Standing cup with cover

During the Renaissance, the connection between masters from the various branches of art, such as between goldsmiths and copper engravers, was close, especially in centres for both art forms. Nuremberg was the citadel of German Renaissance arts and crafts and home to one of the greatest artistic personalities of the age, Albrecht Durer (1471–1528). The “Dresden” pattern book of 1507 contained nearly twenty cup designs made for the town’s esteemed goldsmith, Ludwig Krug (active: 1522–1532). Such a pattern was certainly used in making this decorative cup with cover from c. 1520, as its structure and details repeat motifs found in the drawings. The base is decorated with naturalistic leaves and vines, while the stem imitates a tree trunk. The rich and varied decoration continues on the body and cover of the cup, which contain appliqued reliefs carved in ivory and figural depictions engraved in seashell plates. A unique duality prevails in terms of iconography, as mythological scenes alternate with biblical ones. The allegorical interpretation, a characteristic feature of the Renaissance style, creates a connection between the compositions. The “Judgment of Paris” and the “Fall of Adam” are based on engravings by Durer. The accompanying Latin text, however, imbues the widely recognized themes with allegorical content. A similar masterpiece by Ludwig Krug is housed in the basilica of St Anthony in Padua.