File:Nuremberg and its art to the end of the 18th century. (1905) (14590858259).jpg

Identifier: nurembergitsartt00repa (find matches)
Title: Nuremberg and its art to the end of the 18th century.
Year: 1905 (1900s)
Authors: Rée, Paul Johannes, b. 1858 Palmer, G. H. (George Henry), b. 1871, tr
Subjects: Art
Publisher: London : H. Grevel & Co. New York : C. Scribner's Sons (etc., etc.)
Contributing Library: Boston Public Library
Digitizing Sponsor: Boston Public Library

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rasse, noteworthy for the original balcony carvings in its courtyard, andno. 28, Hirschelgasse, also contain fine wainscoting. The richest is, however,possessed by the house of the Teller family, built in 1605. In it there is aroof of especial beauty, with a star-like arrangement, clever in composition.The rich roof, decorated with paintings, of the adjoining great hall used forfestive occasions, and the well designed woodwork of the walls and doors(fig. 105) are perhaps by Hans Wilhelm Beheim. In direct contrast to the richness of the picture offered by the developmentof the technical arts, in the course of the 16^ century, was the dry and unpro-ductive outlook in the monumental arts. In painting, the influence of the Italiansand of the Netherlanders who imitated them became strong-er and stronger. LATKR SIXTEENTH CENTURY PAINTING. 149 It was no longer assimilated and worked into native art, but by degrees itousted and supplanted the latter altogether. The best work is still found in
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Fig. 105. Panelling and door in the Pellerhaus.From Niirnberger Motive, edited by W. Biede. portrait painting. The cleverest representative of the art was Nicholas Neu-chatel w^ho came to Nuremberg from the Netherlands. The Nurembergersturned his name into Lucidel, — Nutzschidell being the intermediate stage ISO LATER SIXTEENTH CENTURY PAINTING. in the change. His chief work, dating from 1561, is a portrait of JohannNeudorfer and his young son, owned by the Pinacothek at Munich. The oldnative style is best seen in the portraits, certainly conscientious in execution,but rather dull and insipid, of the clever painter Lorenz Strauch (1554—1630),who also distinguished himself as an etcher and as such was responsible for apicturesque general view of Nuremberg. Endres Herneisen made a name forhimself by his portrait of Hans Sachs, painted in 1576 and etched by JostAmman. Like Neuchatel, Nicholas Juvenell, who died in 1597, ^^^o came fromthe Netherlands. He was a master of perspective an

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