Nuremberg et son art à la fin du XVIIIe siècle. . oldsmiths sont nommés dans les registres de décès de Nuremberg. Beaucoup de thèmes nous sont connus non seulement par les théirnoms, mais aussi par les œuvres, le marksestampillé sur les pièces d'ameublement des motifs pour les attributions. Seul un nom est mentionné, cependant, si c'est la perfection la plus élevée, non pas de Nuremberg goldsmithing seulement, mais de tous Germangoldsmithing, qui doit être discuté. Ce nom est celui de Wenzel Jamnitzer^la Cellini allemande. Né à Vienne, probablement en 1508, il déménagea en 1534 à Nuremberg, avec ses parents et son frère Albrecht, qui agissait comme

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Nuremberg and its art to the end of the 18th century. . oldsmiths are named in the death-registers of Nuremberg. Many of themare known to us not only by theirnames, but also by works, the marksstamped on the pieces furnishing suregrounds for attributions. Only one name is mentioned, however, if it is thehighest perfection, not of Nuremberg goldsmithing only, but of all Germangoldsmithing, that is to be discussed. This name is that of Wenzel Jamnitzer^the German Cellini. Born at Vienna, probably in 1508, he moved in 1534 toNuremberg, with his parents and with his brother Albrecht, who acted as hisassistant. At Nuremberg, he was elected to the Great Council in 1556, becamea member of the Little Council in 1573, and died in 1585, highly honouredby the Emperor and Kings, who made him their Court-Goldsmith. His style, developed on Italian art, had much in common with Flotner and Solis. A motivethat he employed with especial predilection was the Doric triglyph frieze, withbulls skulls in the metope panels. In this and in his arabesques we observe. rig- 95- Jost Amman: Pewterer, from the Bookof Crafts. WENZEL JAMNITZKR. U7 1^lotners influence. Hisfigures, distinguished forthe picturesque charmwith which the draperiesare treated, are masterlyin their modelling. Hisspecialities, in which noone could equal him andhis brother Albrecht, were charming casts insilver, from nature, ofplants and animals. Thegrand epergne (fig. 96)in the possession ofthe Rothschilds at Paris, supplies the best proofof his ability in thisprovince. The mastermade it for the Councilof Nuremberg, for I325fl.14 Pfd. 10 Heller, in1546. It passed bypurchase from theirpossession, in 1806, intothat of a Nurembergfamily, from whom theRothschilds acquired it, in 1882, at a price ofmore than £ 25, 000.On it we find thosefine casts from nature, which are so delicate, fine and thin, that abreath even makes themstir. They spring fromthe rocky mount thatforms the base, and sur-round the lower partand edge of the cup.This

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