1609 1610
Oblique view towards the window
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Beautiful room, ceiling and wall paneling
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Pablo de la Riestra
1609 1610
Ceiling view, segment
photo 2023, Pablo de la Riestra
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
1609 1610
Ceiling panels with paintings, windows on the left, oven niche on the right
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Gods
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Saturn (God of the Earth, who brings prosperity and wealth to people. His attribute is the scythe)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Saturn, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Jupiter (ruler of all gods, lord of the sky. His attributes are the scepter, the bundle of lightning and the eagle)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Jupiter deitail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Jupiter, detailed view, putto with a bishop's hat
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Mars (God of War. Dressed in armor and a plumed helmet)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Mars, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Mercury (The messenger of the gods, god of trade, industry and transport, patron of travelers and wanderers, protector of merchants. Dressed in a winged helmet. In his right hand his attribute, the caduceus staff
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Merkur, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Mercury, detailed view, putto with a caduceus staff
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Seasons
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Spring (Flora, the blooming one. Decorated with wreaths of flowers and accompanied by a putto)
photo 2023, Theo Noll
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
1609 1610
Spring, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Spring, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Summer (Ceres, goddess of the earth and protector of agriculture)
photo 2023, Theo Noll
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
1609 1610
Summer, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Autumn (Bacchus, god of wine)
photo 2023, Theo Noll
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
1609 1610
Autumn (Bacchus, god of wine), detailed view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photoTheo Noll
1609 1610
Winter (Boreas, god of the north wind, a bearded old man warming himself by an open fire)
photo 2023, Theo Noll
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
1609 1610
Winter, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Goddesses
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Venus (goddess of love, beauty and fertility, together with her son Cupid, the god of love, a winged boy with a bow and quiver)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Venus, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Venus, detailed view with Cupid
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Juno (goddess of marriage, protector of women and the family. Depicted with symbols of power and her sacred bird, the peacock)
photo 2023, Theo Noll
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
1609 1610
Juno (goddess of marriage, protector of women and the family. Depicted with symbols of power and her sacred bird, the peacock)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Minerva (goddess of war, protector of arts and sciences, patroness of knowledge and virtue. Dressed in a robe and plumed helmet, surrounded by her attributes: cannon, cannonball, shield, globe and musical instruments)
photo 2023, Theo Noll
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
1609 1610
Minerva, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Minerva, detailed view with zodiac globe, square and musical instruments
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Diana (goddess of hunting and nature, fertility goddess and moon goddess. Depicted with a bow in her right hand, standing on a crescent moon)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Diana, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Continents
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Africa (boy with a lion)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Afrika, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Europe (boy with bow in hand. Crowns and military equipment at his feet)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Europe, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
America (boy with feather headdress and a parrot in his hand)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
America (boy with feather headdress and a parrot in his hand), detailed view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Asia (boy dressed in a turban, accompanied by a slave?)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Elements
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Water (Neptune, sea god, with his attribute, the trident)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Fire (probably Prometheus with lightning bolt and torch, who stole fire from the gods and gave it to people)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Prometheus, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Earth (Cybele, the Magna Mater, mother of the gods, with a cornucopia of flowers and a sickle in her hands)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Kybele, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Air (Ganymede, son of the Trojan royal couple, kindles Jupiter's love through his beauty. In the form of an eagle, he takes the boy to Olympus, where he becomes cupbearer of the gods instead of Hebe)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Ganymede with the eagle, detailed view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Central ceiling painting: Fall of Phaeton (The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance)
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Fall of Phaeton, oblique view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Fall of Phaeton, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
1609 1610
Fall of Phaeton, detail view
Central ceiling painting: Fall of Phaeton The son of the sun god Helios wanted to drive his sun chariot, but it fell from the sky and burned the earth. He was then killed by Jupiter with lightning. The fall of Phaeton is a symbol of self-knowledge and a warning against human arrogance. (Information board, city museum in the Fembohaus) ________________________________ (see also: Pellerhaus) ________________________________ The “Beautiful Room” from the Pellerhaus (Dieter Büchner) The creation of the ceiling pictures: In Martin Peller's account book, in addition to the entry for the carving of the "stove niche", seven other payments from painters are recorded: 1609: Ad 28 ditto [January] pay Görg Gerttner to paint two dragon heads and sell 2 20.10,- 1610: 13 ditto [September] To my Cassirer the maller and shrine. 89.10.- 22 ditto [December] To Cassa dem Jerg Gertner Maller 81.4.- 1611: 19 ditto [July] To Cassa the boy Gertner Maller October 16th- 12 Augusti To Cassa to Jerg Gertner Maller 8.12.8 1614: 9th ditto [November] Johann Kreuzfelder Mahler was asked by his master Schweher to also compose his L. hausfraw Counterfet, together on 24.-.- 1615: 10 ditto [October] to Linhart Prechtel Maller according to extracts 12.- None of these entries can be directly identified as compensation for the ceiling paintings in the “Beautiful Room”. However, the last two can be ruled out straight away: Johann Kreuzfelder (d. 1636) was paid on November 9, 1614 for two portraits and the payment was made to Linhart Prechtel, i.e. Leonhard Brechtel the Elder. The amount of 12 guilders (demonstrable from 1598 – 1622) is far too small for 21 canvas pictures1. Of the painters named, only Georg (Jerg/Görg) Gärtner remains. At the time in question there were two painters of this name living in Nuremberg, namely Georg Gärtner the Elder. and his son. Although Gärtner is explicitly referred to as the “young” gardener in the entry of July 19, 1611, since the other entries are not specified, they can just as easily refer to Georg Gärtner the Elder. relate. Both come into question based on their life data. The older gardener, who was first mentioned in 1574 on the occasion of his marriage, had apprentices from 1580 at the latest, and was therefore a master at that time, and was buried on January 22, 16122. Neither the year of birth nor the date of acquisition of the master's right is known for the younger gardener (d. 1654), but he must have had it long before the first entry in the account book. (pp. 131 – 133) (...) Nevertheless, in the following we will only talk about Gardener the Younger or generally about the gardener's workshop. A strict distinction does not make sense because, according to archival evidence, father and son appear to have operated a joint workshop4 and their work could not yet be clearly separated from each other stylistically5. (p.134) (...) Assuming that the two gardeners maintained a shared workshop, they constantly employed at least one and usually even two apprentices from 1592 to at least 1609. It can therefore be assumed that the gardener's workshop was at its peak during the same period in which the ceiling paintings of the Pellerhaus were made. (p. 156) (...) With a total of seven guaranteed apprentices, the younger gardener had the most students of all Nuremberg painters of the early 17th century. (p.157) (...) Gardener's authorship would ultimately explain some of the peculiarities that were noticeable in the ceiling pictures of the “Beautiful Room”. The execution by a painter who was unfamiliar with Italian but was obviously adaptable would demonstrate the clear effort to give the ceiling paintings a Venetian character. His lack of experience in depicting mythological themes may have contributed to the unusual number of five horses at the fall of the Phaeton. Furthermore, the limited knowledge of secular iconography is consistent with Gärtner's primary activity as a Dürer imitator. This in turn explains the adoption of motific elements from Dürer's time in the depiction of Venus. (p. 166) ____________ 1 On Brechtel: Bösche, 1899, pp. 128-129. - Theodor Hampe, Art. "Brechtel", in: Thieme / Becker, Vol. 4, 1910, p.560 2 The employment of an apprentice comes from a council decree from 1580. Council decrees, 1580, IV, fol. 32r-32v. According to: Hampe, 1904 (Ratsverlässe), p.73, no. 472. General information on Gärtner the Elder: Doppelmayr, 1730, p. 222. - Georg Kaspar Nagler, New general artist lexicon ...; Munich 1835-1852, Vol. 4, 1837, p. 549. - Georg Kaspar Nagler, The Monogrammists ...; 5 vols., Munich 1858-1879, vol. 2, 1860, p.1084, no. 3110. - Lochner, 1875, p. 198. - Bösch, 1899, pp. 130-131. - Theodor Hampe, in: Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg
1600-1750. On the occasion of the tercentenary celebration of the Academy of Fine Arts, Nuremberg 1962, p. 44 (Peter Strieder). - Baumgartl/Lauterbach/Otto, 1993, pp. 158-159. More about the life of Georg Gärtner the Elder in chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 292-294). 3 On Gärtner the Younger: Doppelmayr, 1730, p. 225. - Nagler, 1835- 1852, vol. 4, 1837, p. 549. - Rettberg, 1854, p. 188. - Nagler, 1858- 1879, vol. 2, 1860, p. 1049, no. 2999 and p. 1056, no. 3023, vol. 3, 1863, p. 1, no. 2. - Andreas Andresen, The German peintre graveur ..., 5 vol., Leipzig 1864 -1878, vol. 4, pp. 270-277. - Lochner, 1875, p. 198. - Ernst Guhl, Artists' Letters, Berlin 1879, p. 351. - Bösch, 1899, pp. 130- 131. - Theodor Hampe, in Thieme/Becker, Vol. 13, 1920, pp. 44-45. - Baroque in Nuremberg, 1962, p. 44 (Peter Strieder), p. 98 and p. 101 (Elisabeth Rücker). - Heinrich Geissler, drawings in Germany. German draftsmen 1540-1640, Stuttgart 1979, pp. 218-219. - Gisela Goldberg, Jörg Gärtner, in: famous Nuremberg artists from nine centuries, ed. by Christoph von Imhoff, Nuremberg 1989, pp. 163-164. - Baumgartl/Lauterbach/Otto, 1993. pp. 158-159. More about the life of Georg Gärtner the Younger in Chapter II of the appendix (in: The “Beautiful Room” from the Pellerhaus, Dieter Büchner, 1995, pp. 294-298). 4 This can be concluded from the information about their places of residence. At the time of his death on January 22, 1612, the heir and artist Georg Gertner the Parent was described as a flat painter on Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol.86. For Mrs. Gärtner the Elder, who died just a few weeks earlier, on December 31, 1611. J.'s death article mentions the same place of residence: wife Magdalena of the artistic Georg Gärtner of the younger flat painter Ehewirthin am Schwabenberg in Kappenzipffel. LKAN Books of the Dead St. Sebald 1607-1623, fol. 85. The entries in the death records were already mentioned by with slightly different diction and sources that are no longer applicable today. Hampe, in: Thieme/Becker, vol. 13, 1920, p. 44. A common workshop is also assumed: Goldberg, 1989, p. 164. 5 Hampe, in: Thieme/Becker, vol. 13, 1920, p. 45. - Baroque in Nuremberg, 1962, p. 44 (Strieder). - Geissler, 1979, vol. 1, p. 218. - Baumgartl/Lauterbach/Otto, 1993, p. 158. quoted from: Dieter Büchner: The “Beautiful Room” from the Pellerhaus. A bourgeois representative space in Nuremberg in the early 17th century, series of publications by the Nuremberg City Archives, 1995
Location: Nuremberg, Fembohaus City Museum (former location was in the Pellerhaus on Egidienberg)
Design: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
Realization: Gärtner (Gertner, Hortulanus), Georg (Jörg) d. J., Gärtner, Georg (Jörg) d. Ä.
photo 2023, Theo Noll
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