Page 8 Prosit, June 2013 Page 8 Mettlach 2530 and the According to the beer stein library Mettlach 2530 was manufactured in three sizes, 1.0 Calydonian Boar Hunt L, 0.5 L and 0 .25 L. It also has a 2.5 L master (Mettlach 2631). All generally came By with an inlaid lid of a leaping rabbit. The Steve Breuning 1.0L and 2.5L steins had an additional dec­ Proud Michisteiner orative row of leaping rabbits which circled the base of the stein. My stein is dated I began collecting steins about five years 1900. ago. Probably like most beginners I was fairly haphazard in my selections. I now This stein was designed by the artist Jo­ focus on hunting and shooting related hann Baptist Stahl (Jean­Baptiste Stahl). steins as they align beautifully with my Stahl designed almost all the cameo wares other main interests in life. for Villeroy & Boch from about 1895 through 1910. He was born in1860 and died in Three steins in my collection I love to look 1932. at as a group are Mettlach 812, 2530, and 2547. The Beer Stein Library has these la­ beled as “Hunting” (812), “Hunting Scene” Other than its sheer beauty, something kept (2530), and “Loving, Music, and Drinking” drawing me to this stein. I would carefully (2547). I personally have these displayed examine it over and over trying to figure out as a group and labeled “Hunting and after what about this stein seemed so familiar to the Hunt”. These can be seen side by side me. Than the other day I came upon the in figure 1. answer. figure 1 Steins 812 and 2547 are relief steins and An aspect of stein collecting I especially 2530 is a cameo stein. While I find all three enjoy is seeing if each stein has its own steins to be magnificent, my focus always unique story. Or put another way, I want to drifts to the Mettlach 2530 – Hunting Scene understand what was in the mind of the ar­ stein. tisan and/or decorator. In an attempt to in­ crease my general knowledge I was The hunting scene portrayed on this stein The stein has a wrap around scene of a reading random pages on the Stein Marks could easily be illustrating the famous Ca­ boar hunt. The heart of the hunt is in the web site (www.steinmarks.co.uk) and hap­ lydonian Boar Hunt from Greek/Roman center with additional aspects of the hunt pened on to the description of Johann Bap­ mythology. As the legend goes, one year fading in both directions. At the center, two tist Stahl. In a brief biography of Stahl by King Oeneus of Calydon was giving his an­ hunters catch the boar. As one tries to his great grandson Dr. Branko Stahl, Dr. nual offerings of thanks to the gods. How­ wrestle it to the ground the second hunter is Stahl states that his grandfather loved to ever, this year he ignored the Goddess rushing to help. To the left, three additional take topics from mythology and integrate Diana (also known as Artemis in Greek hunters rush toward the boar. To the right, them with rural life. Once I read this I knew mythology). Diana, known as Goddess of two armed hunters cautiously look on. what the steins image reminded me of. Page 9 Prosit, June 2013 Page 9 Diana was satisfied that she had inflicted display at the Palazzo dei Conservatori in enough punishment and no more was Rome. And Picture 5 shows a painting of given. the Calydonian Boar Hunt by the famous Flemish painter Peter Paul Rubens. It is on I can easily see these images in the story display in the Paul Getty Collection at the on the stein with a little modernizing of the Getty Center in Los Angeles story by inclusion of two rifles in place of a bow & arrow. This modernization would be As you look at these three illustrations consistent with rural life of Stahl’s time. imagine Stahl doing the same. Imagine him getting the inspiration to add his own unique artistic touch in furthering the im­ mortalization of something from the mythology he loved. In concluding, I rec­ ommend that every collector assume that each stein might have a meaning or story. In addition to what you might find for yourself, if you share this informa­ tion we will all find the Moon, Mother of Animals, Lady of Wild something interest­ Creatures, and the Great Huntress, was re­ ing. ally angered. She decided to punish King Throughout history Oeneus by letting loose a giant boar on the there are numerous Calydon countryside. This boar was said descriptions and vi­ to be as large as a bull with tusks as big as sual presentations of an elephant’s. It destroyed the crop fields, the boar hunt. Here killed flocks of sheep, and in general ter­ are three quick exam­ rorized the people. ples. Picture 3 shows a Roman frieze (ar­ Oeneus asked the other gods for help but chitectural carving none was forthcoming. He was told that he generally above a created the problem so he could remedy it door or window) on himself. Oeneus picked his son Meleager, display at the Ash­ an established hero and warrior, to gather a molean Museum of team of heroes and warriors to kill the boar. Art and Archaeology This may be the first documented instance in Oxford England. of a dream team. Picture 4 shows a Roman marble sar­ Meleager wasted no time in picking his war­ cophagus carved riors. His team consisted of Jason (leader with the Calydonian of the Argonauts), Theseus (son of Posei­ Boar Hunt. It is on don and slayer of the Minotaur), Peleus (fa­ ther of the warrior Achilles), Nestor (led battles against Centaurs), and three others from Jason’s Argonaut crew, the twins Cas­ tor & Pollux, and the great woman warrior Atalanta. The warriors hunted the boar exhaustively and finally cornered it in the forest. Several speared the boar with no impact. One of them was gored and killed. Finally, Ata­ lanta shot the boar with an arrow. It fell to the ground and the others rushed it with spears and clubs. It is said that everyone rushed the boar to say they were part of the kill. None wanted a woman, even a great warrior, to get all the credit. The goddess.