Nuremberg and its art to the end of the 18th century. . it was still able constantly to draw to itself capableartists from distant parts. There came in this way, from the neighbourhoodof Cologne, the painter of landscapes in the Italian style, Johann Franz Ermels(1621—1699), and, two years later, the able landscape-painter Willem vanBemmel (1630—1708), from Utrecht. The clever animal-painter Rosenhoff,notable in the middle of the sixties, was also from the Netherlands. Con-spicuous among portrait-painters was Johann Kupetzki, born at Pressburg in worked first at Vienna, as a favourite
Nuremberg and its art to the end of the 18th century. . it was still able constantly to draw to itself capableartists from distant parts. There came in this way, from the neighbourhoodof Cologne, the painter of landscapes in the Italian style, Johann Franz Ermels(1621—1699), and, two years later, the able landscape-painter Willem vanBemmel (1630—1708), from Utrecht. The clever animal-painter Rosenhoff,notable in the middle of the sixties, was also from the Netherlands. Con-spicuous among portrait-painters was Johann Kupetzki, born at Pressburg in worked first at Vienna, as a favourite portrait-painter, but he left that townon account of his religious belief and came in 1719 to Nuremberg, where hecontinued to paint until his death in 1740. In spite of a stay of years in Italy ENGRAVING. 167 and in spite of the fact that he was strongly influenced by the Dutch, he couldstill give expression to his own individuality and produce powerful naturalisticeffects. His portraits, preferably genre-like in conception, attract, too, through. Fig. 120. Schwanhardts memorial tablet, by Georg Schweigger, in St. Johns M. Gerlach, Die Bronze-Epitapbien der Friedhofe zu Niirnberg. their bright colour. Many of them have been reproduced in engraving andmezzotint. The latter art had in Bernhard Vogel, — who was born at Nurem-berg in 1683 and died there in 1738, — one of its cleverest , alone, engraved in mezzotint 73 portraits by Kupetzki. The description of the 16^ century tomb-slabs in the cemeteries has occasioned 168 SCULPTURE AND IRON-CHASING. the remark that bronze-casting was zealously practised also in later able sculptured work in stone, the Triton Fountain of the sculptor Bromig,on the Maxplatz, also owes its origin to the 17^ century. It was carried out,in 1687, after the model of Berninis Fontana del Tritone, on the Piazza Bar-berini, Rome, in memory of the victory gained over the Turks at Mohacs onthe 12* August of that
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