Norimberga e la sua arte fino alla fine del 18th secolo. un angolo, ora ben concepito rilievo è stato lasciato nel muro. La maggior parte dei cartelli con figure appartengono al 15 ° secolo, ma eccellenti esemplari isolati, simpatici riccamente adornati e splendidamente posti Madonna del n ° 14, VVeinmarkt, e la Madonna del n ° 28, Adlerstrasse, mostrano che il 14 ° secolo eglen ha adottato la bella abitudine di averle. Come la decorazione del Municipio, il dipinto della SchonerBrunnen e i resti di policromia nella chiesa di San Sebalds rendono chiaro che una vivace sensazione di colore è stato unita a

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Nuremberg and its art to the end of the 18th century. . one corner, ora well-conceived relief was let into the wall. The majority of the house-signswith figures belong to the 15 century, but excellent isolated specimens, likethe richly adorned and beautifully posed Madonna of No. 14, VVeinmarkt, and the Madonna of No. 28, Adlerstrasse, show that the 14^ century hadalready adopted the pretty custom of having them. Like the decoration of the Town Hall, the painting of the SchonerBrunnen and the remains of polychromy in St. Sebalds church make it plainthat a lively feeling for colour was joined to the Nurembergers delight in beau-tiful forms, though the time had certainly not come yet for the painting ofpictures. Only at the beginning of the 15^ century did that art begin toclimb to eminence, during the 14* it did not advance beyond mere firstattempts. A good representation of the capabilities of the time in draughtsmanshipand colouring is given by some painted glass in St. Sebalds and a tapestry inSt. Lawrences with Prophets bearing scrolls.. Fig. 33. The Maut.Photograpli by F. Schmidt. NUREMBERG AND ITS ARCHITECTURE INTHE 15™ AND EARLY 16™ CENTURY. NOT only by its commercial, industrial and artistic achievements, butalso by its outward appearance, which grew ever more imposing, didNuremberg begin to attract to itself the worlds attention during the15^ century. It fitted itself to be an emporium of trade and commerce and, at the same time, the centre of all the scientific, artistic and religious move-ments that began, from the middle of the century, to alter German civih-sation from its very foundations. Nowhere else did those movements find asoil so well prepared for them, and nowhere does the transition from mediaevalcivilisation to the culture of the Renaissance seem more natural, more thoroughand more sound than at Nuremberg. Its whole civilisation was from the verybeginning a result of consciousness of power and of an idealism that hadits roots in reality and r

Parole chiave associate all'immagine

• bookcentury1900
• bookdecade1900
• bookpublishernew
• booksubjectart