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tazza

  • Object type

  • Museum number

    WB.97.J

  • Description

    Tazza; silver-gilt; embossed and chased; Earth in landscape; border of strapwork scrolls etc; inscribed.; knop chased in relief with festoons, lion masks, etc; inscribed.; foot similar to border; bottom of foot with convex plate engraved with arms of Count von Thun of Bavaria; inscribed.

  • Producer name

  • Date

    • 1595-1600 (circa)
  • Production place

  • Materials

  • Technique

  • Dimensions

    • Height: 13.6 centimetres
    • Diameter: 9 centimetres (base)
    • Diameter: 20.6 centimetres (bowl)
    • Diameter: 16.2 centimetres (relief)
    • Weight: 475 grammes
  • Inscriptions

      • Inscription Type

        mark
      • Inscription Comment

        Pine cone of Augsberg.
      • Inscription Type

        maker's mark
      • Inscription Content

        PH
      • Inscription Comment

        Punch-mark of Paul Hübner.
  • Curator's comments

    Text from Tait 1988:-

    Origin: Mark of Paul Hübner; Augsburg, c. 1595-1600.

    Marks: On the undecorated rim of the foot, two marks are punched close together:
    (i) Assay mark for Augsburg, 1591-5 (?) and probably later (R3 129) or, perhaps, Seling 28 (1600-10).
    (ii) The monogram PH within a shield: punch-mark of Paul Hübner, master 1583, died 1614. (R3410; Seling 982).

    Commentary: The beautifully modelled nude figure is a more elegant version of the Jost Amman woodcut published posthumously in the ‘Kunstbüchlein’ of 1599 (Weber 1970, p. 345, fig. 23). Not only have the proportions of the figure been slightly elongated by Hübner, but the head has been given a new meaning by tilting it backwards and turning it into sharp profile. Although the 1594 tazza of Earth (in the Palazzo Pitti: see Weber 1970, p. 345, fig. 23) is almost identical, it is interesting to note that the head is not in profile and the figure has been discreetly clothed, covering both breasts, and given buskins to wear. There can be little doubt that this departure from the Jost Amman woodcut can only have been made to satisfy the special requirements of Paul Hübner's patron, the Archbishop of Salzburg, whereas the Waddesdon Bequest set was evidently commissioned by a more worldly client.
    The exceptional inclusion of the lizard serves to emphasise the regular absence of all such naturalistic details. None of Hübner's eleven tazze in this set has birds flying in the sky, cattle in the fields or insects on the ground. Raimund Laminit's Charity tazza (cat. no. 24) did have some of these details, but this lizard is the only example - significantly, Hübner's source, the Jost Amman woodcut, has not only a lizard but a snake and a snail near the feet of Earth. It may be that Hübner regarded the lizard as an emblem rather than a naturalistic detail, just as the lamb in Patience and the bird perching on the hand of Air have a special meaning. Again, it seems unlikely that Laminit would have introduced the trivial naturalistic details into his Charity tazza if, as has been suggested, he had executed it towards the end of the 1590s; by then, the pattern for this set had been established. It would seem more likely that by the early 1590s his anecdotal, old-fashioned approach to these compositions was out of date and so the order was cancelled and placed elsewhere; by contrast, Hübner's 1594 solutions must have seemed truly avant-garde.

    Commentary on the set of twelve tazze.
    Origin: Augsburg; end of 16th century; mark of Raimund Laminit (master about 1568, died 1600) on one tazza (cat. no. 24) and mark of Paul Hübner (master 1583, died 1614) on eleven tazze (cat. nos 25-35).

    Condition: Apart from minor signs of wear, the occasional short split at the centre of some of the bowls and the addition of new screws on the reverse, none of the bowls, stems or feet are rubbed or altered. There is one identical later addition to each of the twelve tazze: underneath the foot, in the centre, a small, gently convex disc of silver engraved with the arms of the Counts von Thun, of Tirol and Bohemia.

    Provenance: Baron Anselm von Rothschild, Vienna, before 1866 (cat. no. 260), by inheritance to his son Baron Ferdinand Rothschild (d. 1898).

    Commentary: The tazza is a form of utilitarian vessel that during the early Italian Renaissance became increasingly popular, no doubt because of its very obvious classical shape. The fashion spread north of the Alps, certainly reaching England before 1530, as the famous Rochester Cathedral tazze and the Holbein drawing demonstrate (see Hugh Tait, London Huguenot Silver, ‘Huguenots in Britain and their French Background, 1550-1800’ (ed. I. Scouloudi), London, 1987, pp. 92-3, pl. 1, figs 1-3). However, it was only in the second half of the sixteenth century that the flat area of the tazza bowl was frequently embossed and chased with a scene in relief, the subject usually being drawn from classical mythology or the standard Christian iconography.
    Although this artistic treatment of the bowl transformed the tazza into a work of virtuosity in keeping with the tastes of Mannerist Court art, it did not negate the functional aspect of the tazza. Pictorial evidence about the use of tazze is inadequate, but enough survives to show that they were used both for drinking and for placing on the table with fruit piled high on them. No doubt banquets held at the courts of Renaissance princes would require large sets of silver tazze, so that each guest had an individual tazza just as the numerous Venetian Renaissance glass tazze would have graced the tables of the less grand palazzi of Italy and elsewhere. A fair impression can still be gained in the Palazzo Pitti where fifty-four tazze belonging to Wolf Dietrich von Raitenau, Archbishop of Salzburg (1587-1612), have survived; they have been published by Kirsten Aschengreen Piacenti, ‘IlMuseo degli Argenti a Firenze’, Florence 1967, no. 599 f, pp. 603-8; K. Rossacher, ‘Der Schatz des Erzstiftes Salzburg’, Salzburg 1966; and more recently they have been studied for their reliefs by Ingrid Weber (Weber 1970). According to the 1612 Inventory of the Archbishop's Silberkammer, he had purchased in 1590 three dozen tazze from the Augsburg goldsmith Paul Hübner (died 1614), and, four years later, he had bought twelve more by Hübner - slightly smaller than the original thirty-six - from the Augsburg merchant Bartholomäus Fesenmayer, who at this time was also supplying plate to the Bavarian Court in Munich. Evidently a total of forty-eight tazze was not enough, because in the same year, 1594, the Archbishop had acquired a further six from his own treasurer, Paul Endris. These six tazze are by another Augsburg goldsmith, Kornelius Erb (died 1618), and in a number of respects do not match the rest. Although Kornelius Erb's six subjects (Faith, Hope and Charity; Summer, Autumn and Winter) are in no way exceptional, it is clear that they come from a larger series, the rest having been lost. Paul Hübner's forty-eight tazze, on the other hand, do form coherent sets: the twelve months of the year; twelve scenes from the Old Testament relating to the story of Jacob; and two sets of twelve tazze, each comprising the Four Elements (Fire, Earth, Water and Air) and the Virtues (the three theological or Christian Virtues: Faith, Hope and Charity; the Cardinal Virtues of Plato: Prudence, Justice, Fortitude and Temperance; and the eighth Virtue, Patience).
    Despite the variety of subjects, Hübner's forty-eight tazze in the Archbishop's collection have a visual unity through the use of a simple, restrained classical border encircling each relief, which in fact leaves plain more than half of the curving wall of the tazza bowl. By contrast, the six tazze by Kornelius Erb have borders of exactly the same design as the Waddesdon Bequest set of twelve, eleven of which are by Hübner. Furthermore, the feet on the Kornelius Erb set of six are very close in general design to the Waddesdon Bequest set, whereas the other forty-eight examples do not have this distinctive two-tier, domed foot. The Kornelius Erb tazze, however, have a fussy design of stem, with three large protruding brackets, that does not compare favourably with either of the other solutions. Unfortunately, there is no archival evidence to show how long the six Kornelius Erb tazze had been in the possession of the Archbishop's Treasurer, Paul Endris, though there is a tendency in the most recent literature to abandon Rossacher's dating “1580-1585” in favour of “about 1590-1594” (see Seling 1980, figs 182-4). As a result, the Waddesdon Bequest set of eleven tazze by Hübner is dated by Dr Seling to the last five years of the sixteenth century, and, though it seems most improbable, Dr Seling has dated the single Raimund Laminit tazza to “um 1600”, the very year of his death. Certainly, the workmanship (especially the chasing and the engraving) on the Charity roundel of the Laminit tazza is quite distinct from the remainder. It is undoubtedly by a different hand. The question is when? The evidence for a precise dating of the Waddesdon Bequest set of twelve tazze is still lacking, and the presumption that the set postdates the Archbishop of Salzburg's fifty-four tazze has still to be proved.

    Bibliography: Franz Schestag, ‘katalog der Kuntsammlung des Freiherrn Anselm von Rothschild in Wein’ Vienna, 1866, no. 260; Charles Hercules Read, ‘The Waddesdon Bequest: Catalogue of the Works of Art bequeathed to the British Museum by Baron Ferdinand Rothschild, M.P., 1898’, London, 1902, no. 97, pl. XXII ; Marc Rosenberg, ‘Der Goldschmiede Merkzeichen’, 3rd edn, Frankfurt, vol. I, 1922, p. 57, R3 410 (e); O.M. Dalton, ‘The Waddesdon Bequest’, 2nd edn (rev), British Museum, London, 1927, no. 97; Ingrid Weber, Bildvorlagen für Silberreliefs an Arbeiten von Paul Hübner und Kornelius Erb, heute im Palazzo Pitti und im Britischen Museum, ‘Mitteilungen des Kunsthistorischen Instituts in Florenz’, vol. 14, pt. III, June 1970, Florence, pp. 323-68, figs 16 and 22; J. F. Hayward, ‘Virtuoso Goldsmiths and the Triumphs of Mannerism 1540-1620’, Sotheby Parke Bernet Publications, London, 1976, p.234; H. Seling, ‘Die Kunst de Augsburger Goldschmiede 1529-1868’ 3 vols., Munich, 1980, p. 71, no. 799 (B), pp. 96-7, no. 982 (g), figs 212-17; Hugh Tait, ‘The Waddesdon Bequest: The Legacy of Baron Ferdinand Rothschild to the British Museum’, London, 1981 p. 69, fig. 47; Hannelore Müller, ‘European Silver: The Thyssen-Bornemisza Collection’, Sotheby’s Publications, London, 1986, p. 158, note 1; Hugh Tait, 'Catalogue of the Waddesdon Bequest in the British Museum, II : The Silver Plate', British Museum, London, 1988, nos. 24 - 35, pl.VIIIA, figs. 155-178.

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  • Bibliography

    • Tait 1988 33 bibliographic details
    • Read 1902 97 bibliographic details
    • Dalton 1927 97 bibliographic details
  • Location

    On display: G2a/dc2

  • Condition

    Very good, except for two short splits near the centre resulting in a crack below the right elbow of the figure of Earth and a crack across the neck.

  • Subjects

  • Associated names

  • Acquisition name

  • Acquisition date

    1898

  • Acquisition notes

    This collection is known as the Waddesdon Bequest under the terms of Baron Ferdinand Rothschild’s will.

  • Department

    Britain, Europe and Prehistory

  • Registration number

    WB.97.J

Silver-gilt tazza; embossed and chased. A female figure emblematic of Earth (Terra) is depicted in the centre foreground, seated on a group of plain, burnished blocks of stone with grass and flowering plants springing up around the stones. The figure of Earth has been given a subtle contrapposto movement, because her left leg is crossed over the right knee and is facing left, but the torso is turned almost facing front while the head is turned in profile to the right, looking upwards and tilted back slightly. The figure is almost nude - a swathe of drapery from her left hip crosses over and covers part of her right leg and knee. In her hair, ears of corn are worn like a diadem, coming to a point in the centre above her forehead. Her right elbow rests on a sheaf of corn and her raised right hand holds two long stalks with heavy ears, bending them into a gentle curve. Her left elbow rests on the tall block of stone and her left hand holds the sickle, the blade of which rests on the upper arm. The landscape includes a farm building (on the left) with a water-wheel and, beyond, the village. On the ground, close to the left foot and the sheaf of corn, is a lizard. One of the trees (on the right) is of the willowy kind, leaning against the other. In the centre, the panorama extends to the horizon and the burnished clouds in the sky.   The border consists of a narrow inner band in the classical manner and a wider outer band of four lion-masks at the cardinal points, linked by a repetitive strapwork design each incorporating two swags of drapery on either side of a 'fleur-de-lis' motif. The baluster-shaped stem has a separate short upper section with a profiled ring and four scroll-brackets attached at the top and the bottom; a large middle section elaborately chased with strapwork lion-masks, clusters of fruit, festoons and swags of drapery, is integral with the plain undecorated lower section; they fit over the threaded tube rising from the centre of the foot. The circular domed foot rises in two stages, each richly decorated with chased ornament, the lower consisting of winged cherub heads alternating with scrollwork and clusters of fruit, while the upper is a continuous series of swags of drapery with pendant folds alternating with pendant tassels, and scrolls below. To the underside of each foot, at the centre, is soldered a small circular silver disc (Diam. 3.8 cm) engraved with the demi-figure of an angel, with both arms outstretched and holding in both hands the drapery on which an oval shield in a cartouche is emblazoned with the arms of the Counts of Thun, of Tirol and Bohemia.

Silver-gilt tazza; embossed and chased. A female figure emblematic of Earth (Terra) is depicted in the centre foreground, seated on a group of plain, burnished blocks of stone with grass and flowering plants springing up around the stones. The figure of Earth has been given a subtle contrapposto movement, because her left leg is crossed over the right knee and is facing left, but the torso is turned almost facing front while the head is turned in profile to the right, looking upwards and tilted back slightly. The figure is almost nude - a swathe of drapery from her left hip crosses over and covers part of her right leg and knee. In her hair, ears of corn are worn like a diadem, coming to a point in the centre above her forehead. Her right elbow rests on a sheaf of corn and her raised right hand holds two long stalks with heavy ears, bending them into a gentle curve. Her left elbow rests on the tall block of stone and her left hand holds the sickle, the blade of which rests on the upper arm. The landscape includes a farm building (on the left) with a water-wheel and, beyond, the village. On the ground, close to the left foot and the sheaf of corn, is a lizard. One of the trees (on the right) is of the willowy kind, leaning against the other. In the centre, the panorama extends to the horizon and the burnished clouds in the sky. The border consists of a narrow inner band in the classical manner and a wider outer band of four lion-masks at the cardinal points, linked by a repetitive strapwork design each incorporating two swags of drapery on either side of a 'fleur-de-lis' motif. The baluster-shaped stem has a separate short upper section with a profiled ring and four scroll-brackets attached at the top and the bottom; a large middle section elaborately chased with strapwork lion-masks, clusters of fruit, festoons and swags of drapery, is integral with the plain undecorated lower section; they fit over the threaded tube rising from the centre of the foot. The circular domed foot rises in two stages, each richly decorated with chased ornament, the lower consisting of winged cherub heads alternating with scrollwork and clusters of fruit, while the upper is a continuous series of swags of drapery with pendant folds alternating with pendant tassels, and scrolls below. To the underside of each foot, at the centre, is soldered a small circular silver disc (Diam. 3.8 cm) engraved with the demi-figure of an angel, with both arms outstretched and holding in both hands the drapery on which an oval shield in a cartouche is emblazoned with the arms of the Counts of Thun, of Tirol and Bohemia.

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Object reference number: MCN11701

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