In spite of the crudity of the enamels and the rudeness of the design,
it is impossible to deny that there is a certain attraction in the
intensely German character of the decoration on these three groups of
glasses, which thus form a class by themselves. They smack of the soil
and of the simple German folk who made them. The earliest example
known, an _adler-humpen_, is dated 1547, and differs little in the
quality of the enamel from the later specimens, which range down to the
beginning of the eighteenth century.[202]
There are in the British Museum two remarkable tankards which, though
they do not fall under any of the above divisions, may well be
mentioned here. On one we see an elaborate hunting scene: in the centre
the net is spread and the game is being driven in by dogs and beaters
(Plate XLI.). On the other is a strangely crude representation of the
Last Supper, in the arrangement of which, however, Leonardo’s famous
design may still be traced.
[Illustration: _PLATE XLI_
GERMAN GLASS. WILLKOMM HUMPEN. ENAMELLED WITH HUNTING SCENES
ABOUT 1600, A.D.]
Before treating of the big glasses painted at Dresden and of those of
the South German school, I may well say something of the second class
of cylindrical vessels, of which the most important sub-division is
formed by the _pass-gläser_, the tall narrow beakers divided by
stringings of glass or by enamelled rings into a series of zones. These
glasses played an important part in the drinking contests of the time.
It would seem—to judge from the lengthy verses, commencing and ending
in all cases with the word _vivat_, found on many of them—that it was
required of the drinker to swallow at one draught the liquid contents
of each zone, neither more nor less. At other times the drinking was
apparently regulated by the dealing of cards. There is a remarkable
example of the typical _pass-glas_ at South Kensington: it is divided
into twelve zones by quilled threadings of glass. The simple decoration
of hearts, roses, and wreaths, as well as the long inscription, is
painted in white enamel.
Public-domain text, read in full here on John Shaqi.
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