Schluesselfeld NefOriginal Source: permanent loan of the Johann Carl von Schlüsselfelder'schen Familienstiftung
The Schluesselfeld Nef, named after its early owners, was made in 1503, or just before. It is an extraordinary survivor: the most elaborate silver ship from this period to still exist. It even retains its original fitted case.
From the late Middle Ages to the seventeenth century: at feasts, such centrepieces entertained guests at the tables of the high and mighty. Even in English they are known as 'nefs' after the French word for ship.
Schluesselfeld NefOriginal Source: permanent loan of the Johann Carl von Schlüsselfelder'schen Familienstiftung
Why did silver ships set sail at medieval feasts? They were monumental drink containers. More importantly, guests could discover endless details on board the golden vessels. Hence, the ship has been a conversation starter for more than 500 years.
Schluesselfeld NefOriginal Source: permanent loan of the Johann Carl von Schlüsselfelder'schen Familienstiftung
We counted: 74 figures 'live' on board. Most of them still show at least some of the paint with which they were originally coloured. Not all of them are on their best behaviour (we apologise the sailor on the left). At least, the soldier in the middle waves at the observer.
Schluesselfeld NefOriginal Source: permanent loan of the Johann Carl von Schlüsselfelder'schen Familienstiftung
At the helm beckons an oversized figurehead in the shape of a fantastically imagined dragon with a dog's head, flattened ears, long fangs and a scaly neck.
Above the beast, sailors man the guns to defend the ship and the treasures it might hold. Even merchant vessels of the period were often heavily armed.
Tiny silver figures populate every part of the ship.
Schluesselfeld NefOriginal Source: permanent loan of the Johann Carl von Schlüsselfelder'schen Familienstiftung
From lookouts in the crow's nest ...
Schluesselfeld NefOriginal Source: permanent loan of the Johann Carl von Schlüsselfelder'schen Familienstiftung
... to midshipmen and pilgrim passengers at the stern ...
Schluesselfeld NefOriginal Source: permanent loan of the Johann Carl von Schlüsselfelder'schen Familienstiftung
... and drinkers nearing the bottom of a barrel, or at least next to it.
Schluesselfeld NefOriginal Source: permanent loan of the Johann Carl von Schlüsselfelder'schen Familienstiftung
The ship's deck, complete with masts and castle, can be removed to reveal a monumental cup. It hold's more than two liters of liquid and is held up by an intriguing figure of a mermaid.
We do not know how the cup was used. Because of its weight, it is unlikely that guests drank directly from it. Maybe its contents were ladled into glasses.
Schluesselfeld NefOriginal Source: permanent loan of the Johann Carl von Schlüsselfelder'schen Familienstiftung
Of course, the real excitement and action happens on board the ship. Nonetheless, this image of its underside shows just how many nuts and bolts ensure that everything remains in place - no matter how stormy the sea at the table might become.
Schluesselfeld NefOriginal Source: permanent loan of the Johann Carl von Schlüsselfelder'schen Familienstiftung
We do not know the name of its makers. They were at the top of their trade and probably visited Western European cities as journeyman. The ship reflects works made there.
Schluesselfeld NefOriginal Source: permanent loan of the Johann Carl von Schlüsselfelder'schen Familienstiftung
So the ship, still privately owned by the heirs of its early owners, sail on through time: a gleaming relic of a period of dramatic change between Middle Ages and Renaissance, that is the period of Christopher Columbus, Martin Luther and Albrecht Duerer.
Text: Dr. Heike Zech, Head of the Collection "Decorative Arts up to 1800"
Literature: Renaissance. Barock. Aufklärung. Kunst und Kultur vom 16. bis zum 18. Jahrhundert. Ed. by Daniel Hess and Dagmar Hirschfelder. Nuremberg 2010, p. 38, 40, ill. 7, 387.
Leibniz und die Leichtigkeit des Denkens. Historische Modelle: Kunstwerke, Medien, Visionen. Ed. by Frank Matthias Kammel. Nuremberg 2016, p. 132-136 (incl. ill.).
