation of which is not at first sight intelligible. The whole is
not drawn in perspective, but each part is placed so that it can be seen to
advantage. To 1. is the end of the bed, resembling a wainscot, in two sections
with intarsia panels. Next to this, placecl obliquely across the foreground, is
a low settee, with a front of three geometrical panels and a back to match,
which serves as a step leading to the bed; the back of the settee is the
side of the bed itself. The inner wall of the further side, quite plain, is
indicated beyond. Lastly, we see the elaborately carved tester of the
bed itself, supported by fluted columns. The artist’s mark, without the
initials, is placed within a round ornament at the top.
[212 x 188.] On tbe back of an anouymous Nuremberg woodcut (p 498, no. 17)
representing a wood-carver liacking at a wooden figure.
In tbe inventory of 1837.
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4. A THIED DESIGrN FOR WALL DECORATION WITH A FOUNTAIN.
The middle structure ends in a cupola, and is flanked by two tall pro-
jecting square columns. The niche contains a cylindrical water vessel
with a tap; just above the latter is a cherub’s head. The circle in the
basin is shaded with oblique lines, which perhaps represent a grating
instead of perforations. To 1. and r. of columns which flank the niche are
circles containing the mark and monogram (the latter reversed). Single
border-line.
[271 (cut at top) x 150.] Ou tlie back of a portrait of Frederick III of Saxony,
after Diirer’s engraving (not after Cranach).
Purchased from Messrs. Gfraves, 1848.
5. A FOURTH DESIGfN FOR WALL DECORATION WITH A FOUNTAIN.
The middle structure again ends in a cupola, and is flanked by two tall
projecting square columns. The niche is empty ; perforations are marked
in the basin.
[210 x 128.] On the back of a woodcut, somewhat in Beham’s manner, representiug
three peasant women (p. 498, no. 16).
In the inventory of 1837.
This woodcut is not signed, but may safely be attributed to the designer of nos. 1-4.
6. DESIGN FOR A WOODEN BEDSTEAD.
This woodcut contains apparently three designs, placed at different
angles, the relation of which is not at first sight intelligible. The whole is
not drawn in perspective, but each part is placed so that it can be seen to
advantage. To 1. is the end of the bed, resembling a wainscot, in two sections
with intarsia panels. Next to this, placecl obliquely across the foreground, is
a low settee, with a front of three geometrical panels and a back to match,
which serves as a step leading to the bed; the back of the settee is the
side of the bed itself. The inner wall of the further side, quite plain, is
indicated beyond. Lastly, we see the elaborately carved tester of the
bed itself, supported by fluted columns. The artist’s mark, without the
initials, is placed within a round ornament at the top.
[212 x 188.] On tbe back of an anouymous Nuremberg woodcut (p 498, no. 17)
representing a wood-carver liacking at a wooden figure.
In tbe inventory of 1837.
■2
N