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| Title | The story of Nuremberg |
| Creator (LCNAF) |
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| Contributor (Local) |
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| Publisher | J. M. Dent & Co. |
| Date | 1899 |
| Subject.Topical (LCSH) |
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| Subject.Geographic (TGN) |
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| Genre (AAT) |
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| Language | English |
| Type (DCMI) |
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| Original Item Extent | 303 pages; 18 cm |
| Original Item Location | DD901.N93 H4 1899 |
| Original Item URL | http://library.uh.edu/record=b1684865~S11 |
| Digital Collection | Exotic Impressions: Views of Foreign Lands |
| Digital Collection URL | http://digital.lib.uh.edu/collection/exotic |
| Repository | Kenneth Franzheim II Rare Books Room, William R. Jenkins Architecture and Art Library, University of Houston Libraries |
| Repository URL | http://info.lib.uh.edu/about/campus-libraries-collections/william-r-jenkins-architecture-art-library |
| Use and Reproduction | No Copyright - United States |
| Identifier | exotic_201304_001 |
| Title | Page 181 |
| Format (IMT) |
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| File Name | exotic_201304_001_185.jpg |
| Transcript | The yl/ts and Grafts Benvenuto Cellini has told us how his father, in like fashion, was eager that he should practise the "accursed art" of r I brer's father, however, soon gave in and in i486 apprenticed the boy to Michel Wolgemut. iinarily beautiful, and, for a boy of that age, marvellously executed portrait of himself at the age of thirteen (now at Vienna) must have shown the father something of the power that lay undeveloped in his son. So " it was arranged that I should serve him for three years. During that time God gave roe great industry so that I learnt many things ; but I had to suffer much at the hands of the other apprentices." Painting was already in vogue at Nuremberg in the fourteenth as never much encouraged. One of the reasons may perhaps have been that there was little opportunity for fresco painting here, as in Italy; for the Gothic style of architecture orlers no large surfaces that seem to demand the relief of colour and drawing, was regarded at fir s an assistant of architecture, glass-blowing and sculpture, for the purposes of decoration and ornament, and painters therefore always continued to be treated as mere artisans of one craft or anotl ierc I am a master," writes Durer from I home a Para- however regarded, the art of painting had attained to the dignity of a separate existence ■ be fourteenth century, it was called in to supply the place of sculpture and to furnish altar-pieces and memorial pictures attached to monuments. These lat: characteristic of northern art, and no better examples °t*tl. be found than in the great churches of N mberg. them, in their original positions, can be seen in the Churches oi enz and ted for the great burgher families— ImhorFs, Tuchers, Holzschuhera, etc.—on the death 181 |