Ewer in the form of an ostrich and basin ca. 1689–92 Ewer by Marx Weinold German The ewer (jug) and basin were used during festive banquets to present rosewater or for display on a parade buffet. The ostrich’s base fits onto the basin’s lobed central sun motif. The bird’s bustle-shaped plumage serves as a handle. The myth that the not-remembering female ostrich abandons the nest and only looks at the eggs for three days until the chick hatches was connected to the Passion of Christ and an analogous with human search for God. The exotic eggs were believed to be incubated by the rays of the sun

Ewer in the form of an ostrich and basin ca. 1689–92 Ewer by Marx Weinold German The ewer (jug) and basin were used during festive banquets to present rosewater or for display on a parade buffet. The ostrich’s base fits onto the basin’s lobed central sun motif. The bird’s bustle-shaped plumage serves as a handle. The myth that the not-remembering female ostrich abandons the nest and only looks at the eggs for three days until the chick hatches was connected to the Passion of Christ and an analogous with human search for God. The exotic eggs were believed to be incubated by the rays of the sun - alluded to by the décor of the basin - which evoked a parallel to the Immaculate Conception. Amor, God of Love, sits on a saddle blanket concealing the vessel’s rectangular filling shaft. The winged Cupid steers the non-flying ‘Giant bird’ into his direction to efficiently use the sources of his power, the bow and arrow, at his divine will to set a plot in motion. "Amor vincet Omnia"; heavenly and earthly "love conquers all.". Ewer in the form of an ostrich and basin. German, Augsburg. ca. 1689–92. Silver, partially gilt. Metalwork-Silver

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