Nuremberg and its art to the end of the 18th century. . Fig. 113. Courtyard of the Poller House. Photograph bj F. Schmidt. corated stone, spiral staircase, winding round an open centre. The chimneys,,exceptionally rich in decoration and already with a strong tendency to Barock,.are also very noteworthy. Martin Peller was the son-in-law of the Venetian,Bartolo Viatis, who had come to Nuremberg, in 1550, a poor boy, 12 years,old, and died one of the richest people in the town. His house on the Pegnitz,. i6o THE HOUSE OF BARTOLO VIATIS. at the corner of Konigsstrasse and Kaiserstrasse, is also an
Nuremberg and its art to the end of the 18th century. . Fig. 113. Courtyard of the Poller House. Photograph bj F. Schmidt. corated stone, spiral staircase, winding round an open centre. The chimneys,,exceptionally rich in decoration and already with a strong tendency to Barock,.are also very noteworthy. Martin Peller was the son-in-law of the Venetian,Bartolo Viatis, who had come to Nuremberg, in 1550, a poor boy, 12 years,old, and died one of the richest people in the town. His house on the Pegnitz,. i6o THE HOUSE OF BARTOLO VIATIS. at the corner of Konigsstrasse and Kaiserstrasse, is also an important one. Itis adorned with a representation of the Venetian Lion, and it bears on itsgableS; enriched with broad pilasters and to be seen in the foreground in fig. i,. Fig. 114. Faijade on the court of no. 34, by F. Schmidt. the dates 1578 and 1596. Painting had an important part in its decoration,both inside and outside. Towards the end of the 16 century, the gable,—just seen to have beenso richly adorned in the Peller House (of 1605),—had again been generallyadopted as a decorative architectural feature. Either it was, as in the Peller GABLES. i6i House, erected in front of a sloping roof, or houses again turned their gableends to the streets. The latter was the case with the imposing building, no. 34,Karolinenstrasse, to which a new oriel was built in the iS century. Its gable
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