Nuremberg and its art to the end of the 18th century. . Fig. I03. B. AVurzelbauer: Fountain of the by F. Schmidt. WISMUT PAINTING. 147. Fig. 104. Cabinet in FliJtners style. In the Germanic by F. Schmidt. Wismut painting, introduced and popular in the 16* century, seems tohave been especially fostered at Nuremberg. It was used for the coloured 148 FURNITURE AND WOODWORK. decoration of small wooden chests, boxes and utensils, on which a fine layerof bismuth formed the ground for the painting. Cabinetwork was guided into right paths by Flotner. The GermanicMu
Nuremberg and its art to the end of the 18th century. . Fig. I03. B. AVurzelbauer: Fountain of the by F. Schmidt. WISMUT PAINTING. 147. Fig. 104. Cabinet in FliJtners style. In the Germanic by F. Schmidt. Wismut painting, introduced and popular in the 16* century, seems tohave been especially fostered at Nuremberg. It was used for the coloured 148 FURNITURE AND WOODWORK. decoration of small wooden chests, boxes and utensils, on which a fine layerof bismuth formed the ground for the painting. Cabinetwork was guided into right paths by Flotner. The GermanicMuseum owns a cabinet (fig. 104) bearing the genuine stamp of this master^Hans Stengel is spoken of as the first master of cabinet-making committed tothe Italian style, but he was also master of the German style, that is to say ofGothic, in which, however, Wolf Weiskopf surpassed him. Sebald Beck, whoworked also as sculptor, mason and architect, was outspokenly a Renaissancemaster, as is shown by the stone pilaster of the Vischer screen (now melteddown) in the great hall of the Town Hall. That pilaster, executed by him in1540, still stands in its ori
Size: 1361px × 1836px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1900, bookdecade1900, bookpublishernew, booksubjectart
