Gilt bronze, attributed to Wenzel Jamnitzer

The circular base consists of two sections, the inner section from the same mould as M.121-1953, the outer with cartouches intermingled with figures in the manner of Wenzel Jamnitzer. The standard is composed of lion's head at the base and above male and female fauns supporting a man in late 16th century costume. Upon his shoulder a nude female figure squats, apparently bathing. Above are two stems with foliate members in between, topped by the torso of a naked woman. The standard is finished with the torso of a wealthy man in classical clothing. The balance is in the form of a dragon similar to that of M.121-1953 but without wings. The scales are missing.

Given by Mrs M. Russell

Gift from Mrs M Russell
Sold at Sotheby's May 9-11, 1923 lot 399

Historical significance: This balance standard has been attributed to the workship of Wenzel Jamnitzer, who became a master goldsmith in 1534 in Nuremberg. Although this object does not bear Jamnitzer's mark, certain aspects of the piece are in the style of the goldsmith, who made casts of insects, shells and plants. The intermingled figures at the base of the balance standard resemble the border of a dish by Jamnitzer in the Louvre (Rosenberg, pl.25). The masks and figures amidst detailed decoration are also reminiscent of Jamnitzer.

This balance standard is closely related to another in the V&A (M.21-1953). The dragon balance and intermingled figures on the stems have many sylistic similarities. Part of the base has been taken from the same mould. This could indicate that they were made in the same workshop.

Another balance standard which has many similarities with this example is in the Cleveland Museum of Art. This standard, complete with scales, has a related figurative design. The lion masks at the base of the stem can also be found on the V&A standard. The style of the Cleveland Standard has been compared both with Jamnitzer and Peter Floetner, a goldsmith also working in Nuremberg in the 16th century (d.1546). Jamnitzer and his school sometimes used models made by Floetner in their work.

This balance standard, its scales now missing, was once used as a weighing device. Merchants used scales to measure out coins for payment and also items being sold, such as jewels or precious metals. Scales signified trust between the merchant and the buyer. They showed that merchants were using official measures. Thus the act of measuring was very important in maintaining commercial confidence. However, the scales themselves also had to be reliable. In Renaissance Italy scale makers were licensed to ensure that these objects were made honestly.

Scales had a strong symbolism in the Renaissance period. They were used by churches and town halls as symbols of civic importance and supervision. The allegorical figure of Justice was represented throughout this period carrying scales. This object reflects the symbolic meaning of scales and balance. The figures, from the lion and the mythical faun at the bottom to the wealthy gentleman at the top, seem to represent the balance of society.

The delicacy of these scales suggests that this object belonged to a goldsmith and was used to weigh small items such as coins or jewels. The craftsmanship of this balance standard would have served to advertise the quality of the goldsmith's wares. Goldsmiths are often depicted wearing expensive jewellery and clothing in this period, an indication that signs of wealth were important for their business.

South German (Nuremberg), probably from the Jamnitzer workshop

This balance standard, its scales now missing, was once used as a weighing device. The delicacy of these scales suggests that this object belonged to a goldsmith and was used to weigh small items such as coins or jewels. The design of the object plays upon the significance of scales and balance. The figures, running from the lion and the mythical faun at the bottom to the wealthy gentleman at the top, represent the balance of society.

The craftsmanship has been attributed to the workshop of Wenzel Jamnitzer, who became a master goldsmith in 1534 in Nuremberg. Although this object does not bear Jamnitzer's mark, certain aspects of the piece are in the style of the goldsmith, who made casts of insects, shells and plants. The intermingled figures at the base of the balance standard resemble the border of a dish made by Jamnitzer in the Louvre. The masks and figures amidst detailed decoration are also reminiscent of Jamnitzer.

M.122-1953