The tradition of manufacturing tiny nave ships was originated in the Middle Ages in Germany and in Holland. Being symbols of life, votive objects, they served as well as vessels for wine used during the nobility meals, saltcellars or cruet-stands and, finally, table decorations, which were placed in front of the guests of honor. It was considered that naves protected food and drinks from poison, and, therefore, were capable to save their owners from death and from hardships during the difficulties of everyday life as well, or to give hope to those who suffered a shipwreck. However, by the 16th century naves-cups had become irrelevant, they faded into the table ornament. The tiny models of ships with corresponding equipment and complete rigging distinguished by a masterful delicacy of work became popular and gained the greatest recognition at that time. This phenomenon somehow reflected the major achievements in navigation and great geographical discoveries. The European jewellers of the second half of the 19th century who worked in the Historicism style – the style which was characterized by reconstruction of old forms and using the ornamental patterns that belonged to the gone epochs – turned to the reproduction of the similar table decoration.

The tradition of manufacturing tiny nave ships was originated in the Middle Ages in Germany and in Holland. Being symbols of life, votive objects, they served as well as vessels for wine used during the nobility meals, saltcellars or cruet-stands and, finally, table decorations, which were placed in front of the guests of honor. It was considered that naves protected food and drinks from poison, and, therefore, were capable to save their owners from death and from hardships during the difficulties of everyday life as well, or to give hope to those who suffered a shipwreck. However, by the 16th century naves-cups had become irrelevant, they faded into the table ornament. The tiny models of ships with corresponding equipment and complete rigging distinguished by a masterful delicacy of work became popular and gained the greatest recognition at that time. This phenomenon somehow reflected the major achievements in navigation and great geographical discoveries. The European jewellers of the second half of the 19th century who worked in the Historicism style – the style which was characterized by reconstruction of old forms and using the ornamental patterns that belonged to the gone epochs – turned to the reproduction of the similar table decoration.

Table decoration (and a vessel at the same time) in the form of two-masted ship with fluttering banners with four hoisted sails. The engraved images are on the sails and banners. Baskets with looking out sailors are fixed on each mast (the co-called top-lift or crow's nest). The ship's hull is decorated with chased images of Sea Gods and Nereids against the waves. The cordage (rigging} of the ship, its crew and large cannon barrels are reproduced in the smallest details. They are visible through the apertures located along the boards on both sides. A castle with corner towers and a flag.

The bow and stern of the ship are completed with tower-like structures. The control element screw (rudder) is in the ship bottom part. The bow of the ship is decorated with the sculpture "Perseus with the head of a jellyfish", exemplified by the work of the Italian sculptor of the 16th century Benvenuto Cellini. The nave-ship is mounted on four openwork wheels, each decorated with a dolphin-shaped overlay. There is the engraved inscription: "3 March 1891".

From the collection of John Churchill Pearson, the 3rd Viscount Cowdray (1910-1995)

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