Peter Vischer of Nuremberg
Mosaic
ca. 1871 (made)
ca. 1871 (made)
| Artist/Maker | |
| Place of origin |
This mosaic representing Peter Vischer of Nuremberg is part of a cycle of monumental mosaic portraits depicting famous artists. The series of originally 35 mosaics was created between 1864 and circa 1875 for the South Court of the South Kensington Museum, the later V&A. The mosaics were originally installed on the side walls as part of a decorative scheme celebrating the arts. It is made after a painting by William Belll Scott.
Peter Vischer the Elder (about 1460-1529) was the most important member of the eminent family of sculptors and bronze-casters based in Nuremberg; his work unites the late northern Gothic tradition with the more classicizing influences of the Italian Renaissance. Vischer's most important work was the tomb of St Sebaldus, in the church of that name in Nuremburg, probably begun in 1508 and finished 1519. A cast of the tomb had been acquired by the Museum in 1864. Vischer included his own full-length self-portrait among the figures on the tomb, and this is the image reproduced by Scott: a similar pose, identical full-bearded features, wearing the same leather apron and holding a chisel and mallet (monogrammed 'PV'). The significance of the 'Star of David' emblem on his cap is unclear.
William Bell Scott (1811-1890) was a portraitist and history painter. He entered a cartoon for the Westminster Hall competition in 1842, the Free North Britons Surprising the Roman Wall between the Tyne and Solway, which was, however, unsuccessful. The following year he accepted the Mastership of the Government School of Design at Newcastle upon Tyne, where he worked for 20 years. His most important commission came in 1857 when he was invited by Sir Walter and Lady Pauline Trevelyan to paint murals at their home Wallington House, Northumberland. In the event Bell Scott opted to execute the works in oil on canvas rather than in fresco. The eight scenes of Northumbrian history began with the Building of the Roman Wall and ended with Iron and Coal.
Bell Scott played a significant part in the decoration of the museum galleries at South Kensington. Not only was he commissioned to execute a Valhalla portrait, he was also commissioned by Cole in 1867 to design glass for two windows in the Ceramic Gallery, and later to prepare a whole series. The overall scheme was to illustrate successive periods of ceramic manufacture. Scott also designed windows on the Lecture Theatre staircase, illustrating the arts and crafts of civilized life. A portion of this scheme was related to the Valhallas in theme, representing incidents in the lives of Giotto and Raphael. Scott might have been asked to represent Vischer in the Valhalla series because of his admiration for German art. He published a book on Dürer in 1869.
The series of mostly idealised portraits against gold backgrounds soon became known by the public as the Kensington Valhalla. The term alludes to the Vallhall as eternal home of heroes in Norse mythology. It also refers to the concept of a reunion of outstanding personalities of different periods by the means of art. An earlier example of such a hall of fame is the Walhalla near Regensburg in Germany (opened in 1842).
The selection of the Kensington Valhalla includes many famous artists, from Phidias and Apelles as representatives of ancient Greece to contemporaries such as the Irish painter William Mulready who had died only five years before his mosaic was completed.
Mosaics played an important part in the canon of materials and techniques used for the interior decoration of the new South Kensington Museum. The ambitious project of a revival of the art of mosaics involved one of the major Venetian mosaic companies of the time, Salviati & Co. It also led to the innovation of the technique by the introduction of vitrified ceramics mosaics made by Minton, Hollins & Co. These ceramics mosaics were created following the cartoons of professional artists by female students, including members of the family of Henry Cole.
The Kensington Valhalla remained in place until 1949. Some of the mosaics are now on display in other galleries of the museum. In addition to the mosaics themselves, preparatory sketches and cartoons by established contemporary artists such as Edward Poynter or Lord Leighton are part of the V&A collection.
Peter Vischer the Elder (about 1460-1529) was the most important member of the eminent family of sculptors and bronze-casters based in Nuremberg; his work unites the late northern Gothic tradition with the more classicizing influences of the Italian Renaissance. Vischer's most important work was the tomb of St Sebaldus, in the church of that name in Nuremburg, probably begun in 1508 and finished 1519. A cast of the tomb had been acquired by the Museum in 1864. Vischer included his own full-length self-portrait among the figures on the tomb, and this is the image reproduced by Scott: a similar pose, identical full-bearded features, wearing the same leather apron and holding a chisel and mallet (monogrammed 'PV'). The significance of the 'Star of David' emblem on his cap is unclear.
William Bell Scott (1811-1890) was a portraitist and history painter. He entered a cartoon for the Westminster Hall competition in 1842, the Free North Britons Surprising the Roman Wall between the Tyne and Solway, which was, however, unsuccessful. The following year he accepted the Mastership of the Government School of Design at Newcastle upon Tyne, where he worked for 20 years. His most important commission came in 1857 when he was invited by Sir Walter and Lady Pauline Trevelyan to paint murals at their home Wallington House, Northumberland. In the event Bell Scott opted to execute the works in oil on canvas rather than in fresco. The eight scenes of Northumbrian history began with the Building of the Roman Wall and ended with Iron and Coal.
Bell Scott played a significant part in the decoration of the museum galleries at South Kensington. Not only was he commissioned to execute a Valhalla portrait, he was also commissioned by Cole in 1867 to design glass for two windows in the Ceramic Gallery, and later to prepare a whole series. The overall scheme was to illustrate successive periods of ceramic manufacture. Scott also designed windows on the Lecture Theatre staircase, illustrating the arts and crafts of civilized life. A portion of this scheme was related to the Valhallas in theme, representing incidents in the lives of Giotto and Raphael. Scott might have been asked to represent Vischer in the Valhalla series because of his admiration for German art. He published a book on Dürer in 1869.
The series of mostly idealised portraits against gold backgrounds soon became known by the public as the Kensington Valhalla. The term alludes to the Vallhall as eternal home of heroes in Norse mythology. It also refers to the concept of a reunion of outstanding personalities of different periods by the means of art. An earlier example of such a hall of fame is the Walhalla near Regensburg in Germany (opened in 1842).
The selection of the Kensington Valhalla includes many famous artists, from Phidias and Apelles as representatives of ancient Greece to contemporaries such as the Irish painter William Mulready who had died only five years before his mosaic was completed.
Mosaics played an important part in the canon of materials and techniques used for the interior decoration of the new South Kensington Museum. The ambitious project of a revival of the art of mosaics involved one of the major Venetian mosaic companies of the time, Salviati & Co. It also led to the innovation of the technique by the introduction of vitrified ceramics mosaics made by Minton, Hollins & Co. These ceramics mosaics were created following the cartoons of professional artists by female students, including members of the family of Henry Cole.
The Kensington Valhalla remained in place until 1949. Some of the mosaics are now on display in other galleries of the museum. In addition to the mosaics themselves, preparatory sketches and cartoons by established contemporary artists such as Edward Poynter or Lord Leighton are part of the V&A collection.
Object details
| Categories | |
| Object type | |
| Title | Peter Vischer of Nuremberg (generic title) |
| Materials and techniques | Mosaic |
| Brief description | Mosaic panel, ceramic mosaic, depicting Peter Vischer of Nuremberg, by Kate Clarke after a painting by William Bell Scott, Britain, about 1871 |
| Physical description | Vertical oblong ceramics mosaic with curved top depicting idealised full-length portrait of Peter Vischer the Elder (ca. 1455-1529) wearing a sculptor's apron and black cap decorated with a red Star of David, holding mallet and chisel, standing on voluted plinth in front of a golden background |
| Dimensions |
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| Marks and inscriptions | 'P. VISCHER.' (on plinth) |
| Object history | This mosaic was created for the decoration of the South Court of the Museum. It is part of a cycle of mosaic portraits of famous artists. They were created between 1863 and ca. 1875 and installed in blind arcades on the upper level of the South Court. Historical significance: Only few extensive mosaic cycles were executed in the 19th century. Apart from the South Kensington Valhalla the mosaics of the Albert Memorial, Albert Memorial Chapel at Windsor, and at Saint Paul's Cathedral, all begun in 1864, were the only other comparable projects of the time. All of them were made by Salviati & Co. The mosaics of the South Kensington Valhalla are based upon designs of a variety of artists, some of whom were, or were to become, major figures of the Victorian art world. The commission is extremely well documented. The related documents and cartoons at the V&A make this cycle of mosaics not only an outstanding group of artistic value, but are also an excellent case study for the history of the buildings of the Museum. |
| Historical context | The Museum played an important part in the revival of mosaic in Britain in the 19th century. The technique goes back to ancient times and was always regarded as one of the most precious and long-lasting techniques for adorning walls and floors. The enormous costs of mosaics limited its success in the 19th century. The early mosaics for the South Court were made using the traditional material glass. They were created by the Venetian company Salviati & Co., the most successful mosaic makers of the time who had branches in London and New York. The majority of the mosaics consist of vitrified ceramics which were provided by the English company Minton, Hollins & Co. The Mosaics were made by the Mosaic Class of the Art School of the South Kensington Museum and were supervised by a representative of Minton. Amongst the students were family members of Henry Cole. A second, less ambitious series of mosaics was created for the north cloister between 1868 and 1874. In 1878 a ceramic mosaic memorial for Sir Henry Cole, designed by Frank Moody was installed on the first landing of the Ceramic Staircase and is still in place today. The use of mosaic at the museum also included marble mosaic floors, some of them laid by 'Female Convicts' of Woking Prison from 1869 and was dubbed Opus Criminale by contemporaries. |
| Production | Made by Kate Clarke, superintended by Samuel Cooper for Minton, Hollins & Co. |
| Subjects depicted | |
| Summary | This mosaic representing Peter Vischer of Nuremberg is part of a cycle of monumental mosaic portraits depicting famous artists. The series of originally 35 mosaics was created between 1864 and circa 1875 for the South Court of the South Kensington Museum, the later V&A. The mosaics were originally installed on the side walls as part of a decorative scheme celebrating the arts. It is made after a painting by William Belll Scott. Peter Vischer the Elder (about 1460-1529) was the most important member of the eminent family of sculptors and bronze-casters based in Nuremberg; his work unites the late northern Gothic tradition with the more classicizing influences of the Italian Renaissance. Vischer's most important work was the tomb of St Sebaldus, in the church of that name in Nuremburg, probably begun in 1508 and finished 1519. A cast of the tomb had been acquired by the Museum in 1864. Vischer included his own full-length self-portrait among the figures on the tomb, and this is the image reproduced by Scott: a similar pose, identical full-bearded features, wearing the same leather apron and holding a chisel and mallet (monogrammed 'PV'). The significance of the 'Star of David' emblem on his cap is unclear. William Bell Scott (1811-1890) was a portraitist and history painter. He entered a cartoon for the Westminster Hall competition in 1842, the Free North Britons Surprising the Roman Wall between the Tyne and Solway, which was, however, unsuccessful. The following year he accepted the Mastership of the Government School of Design at Newcastle upon Tyne, where he worked for 20 years. His most important commission came in 1857 when he was invited by Sir Walter and Lady Pauline Trevelyan to paint murals at their home Wallington House, Northumberland. In the event Bell Scott opted to execute the works in oil on canvas rather than in fresco. The eight scenes of Northumbrian history began with the Building of the Roman Wall and ended with Iron and Coal. Bell Scott played a significant part in the decoration of the museum galleries at South Kensington. Not only was he commissioned to execute a Valhalla portrait, he was also commissioned by Cole in 1867 to design glass for two windows in the Ceramic Gallery, and later to prepare a whole series. The overall scheme was to illustrate successive periods of ceramic manufacture. Scott also designed windows on the Lecture Theatre staircase, illustrating the arts and crafts of civilized life. A portion of this scheme was related to the Valhallas in theme, representing incidents in the lives of Giotto and Raphael. Scott might have been asked to represent Vischer in the Valhalla series because of his admiration for German art. He published a book on Dürer in 1869. The series of mostly idealised portraits against gold backgrounds soon became known by the public as the Kensington Valhalla. The term alludes to the Vallhall as eternal home of heroes in Norse mythology. It also refers to the concept of a reunion of outstanding personalities of different periods by the means of art. An earlier example of such a hall of fame is the Walhalla near Regensburg in Germany (opened in 1842). The selection of the Kensington Valhalla includes many famous artists, from Phidias and Apelles as representatives of ancient Greece to contemporaries such as the Irish painter William Mulready who had died only five years before his mosaic was completed. Mosaics played an important part in the canon of materials and techniques used for the interior decoration of the new South Kensington Museum. The ambitious project of a revival of the art of mosaics involved one of the major Venetian mosaic companies of the time, Salviati & Co. It also led to the innovation of the technique by the introduction of vitrified ceramics mosaics made by Minton, Hollins & Co. These ceramics mosaics were created following the cartoons of professional artists by female students, including members of the family of Henry Cole. The Kensington Valhalla remained in place until 1949. Some of the mosaics are now on display in other galleries of the museum. In addition to the mosaics themselves, preparatory sketches and cartoons by established contemporary artists such as Edward Poynter or Lord Leighton are part of the V&A collection. |
| Associated object | 26-1871 (Design) |
| Bibliographic reference | Physick, John. The Victoria and Albert Museum. The history of its building. London: The Victoria & Albert Museum 1982. Pp. 62-67, no. 20. |
| Collection | |
| Accession number | A.31-2009 |
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| Record created | October 8, 2009 |
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