TRIUMPH of 
 M^XIMILI^N I. 
 
 HOLBEIN 
 SOCIETY
 
 C LIBRARY ^ 
 
 UNIVERSITY OF 
 
 CALIFORNIA 
 I SAN DIEGO
 
 THE UNIVERSITY LIBRARY 
 
 UNIVERSITY OF CALIFORNIA, SAN DIEGO 
 
 U'JOUA, CALIFORNIA
 
 COUNCIL. 
 
 SIR WILLIAM STIRLING-MAXWELL, BART., M.P., PRESIDENT. 
 HENRY YATES THOMPSON, VICE-PRESIDENT. 
 ALFRED ASPLAND, F.R.HiST.S., EDITOR. 
 
 ALFRED BROTHERS, F.R.A.S. 
 
 JAMES CROSTON, F.S.A., HONORARY SECRETARY. 
 
 WILLIAM HARRISON, F.S.A. 
 
 WILLIAM LANGTON. 
 
 G. W. NAPIER.
 
 LONDON : 
 \\YMAN AND SONS, PRINTERS, GREAT QUEEN STRKET, 
 
 I.INCOLN'S-INN FIELDS, vv.c.
 
 TRIUMPH 
 
 OF THE 
 
 EMPEROR MAXIMILIAN I.
 
 THE HOLBEIN SOCIETY'S FAC-SIMILE REPRINTS. 
 
 OF THE EMPEROR 
 
 MAXIMILIAN I. 
 
 WITH WOODCUTS 
 
 Designed by HANS BURGMAIR. 
 
 EDITKU BY 
 
 ALFRED ASPLAND, F. R. HIST. S. 
 
 Reproduced by the HOLBEIN SOCIETY, 
 
 1875,
 
 Vll 
 
 TABLE OF CONTENTS. 
 
 Page 
 
 Frederick III. ... ... ... ... ... ... i 
 
 Maximilian ... ... ... ... ... ... ... 3 
 
 Origin of the House of Hapsburg ... ... ... ... 6 
 
 Theory of the Holy Roman Empire ... ... ... 7 
 
 The Renaissance ... ... ... ... ... ... 12 
 
 Maximilian's Wars ... ... ... ... ... ... 1 8 
 
 Autobiography of Maximilian ... ... ... ... 29 
 
 Hans Burgmair, Memoir of ... ... ... ... ... 62 
 
 The Engravers of the " Triumph "... ... ... ... 66 
 
 Bartsch's Catalogue of the Works of Burgmair ... ... 71 
 
 Passavant's Schools of Augsburg and Bavaria ... ... 87 
 
 Passavant's Additions to Bartsch ... ... ... ... 91 
 
 Burgmair the Younger ... ... ... ... ... 107 
 
 Preface to the " Triumph "... ... ... ... ... m 
 
 Description of the Plates of the " Triumph " ... ... 119 
 
 Editor's Observations on the " Triumph " ... ... ... 149 
 
 Letters from Mr. Scott and Dr. Willshire ... ... 163 
 
 APPENDIX. 
 
 Vehme-Geright ... ... ... ... ... 169 
 
 Maximilian and his Daughter Margaret ... ... ... 172
 
 ERRATA. 
 
 At Page 64, line 9, for "mazes" read "majesty. 
 At Page 162, line 4, a t reversed.
 
 THE Emperor Maximilian I. was born A.D. 1459, and 
 succeeded to the throne of his ancestors in 1493 as 
 head of the Holy Roman Empire. His father, Fre- 
 derick III., weak, incapable, and treacherous, transmitted 
 to his son an impoverished, degraded, and dismembered 
 empire. Frederick was the last of the Emperors crowned 
 at Rome ; and although he commenced his reign by sum- 
 moning the Council of Basle, which proposed reforms in 
 the Church, the emissaries of Rome having persuaded him 
 that his interests lay in an opposite direction, he deserted 
 the Council, and took sides with the Pope. It happened 
 thus, being a trifler in literature, he was charmed with 
 the elegant poetry and free novels of the secretary to the 
 Council, Pius ^Eneas Silvius Piccolomini, and he placed on 
 the brows of this adventurer, with much solemnity and 
 ceremonial, the poet's wreath. The Emperor returned 
 home, and was followed by Silvius, who was deputed by 
 the Council to confer with him on the projected reforms. 
 He transferred his services from the Council to the Empire, 
 and Frederick, having made him his private secretary, sent 
 him to Rome to urge the Pope to submit to the Diet. 
 
 His versatile talents and capacity for intrigue being at 
 once recognized, he was induced to desert the Emperor 
 and become an ecclesiastic. He addressed himself to 
 Caspar Schlick, the imperial chancellor. Frederick, now as 
 ever the tool of others, was persuaded to oppose the Diet 
 and stifle the reforms projected by the Council. He con- 
 cluded a concordat with Nicholas V., which rendered him 
 despised and hated by the opponents of Rome. The art 
 of printing coming into use about this time, rendered the 
 art of reigning more difficult, especially to a monarch like 
 Frederick, deficient in money and troops. To strengthen 
 his position, he looked abroad among the European Houses 
 for a suitable bride, and in 1452 he married Eleonora of 
 
 B
 
 Portugal, who had beauty, spirit, and wit. The wedding 
 festivities were conducted at Naples with great magnifi- 
 cence. The wedded pair proceeded to Rome, and were 
 crowned. The Empress had not long to wait to see the 
 character of her husband. Whilst all Europe was con- 
 vulsed with war, and chivalric monarchs were heading their 
 troops in the field, he was content to shut himself up in 
 his castle, cultivating his garden, and, engaging in other 
 trifles, left his chancellor Caspar to extricate him from the 
 network of troubles in which he was politically entangled. 
 Had he been able to read the signs of the times, or had he 
 even adhered to his pledges, Luther's mission might not 
 have been required, and a safe and quiet reformation might 
 have been effected. Had he evinced any manly courage, 
 the nobles of the Empire, instead of treating him with inso- 
 lent contempt, would have rallied round him, and prevented 
 province after province being torn from the Empire. An 
 electoral assembly met to depose him, but came to no de- 
 cision, owing to the prevailing confusion, and was unnoticed 
 by him. Vienna revolted, and refused him admission to his 
 own castle. He suffered the greatest indignities, and con- 
 descended to flatter his rebellious subjects. He was ad- 
 mitted at last, and his indignant empress said aloud to her 
 son Maximilian, " Could I believe you capable of demean- 
 ing yourself like your father, I should lament your being 
 destined to the throne " (A. D. 1463). Austria had now 
 become a den of lawless robbers, who carried their audacity 
 to such a height as to rob the Empress whilst taking the 
 waters of Baden. The aid of Matthias of Hungary was 
 called in, and many hundreds of the rovers were hanged 
 or drowned. In the midst of all these troubles Frederick 
 the Emperor made a pilgrimage to Rome, in performance 
 of a pious vow. He left a body of unpaid mercenaries, who 
 on his return were clamorous and threatening. He might 
 have paid them in the false coinage which he had ordered 
 to be struck ; he simply refused to pay, whereupon one of 
 his most faithful adherents, Andreas Baumkirchner, volun- 
 teered to be their advocate. Frederick met him at Gratz, 
 and promised him safety till vespers. He detained him till
 
 ( 3 ) 
 
 the close of day, and then caused him to be murdered as 
 he was passing out of the gate. 
 
 We now approach a period of greater interest in the his- 
 tory of this infamous emperor. His son Maximilian had 
 attained manhood, and Frederick made proposals on his 
 behalf for the hand of Mary, daughter of Charles the Bold, 
 Duke of Burgundy. At this time Louis XI. was pursuing 
 the heiress of Burgundy for his son, the Dauphin, a boy of 
 seven years of age. 
 
 The Count of Angouleme, a prince of the blood-royal of 
 France, was a third candidate. His pretensions were set 
 aside by the intrigues of Louis. Charles favoured the 
 young Archduke of Austria, and he and Frederick met at 
 Treves (A.D. 1473). Charles claimed from the Emperor 
 the title of King of Burgundy. Frederick, not unwilling 
 to comply, but for once in his life determined not to be a 
 dupe, insisted on the immediate conclusion of the marriage 
 before the title was granted. To this Charles demurred, 
 and procrastinated the negotiations. The Emperor with- 
 drew suddenly, without the courtesy of a leave-taking. The 
 Pope, notwithstanding the Emperor's subserviency, sided 
 with Charles, and the negotiations were at an end. 
 
 Philip de Commines tells us that whilst the marriage of 
 the Princess Mary with the Dauphin was under consider- 
 ation, Madam Hallewin, first lady of the bedchamber to 
 that princess, gave it as her opinion " that there was more 
 need of a man than a boy." 
 
 The meaning of this saying, and the magnitude of the 
 prize, will be understood when we remember that Mary 
 was sole heiress not only of the duchy of Burgundy, but 
 of Franche-Comte, Artois, Flanders, and of almost all the 
 Netherlands. 
 
 Burgundy remained a duchy, and the bold and restless 
 duke fell fighting before Nancy in 1477. Louis XI. claimed 
 the duchy of Burgundy as a male fief, and the guardian- 
 ship of Mary. In relation to this juncture of affairs, Menzel, 
 in his History of Germany, says, " Mary of Burgundy, 
 anxious alike to escape the merciless grasp of this royal 
 monster (Louis XI.) and the rule of the wild democracy of
 
 ( 4 ) 
 
 Ghent, at first endeavoured to conciliate the Dutch by the 
 promulgation of the great Charter, in which she vowed 
 neither to marry nor to levy taxes, nor to make war without 
 their consent, and conceded to them the right of convoking 
 the Estates, of minting, and of freely voting on every ques- 
 tion. In the hope of gaining a greater accession of power 
 by a foreign marriage, she skilfully worked upon the dread 
 with which the French were viewed by her subjects, to 
 influence them in favour of Maximilian, the handsomest 
 youth of his day, whom she is said to have seen at an 
 earlier period at Treves, or,' as some say, of whose picture 
 she had become enamoured. Maximilian inherited the 
 physical strength of his grandmother, Cimburga of Poland, 
 and the mental qualities of his Portuguese mother; sur- 
 passed all other knights in chivalric feats ; was modest, 
 gentle, and amiable. Mary confessed to the assembled 
 Estates of the Netherlands that she had already inter- 
 changed letters and rings with him, and the marriage 
 was resolved upon. Maximilian hastened to Ghent, and, 
 mounted on a brown steed, clothed in silver-gilt armour, 
 his long blond locks crowned with a bridegroom's wreath, 
 resplendent with pearls and precious stones, rode into the 
 city, where he was met by Mary. The youthful pair, on 
 beholding one another, knelt in the public street and sank 
 into each other's arms. ' Welcome art thou to me,' thou 
 noble German,' said the young duchess, ' whom I have so 
 long desired and now behold with delight ! ' " * 
 
 This melodramatic scene is hardly consistent with the 
 maiden modesty of the lady, or with the impulsive and 
 chivalric character of the young archduke, who would be 
 naturally the first to express the ardour of his affection. 
 Wolfgang Menzel, though highly esteemed as a German 
 author, is not unfrequently inaccurate. There are two reasons 
 why we should doubt the story : Philip de Commines, 
 who gives in his Memoirs thirty-four years of the reign of 
 Louis XI. and Charles VIII., his successor, distinctly states 
 
 * Menzel's "History of Germany," translated by Mrs. George Horrocks 
 
 from the fourth German edition. Bell & Daldy. London, 1871-2.
 
 ( 5 ) 
 
 that Mary had favoured the suit of the Count of Angou- 
 lesme. (Mem., vol. vi. chap, iii.) Next, in the autobiography 
 of Maximilian, prefacing the woodcuts illustrating Der Weis 
 Kunig (the Wise King), a history is given of the meeting 
 with Mary, but nothing like the above is related. It will 
 be given further on. 
 
 Maximilian, immediately on his marriage, devoted him- 
 self to improving the internal government of Austria, 
 which the indolence of his father had allowed to drift into 
 utter confusion. He, although not possessed of the highest 
 powers of statesmanship, was incomparably the best and 
 most accomplished prince which the House of Hapsburg 
 has produced ; he had energy, and a strong desire to re- 
 form abuses ; and had not much of his time been occupied 
 in fighting, and if he could have commanded money and 
 troops, he would undoubtedly have accomplished his pro- 
 jected plans. 
 
 In his and his father's reign the four great events of the 
 fifteenth century occurred, the dawn of the Reformation, 
 the discovery of America by Columbus (1492), the destruc- 
 tion of the Greek empire by Sultan Mahommed III. (1453), 
 the invention of printing (1457); and yet neither father nor 
 son in anyway recognized the portentous results that would 
 ensue from these events. Maximilian was highly educated, 
 and if we accept his own version of his studies and their 
 results, his knowledge was encyclopedic. We distinguish 
 two sides in his character, the practical and the romantic. 
 He illustrated the former aspect by his attention to me- 
 chanical inventions and domestic arrangements. He 
 planned out the division of Germany into circles, to insure 
 some order and regularity in the government, and to pro- 
 vide for the better administration of justice, superseding 
 by degrees the Vehm Courts,* which were unsuited to the 
 spirit of the age. 
 
 The romantic aspect of his character is indicated by his 
 poetry, his love of tilts, tournays, feats of arms, and chal- 
 lenge of dangers. He was, indeed, a connecting link be- 
 
 * Sec Appendix.
 
 ( 6 ) 
 
 tween mediaeval chivalry and modern prosaic life. And 
 this chivalric disposition might have brightened into a truly 
 chivalric life, with its self-denials and worship of personal 
 honour ; but the times were against him ; the Holy Roman 
 Empire was becoming a sham ; a Borgia was on the throne 
 of St. Peter ; amongst princes, treachery and dissimulation 
 were the rule in diplomatic intercourse, and he had to face 
 internal dissensions and aggression from without, circum- 
 stances little favourable to the development of a noble 
 life. His domestic relations were troubled. He early 
 lost his beautiful wife, Mary of Burgundy, whom he 
 tenderly loved, and who would have ennobled his policy 
 and strengthened his good intentions. She certainly would 
 have saved him from the ill-will and revolt of his Flemish 
 subjects, who never recognized his authority except as the 
 guardian of his son Philip. His nobleness of mien, his 
 gallantry and affability, endeared him to his people, but 
 brought him no favour from the princes of the Empire, 
 who constantly thwarted all his projects relating to war 
 and finance. It was his misfortune to follow a weak 
 driveller like Frederick III., who created a turbulent 
 opposition to his illustrious house. 
 
 The House of Hapsburg, destined to occupy the throne 
 of Austria for nearly six centuries, was founded by a 
 robber knight, whose castle of Hapsburg stood on a lofty 
 eminence on the right bank of the Aar, in the canton of 
 Ber, in the Helvetic republic. Nearly a century had elapsed 
 since the death of Frederick Barbarossa, of Hohenstaufen, 
 the last of that race capable of asserting the supremacy of 
 the Empire over the Papacy. After him his feeble de- 
 scendants for awhile held the imperial sceptre without 
 imperial power. At last came an interregnum, owing to 
 the squabbles of the Electors, who would have sold the 
 Empire to the highest bidder. It was now without a head, 
 and absolute anarchy prevailed. The Pope, finding his 
 revenues declining and his power lessening, threatened the 
 Electors that he would appoint an emperor if they omitted 
 their duty. They selected Rudolph on account of his insig- 
 nificance. The Pope crowned him at Lausanne, to give him
 
 no pretence to go to Rome, and made it a condition of his 
 support that he should overthrow Ottocar, king of Bohe- 
 mia. This he accomplished, and then devoted himself to 
 the aggrandisement of his family by marriages and intrigues. 
 Bold and fearless as the class from which he sprung usually 
 were, and liking the excitement of fighting, he undertook 
 work degrading enough to a monarch of such rank as 
 the Roman Empire brought, and suitable for a subaltern 
 rather than for. an emperor; and so we find him putting 
 down petty feuds, and fighting with robbers. He showed 
 no affection for those who followed his former trade, but 
 amused himself (after having been beaten by the Bernese 
 in a great battle) in destroying robber castles. Sixty-six 
 fell under his assaults, and he hanged twenty-nine of the 
 robber knights at Ilmenan. In his old age he married 
 Agnes of Burgundy, a girl in her fourteenth year. It is 
 related that the Bishop of Spires was so enchanted with 
 her beauty, that after the ceremony he kissed her, and the 
 Emperor suggested to the Bishop that it was the Agnus 
 Dei, not Agnes, that he ought to kiss. The whilome free- 
 booter died in his bed in 1292. Such was the founder of 
 the House of Hapsburg. Dante in his " Purgatorio " gives 
 a place to Rudolph : 
 
 " May on thy race Heaven's just judgment fall ; 
 And be it signally and plainly shown, 
 With terror thy successor to appal, 
 Since by thy lust yon distant lands to gain, 
 Thou and thy sire * have suffered wild to run 
 What was the garden of the fair domain. " 
 
 Canto VI. 1. loi.f 
 
 The theory of the Holy Roman Empire. Jurists have 
 generally agreed that it meant Church and State in their 
 closest relationship, both deriving their authority from 
 God, the Papacy being the spiritual member, the Empire 
 the temporal, neither perfect without the other. The Pope 
 
 * Rudolf I. 
 
 t Translation by J. C.Wright, M.A. P.ohn, London, 1854,
 
 was to depend on the Emperor to protect him and the 
 faith, as his kingdom was not of this world ; the Emperor 
 was to be earthly lord of this world, and to wield the 
 sword to compel obedience to the decrees of the Church. 
 
 The Papacy has held various views ; at one time owning 
 subjection to the Empire, as when Leo III. crowned Char- 
 lemagne, and worshipped him. Hildebrand (Gregory VII.) 
 claimed absolute power, both temporal and spiritual, power 
 to depose or institute princes of the earth ; and, acting on 
 this, passed sentence of excommunication on the Emperor 
 Henry IV. 
 
 The Imperial view of the relations of the State and 
 the Church was as various as that of the Papacy. Charle- 
 magne looked upon the Emperor as head of the State and 
 Church, as himself the Pope, the occupier of St. Peter's 
 throne as only his instrument and subject. 
 
 The whole of the imperial life of Frederick I. (Barbarossa) 
 was devoted to the depression of the Papal power. On his 
 arrival at Rome to be crowned by the Pope, his indigna- 
 tion was roused at seeing a picture publicly exposed in the 
 Lateran, representing Lothair's acceptance of the crown in 
 fee from the Pope. He ordered it to be removed (some 
 say burnt), and used these threatening words: "God has 
 raised the Church by means of the State, the Church, 
 nevertheless, will overthrow the State. She has commenced 
 by painting, and from painting has proceeded to writing. 
 Writing will gain the mastery over all, if we permit it. 
 Efface your pictures, and remove your documents, that 
 peace may be preserved between the State and the 
 Church." Rogers (" Italy "), in describing St. Mark's Place, 
 sings : 
 
 " In that temple porch 
 
 (The brass is gone, the porphyry remains) 
 
 Did Uarbarossa fling his mantle off, 
 
 And, kneeling, on his neck received the foot 
 
 Of the proud Pontiff." 
 
 This legend, like a thousand others about the great 
 Emperor, is probably as true as that he and his knights 
 are no\v in a cave almost inaccessible to human foot,
 
 ( 9 ) 
 
 resting in an enchanted sleep, waiting till the world again 
 wants a hero to avenge its wrongs. 
 
 Frederick III., the father of Maximilian, looked upon 
 the Empire as the tool and slave of the Papacy, as wit- 
 nessed by his abject submission and superstitious reverence. 
 
 Dante (De MonarcJiia) held that Emperor and Pope 
 both derive their power from God ; that Leo acted wrong- 
 fully in bestowing the Empire on Charlemagne : that 
 Constantine's Donation was illegal;* that no single em- 
 peror or pope can destroy the everlasting foundation of 
 their thrones. " Two guides are needed, the Pontiff and 
 the Emperor, the latter of whom, in order that he may 
 direct mankind in accordance with the teachings of philo- 
 sophy to temporal blessedness, must preserve universal 
 peace in the world. Thus are the two powers equally 
 ordained of God, and the Emperor, though supreme in all 
 that pertains to the secular world, is in some things depend- 
 ent on the Pontiff, since earthly happiness is subordinate 
 to eternal. Let Caesar, therefore, show towards Peter the 
 reverence wherewith a first-born son honours his father, 
 that, being illumined by the light of his paternal favour, he 
 may the more excellently shine forth upon the whole 
 world, to the rule of which he has been appointed by Him 
 alone who is of all things, both' spiritual and temporal, the 
 King and Governor ! So ends the treatise." f 
 
 Whatever the theories may have been, the practical 
 results were for centuries conflicts for supremacy, intrigues, 
 and bloody wars. Dante's theory, if carried out, would 
 have stopped all human progress, by fettering the minds 
 and enslaving the bodies of the human race within the 
 range of Christendom. What the Holy Roman Empire 
 was in later years is pithily put by Voltaire, it was not 
 Holy, it was not Roman, and in no reasonable sense 
 Imperial. 
 
 In the year 800, Charlemagne entered Rome, and heard 
 mass in St. Peter's on Christmas eve. Whilst kneeling at 
 the high altar, attired in the sandals and chlamys of a 
 
 * Dante did not know that it was a forgery. f Dr. liryce. 
 
 C
 
 Roman patrician, the Pope, Leo III., rose from his throne 
 and placed the imperial crown on the brows of the vic- 
 torious Prankish king. He then bent in obeisance before 
 him, and the Holy Roman Empire was established.* 
 
 We pass on to a period, embracing 693 years, during 
 which, with various fortunes, forty-five princes were esta- 
 blished on the imperial throne, now rising to the grandeur 
 and power of Barbarossa, now reigning as mere tools of 
 the electors and popes ; at one time the title blotted out 
 and an interregnum of nearly twenty years occurring. In 
 1493, Maximilian ascended the throne, and with him died 
 in fact the Holy Roman Empire. Neither he nor any 
 succeeding emperor was crowned at Rome, and though the 
 German emperors after this date assumed on their coins the 
 titular sovereignty of Rome, it was for the future a vanity, 
 and a delusion. Maximilian took his title Emperor-elect 
 with the consent of the Pope.f but as he was not crowned 
 at Rome, nor even by the Pope himself, his real rank was 
 simply German Emperor ; he was not recognized as head 
 of Christendom, and though his pompous titles gratified 
 his vanity, they merely represented traditions. With 
 Maximilian began the entire severance of Germany from 
 Rome, and, as no subsequent emperor was crowned at 
 Rome by the Pope, the term Holy Roman Empire ceased 
 to have meaning. Maximilian did attempt to go to 
 Rome and receive the crown imperial at St. Peter's : his 
 humiliating defeat and its results will be described in the 
 narrative of his battles (page 21). That he would have been 
 an unwelcome guest at Rome is probable enough, as he had 
 in 1500 issued a decree that two-thirds of the sums gained 
 by the sale of indulgences should be retained in the 
 Empire, and applied to its defence against the Turks ; 
 later on he suggested that the different relations of the 
 Empire and the Papacy should be settled by his own 
 assumption of both offices, but his decree was disregarded 
 
 * "The Holy Roman Empire." By James Bryce, D.C.L., Regius Profes- 
 sor of Civil Law in the University of Oxford. Fourth edition. MacMillnn 
 & Co. London, 1873. t See Appendix.
 
 ( II ) 
 
 by his own subjects, and the cardinals managed to prevent 
 his spiritual pretensions being realized. The Holy Roman 
 Empire was recognized in treaties till 1648, when both 
 Catholic and Protestant princes extorted from Ferdi- 
 nand III. full recognition of their sovereignty, inde- 
 pendently of his authority, and Lutherans and Calvinists 
 were declared free from all jurisdiction of the Pope and 
 all Catholic prelates. This was the upshot of the Thirty 
 Years' War, ending with the peace of Westphalia. The 
 Empire existed in name till the year 1806, when Francis II. 
 resigned the crown, and bore to the end of his life, and 
 transmitted to his successors, the title of Emperor of Austria. 
 And now, in the year 1874, we find Catholic Austria defy- 
 ing the Pope, and the Emperor declining the courtesy of 
 an answer to Pius IX. But there is a new German Empire 
 which utterly ignores the Pope, and at present is depriv- 
 ing and imprisoning Catholic archbishops and bishops for 
 obeying his Encyclical. 
 
 Telegrams.) 
 
 A NEW ENCYCLICAL. 
 
 " VIENNA, Saturday, March f. 
 
 " An encyclical letter of the Pope, addressed to the Austrian bishops, and 
 dated 7th inst, has been published. The Pope condemns the ecclesiastical 
 bills submitted by the Austrian Government to the Reichsrath, and declares 
 that their object is to bring the Roman Catholic Church into most ruinous sub- 
 jection to the arbitrary power of the State. His Holiness admits that the 
 Austrian laws appear moderate as compared with those enacted by Prussia; 
 nevertheless, they are of the same spirit and character, and pave the way for 
 the same destruction of the Church in Austria as in Prussia. The Pope 
 renews his protest against the rupture of the Concordat, and describes the 
 assertion that a change was brought about in the Church by the dogma of 
 infallibility as a pernicious pretext, and hopes that the bishops will protect the 
 rights of the Church. His Holiness at the same time announces that in a fresh 
 letter to the Emperor Francis Joseph, dated the 7th inst., he adjured his 
 Majesty not to allow the Church to be handed over to dishonourable servitude, 
 and his Catholic subjects to be visited by the deepest affliction." 
 
 And notwithstanding this almost abject appeal, we read 
 further, March 14, " The Lower House of the Reichsrath 
 continued the debate on the first ecclesiastical bill to-day. 
 The bill was read a second time in the form in which it
 
 ( 12 ) 
 
 was brought forward by the committee, and a resolution 
 was added in favour of separating the parishes in Austrian 
 territory from the diocese of Breslau." This hostile pro- 
 ceeding is thus explained : 
 
 (Renter's Telegrams.) 
 
 " VIENNA, Tuesday, March 17, 1874. 
 
 "It is stated that the Emperor does not intend to give explanations to the 
 Roman Curia respecting the Austrian ecclesiastical laws. The Pope's letter 
 to the Emperor Francis Joseph has been handed by his Majesty to the 
 Minister for Foreign Affairs." 
 
 We take leave of the Holy Roman Empire and turn to 
 consider one of the causes of its decay and dissolution, 
 the Renaissance, which defies definition, as it had, besides 
 its classical and pagan tendencies, its scientific, religious, 
 and Christian developments. It is interesting to watch its 
 progress as a revolt against authority, as a determination 
 to assert the right to freedom of thought, and to explore 
 the fertile sources of human culture. 
 
 As long as authority defines the mode of life of indi- 
 viduals, and is accepted as the true mode, national life is 
 stationary, and progress is impossible. It matters not 
 from what source authority springs, or how it is developed, 
 the result is the same. It may be a national confederacy, 
 as in India, defining the life, social and spiritual, or the 
 theocratic rule as assumed by the ancient Jews, or its 
 modern counterpart, government by a Church, whether it 
 be East or West. As long as the nations implicitly believe 
 in and accept it, the imaginative element is subdued, 
 national life is saddened, and centuries may glide by before 
 happier influences prevail. The natural mutability of 
 human affairs comes at last to the rescue. Passionate 
 impulses towards things of beauty have no doubt existed 
 in all ages, and genius necessarily derides the control of 
 authority and convention. Where the passionate impulse 
 becomes a national trait, authority is defied, and national
 
 ( 13 ) 
 
 life changes its aspect. So it was with the Renaissance. 
 During the Middle Ages its progress was slow, but it 
 existed, giving a faint and partial colouring of beauty to 
 men's lives. It worked individually, and by fits and starts. 
 In the eleventh century, we find Abelard, the famous clerk, 
 and his no less famous mistress, Heloise, mastering the diffi- 
 culties of philosophy and scholarship, he at the same time 
 writing his love songs, which the youth of France chanted 
 in the streets. Next we have the Trouveres, or Jongleurs, 
 spreading over France and Italy, singing of chivalry, and 
 love, and the mighty deeds of crusading knights, contri- 
 buting their part to this many-sided movement, the 
 Renaissance. Its blooming-time was Italy in the fifteenth 
 century, and part of the sixteenth, when classical litera- 
 ture and pagan art so completely entranced the minds 
 of the Italian poets, that theology, philosophy, and medi- 
 cine, indeed all literature, was Olympian in its taste and 
 feeling. Poetic fancy recognized and described Christ as 
 one of the Homeric heroes, and the Virgin is found by the 
 angel Gabriel reading the books of the Sibyls, instead of 
 the Psalms. Patristic literature was thrown aside for the 
 works of Plato and Aristotle, Homer and Virgil were sub- 
 stituted for the Missal, and authors deriding the barbarous 
 Latin of the dark ages, vied with each other in classical 
 purity of style. Ecclesiasticism was opposed by reason, 
 and spiritual writers branched off in two directions, one, in 
 the attempt to reconcile Christianity with paganism ; the 
 other, in opposing authority, and demanding the right to 
 personal free inquiry, to enjoy its results, and so to enable 
 men to live a truly religious life, in conformity with their 
 inmost convictions. 
 
 In art, Renaissance audacity was equally remarkable ; 
 instead of Pietas, of portraits of saints, martyrs, and of Our 
 Lady, and pictures of the tragedy of Calvary, painters 
 revelled in the nude, and gave sensuous expression to the 
 pagan deities. 
 
 Science marched with equal strides, and under the 
 patronage and support of the illustrious house of the 
 Medici, and some of the popes, the ages of slumber and
 
 darkness were looked upon as barbarous, and men became 
 too busy with their new-found treasures to take any interest 
 in the squabbles of Popes and Emperors. A few examples 
 will illustrate these remarks. 
 
 Angelus Politianus was born in Tuscany, A.D. 1454. As 
 a mere child, the dawnings of his genius were watched with 
 interest by Lorenzo de' Medici, who furnished the means 
 for his education, and when this was completed, he was 
 called to be the tutor of his patron's children. He soon 
 was recognized as the most distinguished scholar in Italy, 
 and students of the greatest distinction from all parts of 
 Europe began to resort to Florence, to benefit by his in- 
 structions. He was thoroughly imbued with the Greek 
 spirit. His poetry excited the greatest enthusiasm. It 
 was chiefly composed for academic purposes, and read 
 before he commenced his lectures. His theme was the 
 ancient classic author whose works he was about to criticise. 
 He translated Homer after he was made a canon of 
 Florence, and was a well-known writer of Greek poetry. 
 Tiraboschi, in his Storia ddla Poesia Italiana, speaking of 
 Politian as one of the purifiers of the Italian language, 
 says : " It is a matter of real astonishment that at a time 
 when those who had been longest exercised in the practice 
 of versification could not divest themselves of their anti- 
 quated rusticity, a youthful poet, who had scarce begun to 
 touch the lyre, should be able to leave them so far behind." 
 Richardson, in his book upon painting, says that the influence 
 which Politian exercised over Raffaelle was most distinct. 
 The charges against him of infidelity and licentiousness of 
 life have been clearly disproved. The exuberance of youth 
 and poetic ecstasy led him occasionally into some indiscre- 
 tions of language, that is all that can be said against him. 
 In the execution of his ecclesiastical duties, he read and 
 expounded the Bible to the people, and yet a modern 
 author, Abbe Gaume, in his Vcr Rongeur des Socieles 
 Modernes, thus sums up his character: "He esteemed 
 and taught nothing during the whole course of life but 
 pure paganism. He wrote in Italian verse lewd songs 
 and tragedies entirely in the pagan taste, and these were
 
 ( 15 ) 
 
 elegantly printed at Florence." He died at the age of 
 forty-one. By his express desire to the attendants of his 
 death-bed, his remains were invested in the habit of the 
 Dominicans. 
 
 His intimate friend and frequent companion, Picus of 
 Mirandula, Prince of Mirandula, was born A.D. 1463, died 
 1494. His genius and erudition, his early ambition to distin- 
 guish himself publicly by offering to defend nine hundred 
 paradoxes, drawn from the most opposite sources, against all 
 comers ; his remarkable beauty, and his extensive charities, 
 attracted the gaze of Italy. He wrote love songs, which 
 in a fervour of piety he burnt. He studied paganism with 
 an eager desire to reconcile it with Christianity " to bind 
 the ages each to each with natural piety." 
 
 Sannazarius, perhaps more than any Italian poet, wrapt 
 himself up in the classical mantle. He was born at Naples, 
 1458, died 1530, and was celebrated as a scholar and poet. 
 Ferdinand, king of Naples, invited him to his court, and he 
 became the intimate associate of his son Frederick. He 
 wrote a poem, De Partu Virginis, which was carried out 
 with the agency of Dryads and Nereids, the books of the 
 Sibyls substituted for those of the Prophets ; and Proteus 
 is represented as predicting the mystery of the Incarnation. 
 His tomb is an object of curiosity even now, at Posilipo, at 
 a villa which during his lifetime Sannazarius had converted 
 into a church, dedicated to the Virgin Mother and 
 St. Nazaro.* "Behind the high altar rises the mausoleum 
 of the poet, formed of Parian marble, the top a half-length 
 likeness of him, crowned with a leaf of laurel ; beneath, 
 stand on the right and left two marble statues of Minerva 
 and Apollo, while Satyrs are seen sporting in the middle." 
 Modern propriety has re-christened them David and Judith. 
 
 This selection from a long list of Renaissance writers will 
 suffice ; the other poets necessary for a sketch appear as 
 painters. 
 . The eleventh century found art in its lowest state of 
 
 * Rev. W. Parr Cresswell, "Memoirs of Politian," &c. Cadell Davis. 
 London, 1805.
 
 ( 16 ) 
 
 degradation : bloody martyrdoms, and Christ in his utmost 
 suffering, were the favourite subjects of the artists. 
 
 The Council of Constantinople had three centuries before 
 taken off the interdict against painting the figure of Christ, 
 but as the Church dominated all art, and that of Byzan- 
 tium had no touch of nature in it, and was conventionally 
 grotesque and stationary, as the work of ascetic monks in 
 their cells must be, we find a constant repetition of ema- 
 ciated Christs with dull staring eyes, gloomy Madonnas and 
 repulsive saints. The object being, not art, but the repre- 
 sentation of the religious life, necessarily rendered artists 
 afraid of incurring the censure of the Church if they dis- 
 turbed the conventional style. And so matters went on 
 till the thirteenth century, when we witness signs of the 
 Renaissance in the work of Nicolas Pisano, who in his 
 paintings gave the first indications of form, and a know- 
 ledge of what the Greeks had accomplished. 
 
 Giotto (born 1276, died 1336) boldly threw aside Byzan- 
 tine traditions, and copied nature with true artistic feeling. 
 He indicated religious life as known to the Franciscans, to 
 which order he belonged. The bell-tower of S. Maria del 
 Fiore, which the modern traveller sees with delight, was 
 the last work of Giotto in Florence, showing that, like other 
 great painters, he could excel in architecture. Dante loved 
 him, and in his Purgatorio describes how he eclipsed 
 Cimabue. 
 
 A century and a quarter roll on, and science is making 
 rapid strides ; works on mathematics and perspective 
 appear, and Masacchio's (born 1402, died 1428) paintings 
 exhibit the deepening influence. " The spirit of classical 
 antiquity," says Mrs. Heaton, " lives again, in fact, in his 
 works, but the spirit of Christianity is fast dying out." * 
 
 A few years more, and art attains its meridian. Leonardo 
 da Vinci, Michelangelo, and Raffaelle have appeared and 
 done their work. As to the two first, although doubtless 
 influenced by all that had preceded and was around them, 
 
 * "A Concise History of Painting." By Mrs. Charles Heaton. Bell 
 & Daldy, 1873.
 
 ( 17 ) 
 
 there are traces of mediae valism, and anticipations of the 
 future, which render their exact position as regards the 
 Renaissance a very complex problem. Though painting 
 Christian pictures, the hold of the Church upon them is gone. 
 In Raffaelle, the Greek spirit bursts forth with uncontrolled 
 energy, and when not engaged on Christian art, he revels 
 in Olympus, and gods and goddesses appear in as sensuous 
 forms as the refined and aesthetic mind of Raffaelle could 
 permit. His joyous life and early death, in strong contrast 
 with the long sad life, the austerity of manner, and the 
 deep under current of tenderness of Michelangelo, are 
 stories too well known to need repeating here. 
 
 The Renaissance in Germany worked altogether in a 
 different direction from the revival in Italy. In the latter 
 country pagan learning and art led men away from faith 
 and dogmas and scholastic theology. Martin Luther 
 relates with what holy joy he first entered Rome, and with 
 what devoutness he said masses daily, even wishing that 
 his father and mother were dead, that he might save their 
 souls from purgatory ; and how he found he was derided 
 by the priests, who thought him absurdly credulous ; and 
 how, when he was in the society of prelates, he found that 
 they joined in the impious chorus. One related as a good 
 joke, that in the Sacrament of the Eucharist, instead of 
 the prescribed formula, he muttered, " Panis cs et panis 
 manebis, vinum es et vinum manebis," " Bread thou art 
 and bread thou wilt remain, wine thou art and wine thou 
 wilt remain." Macchiavelli said that " we Italians are in- 
 debted to the Church and the priests for our having 
 become a set of complete scoundrels." 
 
 Luther returned, brooding over these things ; and the 
 great monk saw the reformation which he believed he had 
 a divine call to accomplish. 
 
 In early life his study of the Greek sophists occupied 
 his whole attention. He says, in his Table-talk, " When I 
 was young, then I was learned, and especially before 1 
 came into divinity, then I dealt altogether with allegories, 
 tropoligies, anagogies ; there was nothing about me but 
 altogether art ; but I kne\v it was not worth a sir-reverence ;
 
 now I have shaken it off, and my best art is to deliver the 
 Scripture in the simple sense ; the same doth the deed, 
 therein is life, strength, doctrine, and art ; in the other is 
 nothing but foolishness, let it shine how it will. When 
 men will aim at that scope and make tropes, then we that 
 are Christians have lost." 
 
 Although Luther was a scholar, he seems to have turned 
 from Greek authors, and confined his reading to the 
 Roman writers. Reuchlin, Melancthon, Erasmus, and the 
 mass of German scholars of that day avoided the pagan 
 spirit which Italy affected, and went in the direction of 
 faith, and under their teaching and writings the breach 
 between Rome and Germany widened apace. The final 
 triumph of the Reformers was only the completion of what 
 had been going on in Maximilian's time, and the right of 
 private judgment which they whimsically assumed as the 
 basis of the Reformation, weakened the hold of the 
 Emperor upon the obedience of every individual in his 
 empire. 
 
 Other matters of importance were separating the Empire 
 from the Church. The Pope entered into a league with 
 France against Maximilian, and he in his turn proposed, 
 nay issued, a decree to intercept a portion of the Papal 
 revenue. He received no money, and exasperated both 
 the Papacy and the Reformers. He afterwards intrigued 
 for the Papacy. 
 
 To understand the engravings which Burgmair designed 
 for his Triumph, we must trace the general outlines of his 
 history, and note his family alliances and his wars. 
 
 The chivalric young prince had just married Mary of 
 Burgundy, and her large dowry, for the first time in his 
 life, placed him beyond the reach of poverty. Louis XL, 
 on the death of the Duke of Burgundy, had seized the 
 duchy of Burgundy, and occupied part of it. The Swiss, 
 then occupying a portion, held him in restraint, and he was 
 rejected by the Flemings. Maximilian drove the French 
 king from the Netherlands, and in revenge, Louis then
 
 ( 19 ) 
 
 induced a faction of the Hoecks to take up arms against 
 the Kabeljans. The Archduke favoured the cause of the 
 latter, and, heading a body of mercenaries, bore all before 
 him, gave his troops free license to murder and pillage, 
 and executed the heads of the faction at Leyden (1479). 
 Nearly three years of comparative peace gave Maximilian 
 an opportunity of enjoying domestic happiness, and re- 
 volving in his mind those reforms which he afterwards 
 carried out, or attempted to accomplish. 
 
 These were, the establishment of a Public Peace, the 
 division of Germany into circles, the formation of an Aulic 
 and Imperial Chamber, and the establishment of a Post- 
 office. Menzel says they all fell through, and that he only 
 rendered confusion systematic; but as Menzel was clearly 
 prejudiced against Maximilian, and as indications of partial 
 success are gleaned from many writers, we may more 
 safely disregard his depreciation of Maximilian's character, 
 and believe that a man who could plan such extensive 
 reforms must have been possessed of considerable admi- 
 nistrative ability. Confusion reigned everywhere ; Alex- 
 ander VI. occupied St. Peter's throne; Louis XI. was king 
 of France ; kings and princes were merely robbers of more 
 or less magnitude ; the Swiss, in spite of much patriotic 
 feeling, were, when out of their own country, perfidious and 
 mercenary bands, ready to sell their swords to the highest 
 bidder, and to desert any cause for a bribe. Maximilian 
 failed to establish on a safe basis a Roman empire, but he 
 certainly laid a foundation for a safer establishment of the 
 Hapsburg dynasty in Austria. 
 
 The establishment of the Germanic circles was intended 
 to supersede the secret Vehme Gericht courts by the insti- 
 tution of open courts with known judges. (See Appendix.) 
 
 The imperial post-office was necessarily an imperfect 
 development in the absence of roads, in the presence of 
 robbers, and during the existence of wars. 
 
 In finance Maximilian's ill success was simply the result 
 of his subjects' refusal to pay the common penny grant, an 
 annual penny for every thousand possessed by a freeman, 
 and of his incapacity to compel the payment.
 
 ( 20 ) 
 
 However, whilst these plans were occupying the Em- 
 peror's attention, he had the misfortune to lose his wife, 
 who died a few days after a fall from her horse in 1482. 
 The Burgundians and Mary's subjects in the Netherlands, 
 never well affected towards Maximilian, now rose in general 
 revolt. The position was critical, and peace with France 
 was necessary. The treaty of Arras settled this. The 
 Emperor was to give his daughter Margaret in marriage to 
 the Dauphin, with Boulogne and the county of Burgundy 
 in dower, and Artois was to be restored to the Emperor. 
 The young child Margaret was sent to Paris, and the lands 
 given in dower were annexed to France. Philip de Corn- 
 mines, who is a better authority than Menzel, says that 
 during the negotiations for this marriage the archduke 
 was created king of the Romans. At peace with France, 
 Maximilian marched at the head of all the forces he could 
 collect, dislodged the Hoecks from Utrecht, and restored 
 order ; but the Flemings were still unwilling to submit to 
 German rule. They managed to secure the person of 
 Mary's son Philip, whom they looked upon as their ruler. 
 The citizens of Bruges rose, and made Maximilian and his 
 suite prisoners. The latter were tortured, and on the rumour 
 of an approaching force sent by the Emperor Frederick, 
 beheaded. Maximilian was imprisoned in a castle sur- 
 rounded by a fosse, and the King's celebrated jester, Von 
 Rosen, swam the fosse at night to rescue his master. He 
 was baffled by the swans, which attacked him furiously, 
 and drove him back (A.D. 1488). 
 
 The princes of the Empire rallied round the Emperor, 
 and marched on Bruges, and the Pope excommunicated 
 the rebels. The citizens were beaten, but not so that they 
 were unable to make terms with Maximilian. He was 
 obliged to take an oath not to revenge the wrongs done 
 to his councillors and to himself. He had been imprisoned 
 four months, and on his liberation retired to the Tyrol. 
 He was beloved by the Tyrolese, and he returned their 
 affection. 
 
 The imperial forces were successful, and there seemed a 
 chance of peace, when Charles of France seized Anna,
 
 princess of Brittany, on her way to marry Maximilian, when 
 the revolt in Flanders became general. Charles forced 
 Anna to marry him, and having his eyes upon Italy, with- 
 drew his troops from the Netherlands, and, unaided by 
 foreign soldiers, the country was reduced to submission, 
 and peace was concluded at Senlis (AD. 1493). A severe 
 example was made of the citizens of Bruges ; forty of the 
 most important were executed. 
 
 Margaret was returned to her father, Albert of Saxony 
 restoring her and her brother Philip into the hands of 
 Maximilian. 
 
 We have anticipated some events which concerned Max- 
 imilian. In 1482 an alliance between the Emperor and 
 Wladislaw of Bohemia was concluded, and they marched 
 against their common foe, Matthias of Hungary. Max- 
 imilian would, in all probability, lead his troops. They 
 defeated Matthias near Bruck, on the Leytra. And we 
 find him again, in 1487, defeating the Hungarians with 
 superior forces at Negau. In 1490 Matthias of Hungary 
 died. Maximilian stormed Vienna, and was wounded in the 
 shoulder. He now led his troops into the centre of Hun- 
 gary ; but his mercenaries collected so much plunder that 
 they deserted their commander, and the campaign ended. 
 
 We return to the year 1493 : Maximilian was robbed 
 of his wife, his daughter was insultingly returned to him, 
 Frederick his father died, and he became Emperor-Elect. 
 
 Owing to his poverty he was unable to lead the small body 
 of men (3,000) he could send to the allied forces of the Pope, 
 Spain, Naples, and the Turks, against the most Chris- 
 tian king of France, meditating the annexation of Italy. 
 The French king retired, and Maximilian vainly put forth 
 some claims of his own. In 1496 he headed a small force 
 in aid of Pisa, fighting against Florence. He was unsuc- 
 cessful. He two years before this time had married Bianca 
 Sforza, daughter of the duke of Milan. She had no per- 
 sonal charms ; her temper was cold, haughty, and impe- 
 rious, and as the Emperor's object was simply political in 
 contracting this alliance, it was, as might be expected, 
 unhappy.
 
 ( 22 ) 
 
 In 1496 Maximilian's son Philip and his daughter Mar- 
 garet entered into important alliances with Spain, Philip 
 marrying the Infanta, and Margaret marrying the Infant 
 Don Juan. The Infant died shortly after, and Philip claimed 
 the succession to Spain. 
 
 Troubles in Switzerland now began. The Switzers were 
 determined to dissever their country from the Empire. In 
 1498 the Emperor declared war, and his confederates were 
 beaten in every engagement. Still the Emperor perse- 
 vered, and despatching a large body of troops under Count 
 von Furstenberg, a decisive battle was fought near Dornach. 
 The count was killed and his troops routed. Switzerland 
 was free. 
 
 About this time disturbances occurred in the Nether- 
 lands, the inhabitants sustaining the claim of Charles of 
 Gueldres to the sovereignty. Philip, Maximilian's son, 
 headed the imperial troops, but was obliged to leave affairs 
 unsettled, and a truce was arranged. Isabella, queen of 
 Castile, had just died, and Philip hastened to Spain to 
 claim the sovereignty in right of his wife. 
 
 In the year 1500 Louis XII. marched into Italy and 
 took Milan, and Maximilian, unsupported by the princes 
 of the P^mpire, was a helpless spectator of the French suc- 
 cesses. In 1504 he concluded a treaty at Blois, one of the 
 articles of which stipulated that his grandson Charles should 
 marry Claudia, the daughter of Louis, and that she should 
 bring Milan in dower. This treaty was soon after violated, 
 and Claudia was married to PYancis of Anjou, the heir- 
 apparent to the French throne. An urgent appeal to the 
 Estates of the Empire to revenge the insult was disregarded, 
 and he was only able to raise a small army of mercenaries, 
 at whose head he placed himself, and marched on Milan, 
 and with the further purpose of advancing to Rome, to be 
 crowned by the Pope. The Venetians opposed his pro- 
 gress, and defeated him at Catora. He returned home, 
 and was crowned at Trient, in the name of the Pope, 
 by Matthaeus Lang, Archbishop of Salzburg, A.D. 1508. 
 Immediately after this we find Europe, headed by the 
 Pope, arraying itself against Venice, and Maximilian is
 
 again in the field. Venice, deserted by her Swiss mer- 
 cenaries, and beaten at Aguadello by the French and at 
 Vicenza by the imperial troops, humbled itself before the 
 Emperor, and both he and the Pope were persuaded, in- 
 credible as it may seern, to throw France over. France, 
 single-handed, opposed the new confederation, and her 
 most illustrious soldier, Gaston de Foix, routed them at 
 Ravenna (A.D. 1512), but was killed just at the moment of 
 victory. The loss of this general was disastrous to France, 
 and Maximilian, aided now by the Swiss, advanced upon 
 Milan, drove out the French and placed the ducal crown 
 on Max. Sforza's head. The following year the French 
 again invade Lombardy, under Latremouelle. They are 
 driven back, and the Swiss, aided by a small body of 
 Imperialists under Ulric, Duke of Wurtemberg, follow the 
 retreating French, and Maximilian hears, with the most 
 exquisite satisfaction, that the imperial standards, for the 
 first time, are planted in France, that they have advanced 
 as far as Dijon, and that the French Government have to 
 purchase their retirement at an immense cost. 
 
 Maximilian now entered into a league with England 
 against France. Henry VIII. landed an army at Calais 
 and advanced towards Terouane. Maximilian, according 
 to Hume, entered into an engagement to bring 8,000 
 soldiers, and received 120,000 crowns from Henry. He 
 was unsuccessful in obtaining them, but joined the king 
 with a few yeomen and Flemish soldiers, and himself, 
 to the amazement and disgust of his subjects, became a 
 mercenary in the king's army. He wore (says Hume) 
 " the cross of St. George, enlisted under the English king, 
 received a hundred crowns a day as one of his subjects and 
 captains." Hume adds that the few trained soldiers that 
 he brought were useful in giving an example of discipline 
 to Henry's new-levied forces, and that, though occupying 
 the humiliating position he did, he was treated with the 
 highest respect by the king, and really directed all the 
 operations of the English army. They found the Earl of 
 Shrewsbury and Lord Herbert besieging Terouane, a town 
 on the frontiers of Picardy. The French cavalry, composed
 
 of the flower of the nobility and gentry of the kingdom, 
 who had distinguished themselves in many brilliant actions, 
 advanced to oppose the English army. They met at Guine- 
 gate (where, in 1479, Maximilian had defeated the French 
 in a well-contested fight), a few miles from Terouane, and 
 the French, seized with an unaccountable panic, turned 
 and fled in such disorder that it acquired the name of the 
 " Battle of the Spurs." The Duke of Longueville, com- 
 manding, Eussi d'Amboise, Clermont, Imbercourt, the 
 Chevalier Bayard, and many other officers of distinction, 
 were taken prisoners. Bayard, the chevalier sans pcur et 
 sans reproche, alone was liberated. German chroniclers 
 aver that this was a special act of grace done by Maxi- 
 milian, in recognition of Bayard's chivalric character. 
 Bayard himself tells a different story. Finding that the 
 day was lost, he watched his opportunity, and seeing an 
 English officer lying down with his sword by his side, 
 rushed to him, seized his sword, and presenting it to his 
 throat, took him prisoner. On demanding the name of his 
 captor, " Captain Bayard," said the knight, " who is himself 
 your prisoner, and there is my sword." On narrating this 
 matter to the King and the Emperor, they held, as a 
 question of justice, that the two officers were quits, Bayard 
 to be allowed to depart, with a six weeks' parole.* 
 
 The Emperor assembled a considerable body of troops 
 under Count Frundsberg. 
 
 If Henry had now marched on Paris, he might have 
 inflicted a serious injury on the French monarchy, but it 
 suited the Emperor to waste his time on the siege of 
 Terouane, which he caused to be razed to the ground. Its 
 destruction did Henry no good, but relieved the Emperor 
 from a hostile stronghold too near to his possessions in 
 Flanders. 
 
 Three years now pass on, but no interval of peace ; 
 Count Frundsberg, in the Imperial interests, fights well in 
 Italy, but without any very definite results. Louis XII.,
 
 the French king, dies, and his successor, Francis I., invades 
 Italy in person, and buys Milan from the treacherous Swiss 
 for 300,000 crowns. Maximilian at last succeeds in raising 
 a body of 20,000 soldiers and invades Lombardy in person 
 (A.D. 1516). Though no longer young, his martial spirit 
 was unabated, and he eagerly longed to celebrate his reign 
 by some brilliant military success. He was doomed to 
 disappointment ; want of money, and the superior numbers 
 of the enemy, compelled him to retreat and give up the 
 hope of annexing Italian provinces to the Roman Empire. 
 The remainder of his life was devoted to attempts to rouse 
 his subjects to march against the Turks. It will be seen 
 that, in spite of the acknowledged daring of Maximilian, 
 he occasionally held aloof from enterprises which he was 
 bound to support by material aid, letting his colleagues 
 take the field, and only coming to the front when the 
 danger was over and the work done. 
 
 The League of Cambray brings out in strong relief his 
 occasional selfishness and mala fides. His excuse is, that 
 where all around him (with only one or two honourable 
 exceptions), from the Pope downwards, were uniformly 
 perfidious, and only adhered to treaties when it was their 
 obvious advantage to do so, he must necessarily have been 
 sacrificed, and his empire stripped of every privilege, unless 
 he consented to sacrifice truth to ambition. 
 
 The League of Cambray was a combination of the Pope 
 Julius II., Louis XII. of France, the Duke of Ferrara, 
 . Ferdinand king of Aragon, Maximilian, and the Florentines, 
 to destroy the Venetian republic (A.D. 1509). The different 
 powers were to attack simultaneously, and from different 
 quarters, the Venetian lands, Maximilian to attack by 
 way of Germany. If successful, there was to be a general 
 partition of territory. Maximilian claimed as his share 
 all that had ever belonged to the Empire, especially the 
 Venetian lands. The confederates agreed that he should 
 have Verona, Vicenza, Padua, as Emperor ; as duke of 
 Austria, they conceded to him Treviso and Friuli. 
 
 The confederate troops, as arranged, moved on the 
 1st of April, and in the middle of May (Hth) the Venetian 
 
 E
 
 ( 26 ) 
 
 and French armies met at Rivolta. The Venetians were 
 routed, and in a fortnight after the whole of the Italian 
 territories were in the possession of Louis. Vicenza, 
 Verona, and Padua sent him their keys : Louis sent the 
 deputies to Maximilian, as these towns were in his territory, 
 as arranged. They found the Emperor at Trent, from 
 which place he had not moved. He now, for the first time 
 since he was in the purple, found himself in possession of 
 Italian territory, and marched at once to garrison the towns. 
 Treviso alone refused him admittance, and though reduced 
 to great extremities, remained firm to the Venetians. The 
 French king, having accomplished his ends, returned home, 
 leaving some of his troops to co-operate with Maximilian, 
 possibly to help him to garrison his new acquisitions. En- 
 couraged by the departure of Louis, the Venetians gathered 
 together their scattered troops and took Padua by surprise. 
 We have it on the authority of Guicciardini and Mezerai, 
 that the Pope now entered into a secret league with the 
 Venetians, recommended them to transferTreviso and Padua 
 to the Emperor, and then to wrest them and the other 
 places from him as soon as a favourable opportunity 
 occurred. Maximilian, aided by the French troops, laid 
 siege to Padua, but finding it impregnable, he retired, and 
 returned to Germany. 
 
 The treachery of Julius II. becoming publicly known, 
 he and the French king were mortal enemies. The Pope 
 employed all the arts of cajolery to induce Henry VIII. of 
 England to invade France, and Louis entered into an 
 arrangement with Maximilian to call a general council at 
 Pisa (A.D. 1510), the object of which was to depose the 
 Pope. The Council met in the following year. It was 
 scantily attended, and Maximilian neither attended nor 
 sent his bishops, though he intended to claim the tiara if 
 the Council carried out the programme. The Pope pushed 
 on his schemes with vigour, and excommunicated the 
 cardinals attending it. lie laid Pisa and Florence under 
 an interdict, the latter for allowing a hostile council to 
 be held in one of her cities. The Florentines forced the 
 priests to administer the Sacraments, but the Pisans rose
 
 in tumult, and the Council departed quickly to Milan. 
 The Pope called a general council to be held at the 
 Lateran, in Rome. Delayed by the battle of Ravenna, it 
 met, May 3, 1512. 
 
 Louis XII. was excommunicated, and France was put 
 under an interdict. Louis' reply was given on medals he 
 caused to be coined with the legend, " Perdam Babylonem," 
 I will destroy Babylon. The decision of the Council of 
 Pisa suspending Pope Julius was published in France. 
 
 Maximilian's last act was to open the Diet at Augsburg, 
 before which Martin Luther appeared (A.D. 1518), and had 
 a disputation with Cajetanus, the Pope's legate. 
 
 He died at the commencement of the year 1519, and 
 was buried at Innspruck, in the Tyrol, and his tomb is an 
 object of veneration to this day to the Tyrolese peasants, 
 who connect all that is glorious in their history with the 
 exploits of Maximilian I. 
 
 It is the fashion for writers to describe Maximilian as a 
 weak tool, incapable of governing, and degraded personally ; 
 that even his fool Rosen ridiculed him without pity or 
 remorse, and all owing to a spiteful remark of Macchiavelli, 
 " that he believed that he did everything himself, and yet 
 allowed himself to be misled from his first and best idea." 
 A careful study of his history will show that, when not led 
 away by an inordinate vanity,* he was a wise and observant 
 monarch ; he knew what his country wanted, and instituted 
 reforms of a gigantic character. He was the first to esta- 
 blish a regular army, and his lansquenets did good service 
 in the field. When he could command troops he showed 
 
 * Dr. Dibdin relates that whilst travelling in Germany, he visited the 
 Cathedral at Ulm, and after he had climbed to the top of its magnificent 
 tower, with its 378 steps, his attention was drawn to the coping on the top, 
 which showed signs at one place of being rubbed. "It was here," said the 
 attendant, " that our famous Emperor Alaximilian stood upon one leg, and 
 turned himself quite round, to the astonishment and trepidation of his 
 attendants ! He was a man of great bravery, and this was one of his pranks to 
 show his courage." This story has descended to us for three centuries, and 
 not long ago the example of the Emperor was attempted to be imitated by two 
 Austrian officers. The first lost his balance, and was precipitated to the earth, 
 dying the very instant he touched the ground ; the second succeeded, and de- 
 clared himself, in consequence, " Maximilian the Second."
 
 ( 28 ) 
 
 generalship, and it is acknowledged in the campaign with 
 Henry VIII., although serving as a volunteer, he really 
 conducted the successful campaign, ending with the battle 
 of Spurs. He made a tool of Henry, securing his own 
 wants at the expense of the English king. When aspiring 
 to the Papacy he certainly made a catspaw of Louis, as we 
 find, whilst the French king was expending the blood and 
 treasure of his country, he did nothing. Although his 
 courage has been doubted by none, in later years he avoided 
 fighting, unless obliged, kept an observant eye on what 
 was passing, and always tried, and not unfrequently suc- 
 ceeded, in profiting by the action of others. That he 
 allowed himself to be made a laughing-stock, even by the 
 court jester, is contradicted by the known fact that Rosen 
 was his devoted adherent, venturing his life on various 
 occasions in defence of his master. Luther, who certainly 
 owed him no goodwill, and who was bitter and sometimes 
 scurrilous in his denunciations of those who opposed him, 
 spoke respectfully of Maximilian. Thus, in his " Colloquia 
 Mensalia," p. 360 : " It was a fine speech of Maximilian the 
 Emperor, wherewith he comforted King Philip, his son, 
 who deeply bewailed the death of a godly, a faithful, and 
 an honourable man, that was slain in a battle. His words 
 were these : ' Loving Philip, thou must accustom thyself 
 to these misfortunes ; thou shalt lose yet many of those 
 whom thou lovest.' " At page 411 : "When the Emperor 
 Maximilian made a league with the Venetians, he said : 
 ' Three kings are in the Christian world ; himself, the 
 French king, and the king of England. Himself [he said] 
 was a king of kings ; for what he imposed upon his princes, 
 if they were pleased therewith, then they accomplished 
 his will, otherwise they let it alone, thereby showing that 
 the princes never were in obedient subjection under the 
 Emperors, but did what they pleased. The French king 
 was a king of asses, for they did everything that he com- 
 manded them. But the king of England was a king of 
 people, for what he laid upon them, the same they did 
 willingly, and loved their king like obedient subjects.' " 
 Again, at page 412; "Of Emperor Maximilian's Mild-
 
 ness. As the King of Denmark sent a stately ambassador 
 to the Emperor Maximilian, who, in the behalf of the king 
 his master, took high honour upon himself, insomuch as 
 the ambassador would deliver his message sitting ; when 
 the Emperor marked the same, he arose and gave him 
 audience standing, so that the ambassador, for shame, could 
 not remain sitting. Likewise, at another time, when an 
 ambassador, in the beginning of his speech, was astonished 
 and amazed at the Emperor's presence, stood mute, inso- 
 much that he could not proceed. Then the Emperor began 
 to discourse with him touching other affairs, giving the 
 ambassador time to recover his spirits and deliver himself 
 with a degree of courage."* 
 
 Luther also mentions Maximilian's good-nature, relating 
 how a beggar stopped him and told him that, although he 
 was only a pauper and the Emperor a rich and great man, 
 yet they were brothers, and he was bound to administer to 
 his necessities. The Emperor smiled, and said : " Well, if 
 all men are brothers, here is a penny ; go and ask all your 
 other brothers for a like sum, and you will be richer than 
 your Emperor." Maximilian was neither superstitious nor 
 cruel. He kept as good faith in political matters as was 
 possible in an age when public morality was unknown ; and 
 if his private life was not unstained, his excuse must be 
 found in the unbridled licentiousness which was exhibited 
 in the lives of even the highest ecclesiastics. 
 
 The text (vol. i.) of " Wise King," containing the auto- 
 biography of Maximilian, has never appeared in an English 
 dress, and would not repay the trouble of a translation. The 
 Editor has extracted such portions as relate to the training 
 and domestic life of the Emperor, with the history of his 
 marriage and the birth of his son. Maximilian treats his- 
 tory as a romance, and we should judge of him as living in 
 a fool's paradise if we only knew him through his writings. 
 
 * English translation. By Captain Henry Bell. Second edition. London, 
 1791.
 
 ( 30 ) 
 
 That he evinced both sense and spirit in his government we 
 know from other sources. 
 
 Mr. Secretary Treytzsaurwein must have had great com- 
 mand of expression if he controlled a smile whilst writing 
 down from the middle-aged monarch the description of his 
 benignant face. The text of the " Wise King" is in archaic 
 German, and the object of the Editor has been to leave it 
 as far as possible in its quaint rendering. 
 
 P. 55, A. 1459. 
 How the Queen (Eleanord) gave birth to a Son. 
 
 When the time drew near of the birth of the child, there 
 was to be seen at times, and yet not very clearly, a comet, 
 about which the people did talk much. The old wise king, 
 likewise the exiled prince and all the people in the whole 
 kingdom, called to God with great devotion that by His 
 mercy the queen and all the people might be gladdened by 
 her delivery. Now, if every Christian considers the great 
 mercy God Almighty has granted to both of them at Rome 
 in spiritual and worldly honour, with the highest royal coro- 
 nation in the world, and also (considers) their devotion and 
 meekness, how they in great divine love visited and piously 
 honoured all the holy places in the town of Rome and else- 
 where, no one can doubt that God, in His mercy, has gra- 
 ciously heard their prayers, for all good things come from 
 God. And on the day and at the hour of the birth of the 
 child, the above-mentioned comet appeared much bigger 
 than commonly, and sent forth a clear and light lustre. 
 
 Although comets generally are to be looked upon with 
 a melancholy heart, yet this comet was pleasant to behold 
 in its brilliancy, so that everybody's heart felt inclined to 
 regard this appearance of the comet as a special significant 
 omen and manifestation of the child's birth. During the 
 afternoon of the comet the queen, by a special grant of 
 divine mercy, gave birth to the child under little pain at 
 the town of Newenstadt, and she was highly delighted with 
 her delivery, for the child was a beautiful son.
 
 This was reported with great rejoicings to the old wise 
 king. Thereupon they began to ring all the bells for joy, 
 and the people all over the kingdom made innumerable 
 bonfires ; such great joy the old wise king and all the people 
 felt about this joyful delivery. 
 
 After the child was born the comet diminished in its 
 splendour from that moment ; from which it was to be in- 
 ferred that this comet was a sign of the future reign and 
 wonderful achievements of the child. 
 
 And the exiled prince (Nicolaus von Vilak, Ban of Cro- 
 atia, driven from his dominions by the Turks) had, when 
 he saw that the empress was pregnant (prophesied and 
 expressed his hope that the child to be born might revenge 
 his wrongs upon the Turks) recognized through the comet 
 how his speech (prophecy) was confirmed by heaven. He 
 also desired to be godfather at the christening of the child ; 
 to which office the old wise king appointed him, since this 
 prince was born of a royal race. I will disclose this, that 
 when this child came of age and into his reign, he was the 
 most victorious and valiant ; and yet to look at his counte- 
 nance he was most benignant, which certainly is strange in 
 a valiant, nay the most valiant of men. So it is clear the 
 comet prophesied rightly. (The sentence here is broken, 
 and the German editor adds what does not seem much 
 to the purpose, " remark the young king's fair benignant 
 
 face.") 
 
 P. 59- 
 
 Hoiv tJie Old Wise King appointed several Learned Masters 
 to instruct Jiis Son. 
 
 Although the son of the old wise king was still young, 
 even in his childhood, he in a short time showed such 
 signs of excellence and such good manners, that he sur- 
 passed all the children of princes and noblemen to such 
 an extent, that, considering his youth, everybody was 
 astonished. And the old wise king was mightily pleased, 
 as may easily be imagined. And he took the greatest 
 care to impress upon him the fear of God, and notably did
 
 ( 32 ) 
 
 lay stress on these three Commandments, out of the ten 
 which God Almighty had given to Moses: The first, 
 " Believe in one God ; " the other, " Honour thy father 
 and mother ; " the third, " Do unto thy neighbour as to 
 thyself." The old wise king did most earnestly desire to 
 have him instructed in Holy Scripture, that he might 
 thoroughly learn the three rules which ought to guide all 
 Christian education. First, to acknowledge the laws of 
 God, and to love Him beyond all things, for whoever hath 
 not the fear of God will not live in eternity ; the other, 
 that he should be thankful to his father and mother, and 
 to all those who did him good, and honour them ; for in- 
 gratitude is a vice under which all other vices find shelter. 
 The third, give to your neighbour what is due to him, 
 because whoever doeth unrightly in his government, and 
 conducts justice one-sidedly, will forfeit, his temporal and 
 eternal honour. And after such God-fearing deliberations 
 of the old wise king, he, as a true and faithful father, 
 selected some highly learned masters, leading pious lives, 
 to teach his son Latin, but chiefly the fear of God, and 
 after that Holy Scripture. They taught him with great 
 zeal. Also there were given to him as companions the 
 children of many mighty princes and noblemen to learn 
 with him, and to attend on him. He was first taught the 
 obedience due from children, the duties of a king, the fear 
 of God, and Holy Scripture, which he studied with great 
 perseverance. He honestly endeavoured not to neglect 
 in any way his lessons, and so not to bring upon himself 
 punishment by his masters, as happens to other children, 
 who are punished and beaten for their slothfulness and 
 neglect. He would not rest until he had mastered the 
 tasks that were set to him, and he got to know the Holy 
 Scriptures so well, that many a time he put questions to 
 his masters which they were not able to answer, because, 
 although he was learned in the fundamental doctrines of 
 Holy Scripture, his intellect which God had given him car- 
 ried him beyond the teaching, as proved by the fact that 
 he puzzled his masters. When the old wise king his father 
 perceived this, he took him away from the study of Holy
 
 ( 33 ) 
 
 Scripture, that he might employ his time better in learning 
 other things. And when the masters gave up his son to 
 the old wise king, the son, in the presence of his masters, 
 made from his own impulse the following speech to his 
 father : " As the stem of a tree has been planted and bent 
 in its youth, it will remain when old ; the finer a fruit is, 
 the more delicate will be its taste and flavour ; the more 
 beautiful and transparent a stone, the more noble and valu- 
 able will be that precious stone." The old wise king called 
 upon his son to explain the meaning of his speech. The 
 son answered : " As a gardener engrafts a twig of a fruit- 
 tree on a stem, and as the twig grows into that stem, the 
 stem bears afterwards the fruit of the twig. Thus has 
 been grafted into me the branch of Holy Scripture and of 
 Christian faith, and the branch has grown into the stem, 
 and will in the future bear fruit." And further the son 
 said : " The finer a fruit, the better will be its flavour. 
 Thus has been manifested to me the profit arising from 
 gratitude and modesty implanted in my heart. That pride 
 will be recognized at once when compared with my modesty 
 and humility." Thirdly, the son said : " The more beautiful 
 and transparent a stone is, the more precious is that stone : 
 thus are rooted within myself the purity of unblemished 
 honour, of kingly virtue, and a rooted sense of the justice 
 of the laws of God, and from me will shine forth these 
 virtues in my government." After this explanation, the 
 old wise king felt great joy, and the king, as well as the 
 masters, decided that he should henceforth be called the 
 young wise king. Any man of learning and sense might 
 conclude that the above speech foreshadowed the future, as 
 during his reign in his old age he has obtained the highest 
 kingly crown, has been a lover of the Christian Church, 
 the dispenser of justice, the boldest and most victorious 
 in all fights, and the most humble towards all men.
 
 p. 62. 
 
 How the Young Wise King from his own impulse learns 
 to write. 
 
 After this young wise king had sufficiently studied Holy 
 Scripture, there often came into his hands some beautifully 
 written manuscripts. Although he need not have acquired 
 a particularly good handwriting, yet, after his determination 
 to be equal to everybody else, he undertook and practised 
 writing so much, and took lessons of which he never tired, 
 for it was only a pastime to him ; and thus he acquired by 
 his industry and daily exercise a particularly good hand- 
 writing, which he soon wrote very fast. Of this the old wise 
 king was much pleased, and the good writers were greatly 
 astonished that in a short time, from his own impulse and 
 by his industry, he should have learnt such good hand- 
 writing. And in order that people may know that his 
 handwriting was so good, [it should be told that] he had at 
 the time of his government with him a secretary, who was 
 famous at the time for being the finest and most speedy 
 writer. One day, when this same secretary was with him, 
 the young wise king wrote with him for emulation, and 
 with respect to quickness the young wise king surpassed 
 the secretary. From this time is to be seen the young 
 wise king's steady purpose he had in all things he wished 
 to learn. And during the time of his reign he was never 
 tired of writing. He had written so much with his own 
 hand, that if I was to give the number of his writings on 
 the average, people would not believe me, for the reason of 
 the great wars he constantly made during his reign. 
 
 P. 63. 
 
 How tJic Young Wise King learnt tJie Seven Liberal Arts 
 in a sJiort time. 
 
 After the young wise king had sufficiently studied Holy 
 Scripture, in order that he might not in his youth spend
 
 ( 35 ) 
 
 any time in vain, the old wise king ordered his masters to 
 teach him the seven liberal arts, which they did with great 
 diligence, and showed him how no art [in a short time] 
 could by any man be acquired perfectly ; moreover, one art 
 sprung from another, after the manner of a chain, which is 
 made of many links. From this he might learn from them, 
 and understand that one art, as far as learning, practice, 
 and work were concerned, gave a hand to another. In 
 order that he might learn from them, and understand gra- 
 dually more of such teaching, he worked diligently at his 
 lessons, and learnt at the beginning grammar, as the basis 
 of the other six liberal arts ; after that logic, then the other 
 five liberal arts ; and in a short time he became in these 
 seven liberal arts unsurpassedly learned, for he understood 
 more of them than is set forth in books, at which his master 
 and [other] learned men were astonished. His masters 
 also thought that it would not be good nor useful to trouble 
 him any more with these subjects ; for if you desire to teach 
 a man more than is needed, that is superabundance, and a 
 hindering of other work. And they said this to the old wise 
 king. He summons his son, and says to him, " I have great 
 pleasure about your learning, but will you act out a virtuous 
 and useful life?" Thereupon the son gave this answer: 
 " The good seed of virtue and [knowledge of] art which I 
 have sown by my industry will bear beautiful flowers in my 
 years, through which your garden shall be full of sweet 
 savour, and I will not let my good seed be choked with the 
 vile weeds, that sow themselves and grow abundantly ; but 
 as I have sown my good seeds with eager diligence, thus 
 will I earnestly hoe out and destroy the vile weeds." The 
 old wise king understood very well the speech of his son, 
 and said, "Your parable is disclosed by your works, for 
 how great a joy has the old wise king felt in his heart and 
 in his mind over this son, who was brought up in obedience 
 to his father, and in the fear of Almighty God." And when 
 he came of age and into his government he fulfilled his 
 promise, for in all his empire people spoke of his virtues. 
 That was the garden with the beautiful flowers. He also 
 did not allow in his empire any robber}- [? ED.], but through-
 
 ( 36 ) 
 
 out his domains you could travel quite safely : the like was 
 not to be seen in the whole world; that is the destruction 
 and rooting out of the bad weeds. 
 
 P. 64. 
 
 How the Young Wise King studies Secret Knowledge and 
 Experience of the World. 
 
 After awhile, when the young wise king was with his father, 
 the old wise king, the father said to his son these words : 
 " Son, listen to me ; after my death you will be the pos- 
 sessor of many empires. Though every king is like another 
 man, yet kings who govern themselves must know more 
 than the princes and the people, that their government may 
 be permanent ; and my words that I say unto you relate to 
 experience of the world," The father did not wish during 
 this interview to disclose everything to him, for this reason, 
 to test the intelligence of his son. The son did not show 
 [that he saw through his father's intention,] but he thought 
 much, and likewise read many writings of past history, and 
 on human nature, and of men's intentions, and of their 
 various ranks, in which he found, with much trouble, the 
 secret of how the world is to be governed ; all that came 
 from his intellect, otherwise from writings alone he could 
 not have found it out. Should I disclose herein this secret 
 knowledge ? There is no need, for it belongs only to kings. 
 After that the wise young king came to his father, and said, 
 " Father, I have thought of your fatherly advice with respect 
 to experience of the world, and have discovered within me 
 that I ought to know such things, and have practised much 
 and diligently by reading and reflecting in my mind, that I 
 hope I have mastered the secret knowledge and experience 
 of the world." And he began to speak to his father about 
 the world and its government, beginning with the (Diets) 
 States, from the Pope to the Cardinal, from the Cardinal to 
 the Bishop, from the Bishop to the Priests, from the Priests 
 to the Monks, from the Monks to the Nuns ; after that from 
 the Kings to the Archdukes, from the Archdukes to the
 
 ( 37 ) 
 
 Princes, from the Princes to the Counts, from the Counts 
 to the Lords, from the Lords to the Knights, from the 
 Knights to the Nobility, from the Nobility to the Burghers, 
 from the Burghers to the Peasants ; and spoke to his father 
 of five articles : the first, of the omnipotence of God ; the 
 second, of the influence of planets ; the third, of the mode 
 of reasoning of men ; the fourth, of too great mildness in 
 governing ; the fifth, of too much severity in power ; and 
 after these words the son went on to say, " And therefore 
 I will in future keep and preserve in my heart these words, 
 Be moderate ! and I have no doubt what I have considered 
 [determined on] that will happen to me a hundredfold, 
 I don't mean a hundredfold, but it will happen to me in 
 countless number [of times]." And when the old wise king 
 had heard the words of his son, he thanked merciful God, 
 and said, " Almighty God, Thou who alone art merciful, 
 keep my seed [son] in Thy pleasure, then my joy will be 
 increased." 
 
 When the wise young king came of age and into his 
 powerful government, he never refused any man anything 
 without making sufficient inquiry ; he even has not been 
 satisfied with the inquiry, but has looked at the works 
 [inquired into the applicant's character,] and never allowed 
 passion to influence his conduct, but has viewed [human] 
 nature with [its mixture] of good and evil ; thus confirming 
 his words, Be moderate ! This is so great a virtue, so great 
 [rare] in men, that in his praise a special book ought to be 
 written. 
 
 P. 65. 
 
 How the Young Wise King learns the Art of Astrology. 
 
 After the young wise king had reflected on the secret 
 knowledge of experience, and discovered it in good mea- 
 sure, as has been told before, he revolved in his mind how 
 he should strongly desire to acquire a knowledge of the 
 stars and of their influence, [as seen] by their effects ; other- 
 wise he might not be able to learn the nature of mankind 
 perfectly, which might be a disadvantage to him in the
 
 ( 38 ) 
 
 secret knowledge of the experience of the world. He 
 thought about what is hidden from others with especial 
 attention, and after that invited to him the most learned 
 doctor of astrology [Georgius Tanstetter, Professor of Astro- 
 nomy,] and learnt very diligently from him this art, and 
 listened eagerly to the influences of the skies and the effect 
 of the stars, from which men receive their nature and being 
 [character], also the order and circles of heaven. Of this 
 art much might be written. In a short time he acquired 
 a sufficient foundation of this art, for from him nothing was 
 hidden by the doctor, and he got so far that he would not 
 be satisfied with astrology as relating to the known stars, 
 and he put before the master this article [problem], viz., 
 after the astrology of the known stars, and after having 
 seen the strange, astonishing effects upon the earth, there 
 ought to be some more stars that in this art were yet 
 undiscovered and unknown, that had also effects upon 
 [human] natures. On this problem much has been written, 
 and all astrologers have to instruct themselves about it. 
 Thereupon the doctor asked the young wise king whether 
 he admitted the influence of stars. This he did for the 
 purpose, to find if he had acquired the basis of the art. 
 The young wise king gave the doctor this answer : " My 
 father is a king, and governs his people through his cap- 
 tains, chancellors, councillors, and servants ; but the power 
 he has in his hand." As soon as the doctor heard these 
 words from him, he said, " I do not find fault with your 
 learning, for with your answer you surpass my question, 
 and you want my teaching no more. And the young wise 
 king has confirmed this his art during his life in his govern- 
 ment ; for whenever an important matter happened to him, 
 he acted in it after giving proper time to it, [the result] 
 sometimes arrives slowly. This is not the usual course of 
 men, for many drop into misfortunes through rashness, and 
 this the young wise king avoided. I call the young wise 
 king in his actions not a man, but I call him the Time. He 
 always acted for a certain [defined] reason, which surpasses 
 [ordinary] men's [method], and he has acted according to 
 time and circumstances, &c. (So ends this chapter, which is
 
 ( 39 ) 
 
 certainly very obscure ; but it must be remembered that 
 Maximilian was not a metaphysician. ED.) 
 
 P. 71. 
 
 How tJie Young Wise King learnt the duties of a Public 
 
 Secretary, 
 
 At one time the old wise king, contemplating the course 
 of the world, found out, from his own experience in govern- 
 ing, where a mighty king, who was not conversant with and 
 equal to the duties of a Chancellor and Secretary's office, 
 might at some time or other be at a disadvantage, for this 
 reason, that a king should not disclose his intentions, or 
 place his confidence in- another. It is well known how the 
 old wise king, for such reason, summoned his son to him, 
 and employed him to do such writing as belongs to the 
 duties of chancellor and secretary, which is the chief part 
 of every king's government, in order that he might acquire 
 the principles of government, and might learn to distinguish 
 selfish people. The old wise king employed him very much 
 in all these things, arid the son was very assiduous, and 
 in a short time he learnt the principal duties. His father 
 saw this with particularly great satisfaction, and once said 
 to him, " Son, do you understand the principles of govern- 
 ment by writing?" The son answered: "If a king puts 
 his trust in one man, and believes in his actions and fine 
 sayings, then this man reigns, and not the king. If a king 
 does not find out the unfaithful and selfish, he will have 
 his treasure and empire in confusion. If a king does not 
 love the truthful and those that live honourably, such a 
 king is an oppressor of his people, and a rooter out of 
 justice." The father listened gladly to this speech, [finding] 
 that the son understood the principles of government ; and 
 when the young wise king came into years and power, he 
 employed a good many secretaries, to all of whom he gave 
 plenty of work, and always educated these secretaries from 
 their youth, according to his own [method] will. He also 
 never allowed a letter to be sent, whether the matter was
 
 ( 40 ) 
 
 small or important, unless he had first read it, and he signed 
 all letters with his own hand. This king has ruled so assi- 
 duously, that the description of such another reign is not to 
 be found. He was also so unsurpassed in drawing up letters, 
 and in his powers of memory, that he often dictated to nine, 
 ten, eleven, and twelve secretaries at the same time, to each 
 a separate letter ; and all the government of all his kingdoms 
 and lands was done by him alone, besides all the great wars 
 he made against foreign nations and countries. 
 
 P. 75- 
 How the Young Wise King learned Painting. 
 
 Once upon a time the young wise king heard an old 
 wise man say, that he who intended to be a good general 
 and commander of armies ought to be able to paint, 
 and to have a particular knowledge of the art. These 
 words the young wise king kept in his mind, and began 
 forthwith to learn to paint. He studied very diligently, 
 but it was only when he had got so far as to paint land- 
 scapes of the country that he partly understood the words 
 of the wise old man, viz., that every great ruler and general 
 ought to be able to paint. But for what reason it is not 
 fit for me to disclose in this book, nor to write about it, but 
 it ought to be kept to kings and commanders alone. Now 
 when the wise young king understood the utility and mean- 
 ing of the art of painting, which were hidden to him in the 
 speech of the wise old man, he exhibited so much perse- 
 verance in the study of painting, that he learned sufficiently 
 well how to paint, and now comprehended the real princi- 
 ples of painting. This young king was, however, diligent 
 in all things he undertook, and in his years and government 
 painting was of great use to him, since he employed many 
 painters, led powerful armies, sustained great struggles, 
 and was the most valiant and most invincible ; for all these 
 achievements he made use of the art of painting, and it 
 brought him [great] advantages. He also used paintings 
 in many other things, in tournaments, constructions, and
 
 ( 41 ) 
 
 inventing new works ; by means of it he accomplished that 
 which otherwise he would have been unable to achieve. 
 Every one who knows anything about these matters will 
 understand what is not described here. He also supported 
 great artists in painting and carving, and has caused many 
 ingenious works to be painted and carved, which will remain 
 in this world in memory of him, though some are under 
 feigned names. 
 
 P. 78. 
 
 How the Young Wise King learned Music and to Play on 
 Stringed Instruments. 
 
 At one time the king thought of King David, how 
 the Almighty God had shown him so much mercy, and 
 he read the Psalms, in which he found very often the 
 words, "Praise God with songs and with harps;" so he 
 thought how mightily pleasing those praises were to God. 
 Then he took unto him, the history of King Alexander, 
 who had conquered so many peoples and countries, and 
 read his history, in which is written that King Alexander 
 was very often moved by the songs of minstrels and by the 
 happy sounds of the harps, [so that his spirit was raised] 
 and he vanquished his enemies. By that the heart of the 
 young king was moved a great deal, and he determined 
 earnestly to follow King David and King Alexander in 
 offering praises to God ; and he learned with the greatest 
 zeal and perseverance all manner of song and music of 
 string-instruments, regarding as the two gravest duties 
 the praise of God and the vanquishing of his enemies, 
 which are the two highest virtues of a king. You may 
 imagine, since this king undertook such a thing, and set 
 his mind on it, how much care he took with it, and how he 
 liked it. 
 
 So now, with his anxiety and facility for learning, he 
 understood in a short time the fundamental principles of 
 singing and of playing on all stringed instruments, and 
 when he came into his most august government he followed 
 first the practice of King David in the praise of God. He 
 
 G
 
 ( 42 ) 
 
 established such a choir, with such agreeable and happy 
 songs, delightful to hear, of the human voice, and with 
 such agreeable harps, played after a new fashion, and with 
 sweet stringed instruments, that he left far behind him the 
 efforts of all other kings in this kind of thing, and so that 
 nobody could be compared to him, which choir he sustained 
 and kept, as is the custom of such a great kingly court as 
 his, and used the same choir only for the praise of God in 
 the Christian churches. 
 
 After that he began, following the example of Alexander, 
 with the happy string music to excite to boldness, and sur- 
 passed both Alexander and Caesar in his victories. I will 
 show this quite plainly : Though Alexander the Great 
 has conquered many lands and has delighted in the play- 
 ing of stringed instruments, nevertheless the young wise 
 king has established such delightful, skilful fifers, and in- 
 vented all sorts of drums, and used such in his wars when he 
 has gone against his enemies, and with these fifes and drums 
 he has not only regaled the human heart, but the sound 
 from them has filled the air ; and with these has the young 
 wise king not only conquered many countries, but with 
 their aid he has fought his principal battles, and fought his 
 enemies and beaten them. And also Julius Caesar, who 
 has only become emperor through his war feats. Never- 
 theless, he had only one party opposed to him ; but this 
 young wise king has had to fight many enemies, of whom 
 I will give you the names of a few ; as the king of France, 
 the powerful peoples of Switzerland, the potent dominion 
 of Venice, the emperor of the Turks, the kingdom of 
 Hungary, the kingdom of Bohemia, and other enemies, 
 whom I may not mention here. Surrounded by such 
 enemies, he has so managed that he has invaded their 
 lands, and not they his Austria. If any should criticise 
 these writings, I know that those learned in history, and 
 particularly in the reign of the wise young king, will say 
 he speaketh truly ; if any without experience and learning 
 should contradict these sayings, he will cover himself with 
 ridicule.
 
 ( 43 ) 
 
 P. 102, A. 1473. 
 
 Hoiv a migJity King, called the King of the Flaming Iron* 
 Jiad an only daugJiter, and could not agree witJi the 
 Old Wise King. 
 
 Now there was not far from the kingdom of the old wise 
 king a noble king, called the King of the Flaming Iron, 
 holding much land, and mighty in men. He was also 
 called Charles, Duke of Burgundy. The duke was a mighty 
 warrior, and so powerful, that at one time he made war on 
 the powerful king of France, according to his pleasure, and 
 wrested from this king the grant of the fief of the great 
 
 * A nickname, originating in the chain of the order of the Golden Fleece. 
 This order was instituted on the loth of January, 1429, by Philip the Good, 
 Duke of Burgundy, and Earl of Flanders. He took for his device, Autre 
 n'auray, I will have (or wear) none other. It was founded at Bruges, in 
 Flanders, on the day of Philip's marriage with his third wife, the Infanta 
 Isabella of Portugal. It ranks next to the Garter. 
 
 " On days of ceremony the knights wear the collar, which is composed of 
 double steels, interwoven with flint stones, emitting sparks of fire (the whole 
 enamelled in their proper colours), at the end whereof hangs on the breast a 
 golden fleece. The fusils are joined two and two together, as if they were 
 the double BB's (the cipher of Burgundy). There are four great officers under 
 the Grand Master; viz., the Chancellor, the Treasurer, the Register, and a 
 King-of-Arms, called Toison d'or. " CLARK'S History. 
 
 The badge consists of a golden fleece suspended from a flint stone, which is 
 surrounded with flames of gold. This the knights wear round the neck, sus- 
 pended from a ponceau, or fire-coloured ribbon, of the breadth of two fingers, 
 and it hangs upon the breast. When the order was first instituted, the knights 
 (who were at first limited to twenty-five) were obliged to wear the collar daily, 
 but Charles V. substituted the ribbon above mentioned in lieu thereof. The 
 habit consists of a long mantle and a cap of crimson velvet, which are lined 
 with white silk. The mantle is entirely bordered with the insignia of the order, 
 viz., flint-stones and fire-steels, disposed alternately. The former are sur- 
 rounded with flames of fire, and the whole is worked in a rich embroidery of 
 gold. When the order was first instituted, the Grand-mastership was inalien- 
 ably attached to the earldom of Flanders. Afterwards the King of Spain 
 and the Emperor equally claimed the Grand-mastership, both claiming to 
 represent the earls of Flanders ; the King of Spain as Heir- Genera!, and the 
 representative of the Infanta Maria Theresa, daughter of Philip IV. ; the 
 Emperor contests it as heir in tail male, representing the oldest branch of the 
 House of Austria, which was engrafted upon those of Flanders and Burgundy 
 by the marriage of Maximilian with Mary of Burgundy. The decorations, or 
 insignia, and the statutes are the same in Spain and Germany. ED.
 
 ( 44 ) 
 
 country of Flanders, and held it independently. He also 
 had jurisdiction over the strong country of Guelderland. 
 He overpowered and conquered it by the sword, and also 
 drove the Duke of Lorraine from his possessions. This 
 same king of the Flaming Iron had no children except an 
 only daughter, and had heard much of the young wise 
 king, of his wisdom, repute, glory, and popularity, so that 
 he took a great liking to him. For he was a popular hero 
 himself, and therefore felt a secret great pleasure in the 
 wise young king's wisdom and renown ; but at the same 
 time the king of the Flaming Iron felt a secret jealousy of 
 the wise old king, the father of the young wise king, for 
 the reason that he thought himself equal to the old wise 
 king, and he dared to form a party of his own in his king- 
 dom, thinking that he would thus gain in war a glory 
 beyond that of any other king in this world. 
 
 P. 103, A. 1473. 
 
 Hoiu the Old Wise King and the King of the Flaming Iron 
 met to marry their children. 
 
 After the king of the Flaming Iron had dared to form a 
 conspiracy in the kingdom of the old wise king, as before 
 mentioned, and when the old wise king came to hear of this, 
 he called a council, meaning to frustrate the intentions of 
 the king of the Flaming Iron. Several princes and persons 
 of consequence stepped in, and arranged that the two kings 
 should meet in a large town called Treves, belonging to the 
 old wise king, and there it was agreed that the old wise 
 king should help the king of the Flaming Iron to obtain else- 
 where glory and success [an equivalent], for the said king 
 of the Flaming Iron was rich in money and land, and was a 
 great warrior, and therefore the two kings should marry 
 their children. For the old wise king had an only son, and 
 the king of the Flaming Iron had an only daughter, called 
 Maria. But there were people who did not like to see this 
 marriage concluded, and when they heard of it they prac- 
 tised intrigues, and set mischief between the two kings,
 
 ( 45 ) 
 
 bringing it about with great subtlety, so that the two kings 
 separated in hostility, and their negotiations at that time 
 came to nothing. 
 
 P. 105. 
 
 But the two kings sat in council together for a long 
 time, until at last they both went away in mutual agree- 
 ment. But at the first onslaught, and during the time 
 the two kings were sitting in council, many a proud 
 knight was killed on both sides, and many others besides, 
 the greater part, however, upon the water, and others 
 during the attack and the tumult. For there was on both 
 sides lying against each other a great army, which is not 
 everywhere to be kept in order, as soldiers certainly will 
 know.* 
 
 A. H75-77- 
 
 How the King of France, also some Princes and Lords, made 
 an A lliance against the King of the Flaming Iron, and 
 went into his Empire, and the King of the Flaming Iron 
 remained dead in a battle. 
 
 Whilst the king of the Flaming Iron made war against 
 the old wise king, the king of France, who at that time 
 was very powerful in men and ready money, undertook 
 and made an alliance with some princes, and lords, and 
 communities that belonged to the old wise king, against the 
 king of the Flaming Iron. These caused the king of the 
 Flaming Iron great annoyance in his kingdom ; and after 
 he had come to terms with the old wise king, as I have 
 described above, and went back again, he undertook to 
 revenge himself on the king of France. He obtained against 
 him a great victory ; he also attacked some territory and 
 mountains of the Germans. 
 
 Now there was a powerful king in the Tyrol ; he was 
 called Archduke Sigmund of Austria ; he was the next of 
 
 * Battle of Neuss.
 
 ( 46 ) 
 
 kin by the male line of the old wise king. This king in 
 the Tyrol possessed in the province where the king of the 
 Flaming Iron made war some fine lands, called Alsace, 
 Sungen, Breisgeu, and Phiert, and therein a valiant host, 
 horse and foot, and would not allow the war that the king 
 of the Flaming Iron made against some Germans, and lent 
 great assistance to the people called the Swiss (who were 
 his inheritance) by means of an army of horse and foot, 
 and with all the rest of his allies. This army went with 
 the Swiss against the king of the Flaming Iron, and had 
 three great contests with this king, and gained everywhere 
 the victory : the first fight was at Granson, the other fight 
 at Morta, the third fight at Nancy ; and in the third and 
 last fight the king of the Flaming Iron was killed. Every 
 one may himself imagine how many people were killed in 
 the three great battles. This king of the Flaming Iron left 
 behind his wife and an only legitimate daughter, and no 
 child besides, about which I will write later on. 
 
 Plow tJie Death of the King of the Flaming Iron was an- 
 nounced to the Old and Yonng Qncen, and hozu they 
 mourned. 
 
 After a short time sad news came to the old queen how 
 her lord and husband, the _king of the Flaming Iron, 
 was killed in battle ; this was also announced to his only 
 daughter. By this news the two queens were grieved with 
 great pains, and made a heartrending wailing, and not 
 without ground, as every one may himself imagine. Though 
 the two queens were surrounded by great grief and mourn- 
 ing, yet the great disturbance required them to consider 
 and to prevent further invasion that might happen to them 
 in their kingdom and lands, after this accident and defeat. 
 How greatly were these two queens oppressed with grief 
 and sorrow ! Thereupon they summoned and wrote to all 
 their States, who came without delay, and brought their 
 men and followers, horse and foot, in order to defend their 
 kingdom and countries. The two queens also sent an 
 excellent embassy to the above-mentioned alliance, in
 
 ( 47 ) 
 
 which the king of the Tyrol was the most powerful, and 
 got reconciled with almost all of them. The king of Tyrol 
 acted well and kingly towards the two queens, for he in- 
 formed his relatives that it was not kingly nor honest to 
 insult the two queens, a lonely widow and a virgin, with 
 further war, and he induced his relatives who were in the 
 alliance not to make any more war against the two 
 queens ; but the king of France, who was not in this 
 alliance, made against the two queens an unwarrantable 
 and unkingly war, of which I will write later on. 
 
 Hoiv the Old and Young Queen of the Flaming Iron, after 
 the advice of their States, sent to the Old Wise Kings 
 Son to take the Young Qnecn in matrimony. 
 
 The noble, beautiful young queen of the Flaming Iron 
 was an heiress of all kingdoms and lands that her father had 
 left behind. Now there was much courting for this powerful 
 and noble beautiful queen ; viz., there were twelve persons, 
 the greatest and most noble in the world, and every one of 
 them was the equal of the young queen in nobility. But 
 the above-mentioned two queens heard many reports of the 
 praise, glory, and worthiness of the old wise king. They 
 also remembered how their lord, the king of the Flaming 
 Iron, in his lifetime had borne a special love and inclination 
 towards the young wise king, and had often said of him, 
 the young wise king was the noblest and worthiest, and no 
 one equalled him. This they had kept in their hearts ; and 
 the young queen conceived first a special inclination and 
 love for the young wise king, for this queen had in her a 
 kingly mind, that she would not take a husband unless he 
 were great in nobility, and no one his equal in worthiness, 
 and remembered her father's worth ; for she well knew if her 
 father did praise a man that there was something in him. 
 Therefore she thought she could not doubt that the young 
 wise king was the noblest and worthiest ; and these two 
 queens, mother and daughter, therefore resolved that the 
 daughter should not take any other husband but the young 
 wise king ; but they intended to do this under the advice
 
 ( 48 ) 
 
 of their States, and summoned their States to them, and 
 represented to them the twelve persons who coveted the 
 hand of the young queen. They also discovered to the 
 States, though these knew it themselves, the great wars 
 they were obliged to make against their enemies, and that 
 therefore she, the young queen, stood in need of a worthy 
 man ; and because her lord and father, the king of the 
 Flaming Iron, in his lifetime had given glory and praise to 
 the young wise king, that he was the noblest and worthiest, 
 her mother and herself had agreed together that she should 
 take the young wise king before all others for her husband ; 
 but they wanted to do this only by their [the States'] 
 advice. The States considered and deliberated amongst 
 each other. Now every one was upon the side of that 
 one whom the queen wished for. Some acted thus for a 
 gift, some for other reasons, but most of them were bought 
 over with money. From this it may be concluded that 
 some would take the money whether the queen married 
 well or badly. But the common States [the whole States] 
 considered the matter carefully, and resolved that the young 
 queen should take the young wise king for her husband, 
 and went to the two queens, and represented to them that 
 they thought this marriage useful and honourable for the 
 young queen, also for her kingdom and lands, for these 
 three reasons : the first, the young wise king was the 
 noblest, and the only heir of his father the old wise king ; 
 and besides, his father was, as to royal honour, the highest 
 and most powerful king in this world. The other reason, 
 the young wise king had the glory and praise to be the 
 worthiest youth. The third reason, because the mind and 
 will of the young queen was inclined to this noblest blood, 
 this marriage should be concluded, and no other marriage 
 should be entered upon. Thereupon they agreed with one 
 voice that the two queens should write to the young wise 
 king how he had been selected before all other kings as a 
 husband for the young queen. Thereupon a letter was 
 sent to the youth, and the messenger did not tarry, but 
 rode quickly on until he came to the young wise king, and 
 brought him the message. Now the king of France also
 
 ( 49 ) 
 
 had a son : this king tried in many ways to obtain from 
 the young queen that she should take his son, and spent 
 secretly much money with the intention of obtaining the 
 young queen for his son by cunning ; and when the king of 
 France learned that the young queen bore love and affection 
 towards the young wise king, he undertook to calumniate 
 the youth to the young queen, and sent secretly a message 
 to the young queen to tell her secretly how the young wise 
 king was an ill-formed man, and she ought not to harm 
 herself by marrying him. His son [he said] was a hand- 
 some, well-made youth, and her equal ; him she should 
 choose and take for her husband. Now his son was short 
 and hunchbacked, and had a large head and short legs, 
 and was called from his malformation the hunchbacked 
 king. But the young queen would not hear this message 
 secretly, but answered she would like to hear it publicly, 
 for she heard nobody secretly by herself, but always acted 
 under advice of her mother and the States. After this 
 answer the embassy went back again to their king without 
 being heard. 
 
 Hoiu the Young' Wise King tells his Father of the message 
 from the Young Queen of the Flaming Iron. 
 
 The messenger whom the two queens of the Flaming 
 Iron had sent to the young wise king came to the youth 
 and delivered him the letter which the two queens had 
 written to him, and said to him these words : " You are 
 chosen and selected to take in matrimony the noble, beau- 
 tiful, and young queen of the Flaming Iron." The youth 
 heard these words carefully, and received the letter from 
 the messenger and read this letter at once, in which there 
 was written the whole thing which the messenger had told 
 him in few words. Thereupon he ordered his people to 
 take the messenger into cheerful quarters, and to do him 
 great honour. The young wise king went to his father, 
 the old wise king, and informed him of the message and 
 of the letter the two queens of the Flaming Iron had sent 
 him, and asked his advice as father, for it is just and decent 
 
 II
 
 ( 50 ) 
 
 that a son should act after the advice of his father. This 
 message the father listened carefully to, and considered the 
 matter in every way ; and after he had taken the matter 
 in careful consideration, he told his son the following three 
 articles in a few words : firstly, the honour of the mar- 
 riage ; secondly, the usefulness of the possessions ; thirdly, 
 the care he should take to obtain all this, and left to his 
 son the choice, and left it to him either to go or stay at 
 home. Thereupon the young wise king considered shortly, 
 and spoke to his father : " My father, nothing is better 
 than real honour, and nothing more pleasing to God 
 Almighty than to live in His commandments ; how then 
 could I obtain real honour in the world but by this noble 
 queen of honours ? how could I serve God better than by 
 putting forth my hand after His divine commandment 
 in eternal remembrance ? " When the father heard from 
 his son these words of great wisdom his heart jumped 
 within him with admiration of his son's wisdom, and he 
 said to his son, " If you will go in the manner you have 
 represented to me, I will give you my permission. But 
 since I have now on my hands a war against the Green 
 King, I will give you for some time my army, that you 
 may learn to make war, for this reason, that if you come 
 to the government of the queen's country, you may know 
 how to deal with your enemies." This the son accepted 
 very gladly. Thereupon the young wise king summoned 
 the messenger of the two queens, and gave him a letter, in 
 which he wrote friendly to the two queens with many thanks, 
 and a special wish that they might be constant in the 
 choice of her future. He also informed them that he in- 
 tended to prepare and to come to them in a short time 
 with devotion, and in royal honours. This he did, as will 
 be described later on.
 
 How the Young Wise King, with permission of his Father, 
 went against the Green King. 
 
 There was a king called the Green king, whose kingdom 
 touched the old wise king's kingdom, and this Green king 
 undertook to make war against some lands of the old wise 
 king. And when the old wise king would not let his son 
 go to the queen of the Flaming Iron unless he learned before 
 the art of war, the young wise king had a great desire to try 
 his young, noble, and worthy hand in the field against his 
 enemy, and to perform in his youth real and terrible feats 
 of war, and asked thereupon his father to allow him to 
 make an onslaught on the people of the Taertschen, who 
 followed the Green king. This his father did not like to 
 allow him, for this reason, that he was his only son ; still 
 his father gave him the permission, but under the advice 
 of his chiefs and councillors of war, and he gave to his 
 son letters to the captains of his army and camp. These 
 letters the young wise king accepted from his father, and 
 went without delay to these captains and gave them the 
 letters, whereupon they obeyed him. The young wise 
 king did not tarry, but he went at once with the artillery 
 before a fortress wherein a people of the Taertschen was 
 lying who followed the Green king, and ordered to work 
 upon this fortress severely with the artillery. 
 
 How the Green King sent an Army into the Old Wise King s 
 land, which the Young Wise King put to flight. 
 
 When the Green king learned that the young wise king 
 with the artillery had gone before a fortress, the Green 
 king assembled an army. Now this king had a captain, 
 whom he sent with this army into the old wise king's 
 country, where they caused much damage. As soon as 
 the young wise king got news about this, he took with him 
 an armed train and a part of the foot, and marched day 
 and night against this enemy to overtake and to beat them. 
 Now there was one among the army of the young wise
 
 ( 52 ) 
 
 king who warned the above-named Green captain. This 
 Green captain began to fly with his army in such a 
 manner, that many of the Green army being tired had to 
 stay behind : some were killed by frost, some had their 
 hands and feet frozen. But the young wise king, notwith- 
 standing, hastened after him into the Green king's kingdom, 
 and did in this kingdom much burning and pillaging, and 
 thereupon he went back again to the camp. 
 
 P. 112. 
 
 Hozv the Old Wise King summoned his Son, the Young 
 Wise King, and sent him to the Young Queen in order 
 to marry her. 
 
 Thereupon, after the young wise king had done the 
 burning and pillaging in the Green kingdom, the old wise 
 king summoned his son to him. Though the young wise 
 king would have liked to make war a little longer against 
 the Green king, yet the old wise king accepted a truce from 
 the Green king, and sent thereupon his son the young wise 
 king away to the noble, beautiful queen of the Flaming 
 Iron, and got him up in royal honours, with many knights 
 and great nobles who went with him. Now the young wise 
 king had a far way to go to the young queen, and pre- 
 pared himself, likewise his knights and nobles, in the cost- 
 liest manner for all emergencies. The young wise king 
 and all the host that went with him took leave of the old 
 wise king as it was fit to do. It is easily to be imagined, 
 where a son goes from his father on a precarious journey, 
 that fatherly and filial love will not be hidden away ; 
 thus it also happened at this parting. But these kings 
 put forth their hands again and again at [in recogni- 
 tion of] the highest royal honours, which indeed they ob- 
 tained everywhere. There came also on the road to the 
 young wise king many archbishops, bishops, and princes, 
 with a great number of knights, who went with the young 
 king unto the above-mentioned young queen.
 
 ( 53 ) 
 
 P. 113, A. 1477. 
 
 How the Young Wise King came to the Young Queen, and 
 hoiv he was received. 
 
 When the wise young king was on his way * to go to 
 the above-mentioned young queen, this fact was told to 
 the two queens above mentioned. Thereupon they felt 
 great joy, and forthwith called together their States, and 
 let them also know the intentions of the young wise 
 king. The Estates did not tarry, but came without delay 
 to the two queens, when they held a council how the young 
 wise king should be received. Thereupon they wrote to 
 the young wise king that he should come to the town 
 called Ghent, whither the two queens with their States 
 would also come. Then, as soon as the letter was sent to 
 the young wise king, the two queens, together with their 
 States, went to the town above mentioned, and waited 
 there for the arrival of the young king, who after a few 
 days came thither, and on the day when he entered the 
 town, there rode to meet him, firstly, the burghers of the 
 said town splendidly dressed ; after them the whole assembly 
 of princes, bishops, prelates, counts, lords, knights, and fol- 
 lowers a great number ; then there went to meet him the 
 whole clergy, with holy emblems in procession, and all 
 the people of the town, and received the young king with 
 great dignity, high honour, and especial rejoicings, and he 
 rode into the town amidst a great crowd, in magnificent 
 attire, with royal honours ; and all who saw him were parti- 
 cularly delighted with his handsome, young, upright figure, 
 and the people said they had never beheld a more beautiful 
 young lord, and they wondered very much indeed at the 
 old wise king his father sending his son in his early youth 
 so far into a foreign country, and the young king was led to 
 his dwelling, which was gorgeously prepared for him. The 
 
 * Commines says that Maximilian had to halt at Cologne, being short of 
 funds, and had to wait there until the Princess Mary sent him enough to pass 
 on to Ghent. EP.
 
 ( 54 ) 
 
 two queens then ordered a magnificent banquet to be pre- 
 pared towards evening, and sent for the young king and 
 many distinguished persons to come to it, where the two 
 queens wanted to receive him in person ; and before he went 
 to the said banquet, he dressed himself and embellished 
 himself with costly clothes and jewellery, and went with 
 his princes, nobles, and knights in royal attire. Now it 
 was nightfall, and there was a great crowd, for which reason 
 they were obliged to have many torches, for everybody 
 wanted to see the young wise king. In the mean time the 
 two queens were alone by themselves in a chamber, and 
 said to each other that they also should like to see the 
 young king secretly. Thereupon the old queen,* the young 
 queen's mother, disguised herself in common clothes, and 
 went secretly, dressed in white, out of the chamber into 
 the hall, whither the young wise king was to come. Now 
 the crowd of the people was so great, that the old queen 
 was not able for a long time to get through the throng, 
 and had to obtain trustworthy and secret assistance. When 
 she had passed through the people, the young wise king had 
 just entered the hall, and when he was shown to her, she 
 would not at first believe that he was the young wise king, 
 for she thought he was too handsome, and fancied she had 
 never seen so comely a youth, and waited and wanted to 
 see which was the wise young king. Now she saw upon 
 the same handsome youth all honour was bestowed, and he 
 was being surrounded by the most powerful archbishops 
 and princes, and that the same youth was the real young 
 
 * The story of the two queens, viz., the dowager of Burgundy, being in a 
 chamber consulting with each other how to receive Maximilian, must have 
 been a pure romance. Commines and other writers mention the removal of 
 the stepmother of Mary when the French king betrayed her letters. As Com- 
 mines was cousin to Madame de Hallewin, first lady of the bedchamber to the 
 princess, he had every opportunity of knowing. He does state that the widow 
 of Charles the Bold was in communication with the commissioners sent by 
 Frederick to call upon Mary to fulfil the marriage with Maximilian, as she had 
 sent a letter to that effect, and enclosed a diamond ring. Mary avowed the 
 letter and the ring, and without consulting any one, declared her intention of 
 marrying Maximilian, as she had acted in obedience to her father's commands. 
 En.
 
 ( 55 ) 
 
 wise king. After that the old queen went hastily to her 
 daughter, the young queen, into the chamber, and spoke to 
 her with the utmost impressiveness : " O daughter ! I never 
 saw a more handsome youth than the young wise king is, 
 and this young king is to be your lord and husband, and 
 no other one." From this it may be gathered that the king 
 of France and his son, for whom he had secretly sought the 
 hand of the young queen, were exposed to ridicule, as I 
 have observed before. For the young wise king was a tall 
 youth, perfectly formed in body and build [literally bones] ; 
 he had a handsome, winning face, and peculiarly beautiful 
 fair hair. He was called, on account of his beauty and 
 wisdom, the young wise king with the benignant face. 
 
 As now the young wise king was standing in the middle 
 of the hall, the two queens went up to him and received 
 him with royal honours, with great rejoicings and friend- 
 ship. Also, as soon as the young queen looked at the 
 young wise king she felt great delight at his personal 
 appearance, and her heart was satisfied with him, and 
 inflamed towards him with honourable love. And at the 
 same hour they, with her permission [Q. the old queen's?], 
 conversed together confidentially about the marriage, and 
 settled the matter with mutual joy ; and after that the 
 banquet was brought to an end with great rejoicings. How 
 full of enjoyment was this banquet, during which such a 
 royal marriage between the two noblest, mightiest, and 
 handsomest persons was resolved upon ! 
 
 P. 115, A. 1477. 
 
 Hoiv the Young Wise King and the Young Queen of 'the 
 Flaming Iron were united in Marriage. 
 
 The day after the marriage of the young wise king with 
 the queen of the Flaming Iron was resolved upon, the cathe- 
 dral of the town was most beautifully decorated, into which 
 the young king and queen were conducted with great royal 
 honours ; and there went with them all archbishops, bishops, 
 princes, counts, lords, knights, and followers, and the whole
 
 ( 56 ) 
 
 Diet, richly dressed and decked with jewellery in their vest- 
 ments. Then one archbishop preceded all the others, and 
 led the young king and queen up to the altar, and pro- 
 nounced over them some pious prayers ; and when he was 
 about to unite them in marriage, the archbishop began to 
 speak these words : " O Lord our God, knower of hearts, 
 blessed are the men that live in Thy commandments," 
 and some more pious words, and thereupon joined them in 
 holy matrimony with great solemnity and devotion, accord- 
 ing to the law an'd ordination of the holy Christian Church ; 
 and after the joining in matrimony was over, the archbishop 
 prayed to God that He might grant to these two persons 
 four things : to prolong their lives, to give health to their 
 bodies, issue to their union, and victory over their enemies, 
 and spoke over them many devout prayers besides. After 
 that, the archbishop commenced holy mass, which was con- 
 cluded with great solemnity ; and after mass was said, the 
 king and queen, were led before the high altar, where they 
 knelt down with great devotion, and the archbishop said 
 again many pious prayers over them, and called to God 
 with these words : " Lord, behold Thy creatures, and the 
 mercy Thou hast bestowed on these two people in this 
 world in royal honours ; keep them in meekness for the 
 salvation of their souls, and grant them victory over all 
 their enemies, faithfulness in their royal union, and that 
 they may live in Thy divine light in justice and honour, 
 and rejoice in these in Thee for ever and ever. Amen ! " 
 
 Thereupon they began to sing the Te Deum Laudamus 
 with loud musical accompaniments, and left the church in 
 royal order, for the wedding feast that was prepared with 
 respect to eating and drinking in the costliest manner. 
 And during the banquet there was much music and fine 
 singing, wonderful joy, and many pretty banquets ; and all 
 that day was passed solely with the costly wedding banquet 
 and its rejoicings.
 
 ( 57 ) 
 
 P. 116, A, 1477. 
 
 How the wedding festivities above mentioned were kept 
 up for many days with great rejoicings, and how people 
 made merry with racing, tilting, tournaments, and other 
 knightly games, after the fashion of different nations, and 
 whatever might be imagined of knightly games, [sustained] 
 most magnificently and honourably, and with the greatest 
 cost, of which it would be possible to relate a great deal ; 
 but I will leave off, or it would prevent me from talking of 
 other things I have mentioned herein, and will now number 
 the mightiest countries the queen possessed, and the young 
 wise king took under his sway ; viz., the two countries, 
 Upper and Lower Burgundy, Luxemburg, and Tischuy ; the 
 three countries, Brabant, Lorraine, and Guelderland ; the 
 five countries, Hainault, .Holland, Zeeland, Flanders, and 
 Artois ; the six countries, Picardy, Friesland, Zutphen, 
 Namur, Salines, and Malines ; besides many other coun- 
 tries, dominions, towns, and castles, more than I can here 
 number or name. I have only described by name the most 
 powerful and populous countries, in order that people may 
 recognize the great power of this young queen ; and all 
 these other countries the young wise king took also, and 
 governed them well and royally, and kept and protected 
 them by his valiant hand. 
 
 P. 164, A. 1485. 
 
 How a Town \Ghcnt ED.] of the Brown Company* [Nether- 
 lands ED.] began a Conspiracy against tlie Young Wise 
 King, and how the Wise King punishes them for it zvith 
 the sivord. 
 
 After the young wise king had conquered the land of 
 the Brown company, he kept some thousands of his best 
 
 * The Editor of this reproduction has followed the English custom of 
 speaking of the Wise King, but learned authorities in Germany invariably 
 call Maximilian the White King. Hence, probably, Maximilian's mode of 
 
 I
 
 ( 58 ) 
 
 men around him, because he dared not yet trust the Brown 
 company (on account of some brutalities German soldiers 
 had committed in Ghent), and the young wise king, seeing 
 his danger, simulated flight, and the people of the town 
 followed him, but were repulsed, and barricaded themselves 
 with chains and vehicles. [The following takes place in 
 the town of Ghent, between the castle and St. Pharahilde's 
 church.] Now it was very dark, and the king thought the 
 matter over [as to his position] ; there were on one side 
 many people, and strong chains and barricades, and cannon 
 behind ; on the other hand he had to fight, [forced] by 
 hunger and thirst, for no man could get any food for him 
 and his people, except dirty water. [The bishop of the 
 town .tried all he could to reconcile the parties, but in 
 vain.] And thus remained friend and enemy the whole 
 night opposite to each other in angry mind. The young 
 wise king kept the enemy in 'constant fear by feigned 
 attacks, in consequence of which they became very tired, 
 for they were heavily armed, also they were never without 
 the fear of a flight of their troops. At the same time the 
 young wise king and his followers could obtain no food 
 before the enemy. Then the young wise king held a 
 council with his particular friends about what they should 
 do in the morning, and they resolved to attack the great 
 number [the troops in the town]. And when morning came, 
 he advanced with his White [Austrians ED.] company 
 towards them up to a projection [corner of a street], lest 
 they might do some harm with their artillery. Thereupon 
 the great crowd of the Browns sent to the young wise king 
 and asked for mercy, that he might pardon them, that they 
 would withdraw, and that he [also] should withdraw. That 
 he refused to do, for he wanted them to surrender without 
 
 describing kings and peoples by colours. In Dr. Heindrich Merz's explana- 
 tory notes to Weisser's " Bilder Atlas zur Weltgeschichte," the following 
 passage occurs in reference to Weiss-Kunig : "The contents consist of vapid 
 flattery (geschmaclose lobhudelei) of the White King, who far surpasses all his 
 adversaries, whom he represents under different colours." The king of France, 
 Louis XL, he called the Blue King ; Matthias of Hungary, the Green King; 
 the Xetherlanclers, the Brown people ; the Austrians. the White people.
 
 ( 59 ) 
 
 terms ; this they would not do either ; therefore the king 
 advanced in order to fight, and after he had made three 
 steps, and was marching against the enemy, some one from 
 the ranks exclaimed to him to stand still, for some of his 
 people were dispersed, and order was broken. Thereupon 
 the young wise king stepped back to see how this had hap- 
 pened. A priest had arrived with an altar-stone, and put 
 this altar-stone on some large trestle near the ranks, and 
 read holy mass before it ; then the greater part of his 
 people knelt down ; the young wise king also knelt down 
 and heard mass with his people. After that he re-arranged 
 order, and found his people willing to fight. In the mean 
 time the furious populace of the Browns had reflected, and 
 gave themselves up to the king's mercy in body and goods, 
 and went to their quarters. The king's men also went to 
 their quarters. Thereupon the young wise king took some 
 of the Browns who had set up the rebellion and carried on 
 the intrigues, to the number of twenty-eight, and ordered 
 them to be executed by the sword, and about a hundred to 
 be expelled from the town and the country : these fled to 
 the Blue king [Louis XL of France ED.]. All the others 
 he pardoned, and took no money from them, in order to 
 regain favour with the people. 
 
 P. 225, A. 1488. 
 
 How the Blue King arranges a Treachery, by which the 
 Wise King is taken prisoner. 
 
 Because the young wise king everywhere was victorious 
 against his enemies, the Blue king was angry, and won over 
 to his side, by buying with his great treasures, a powerful 
 captain [Hanns Kopenall], the best whom the wise young 
 king had with him, and promised him, besides much more 
 money, also fortresses, castles, and land ; the same captain 
 was also for ever to have and to reign over the wise young 
 king's lands and people. This captain deserted from the 
 wise young king, and gathered round him a great number 
 of bad people, and amongst them were many of the
 
 ( 60 ) 
 
 brawlers [modern roivdies], and he gave to these people 
 much money, and promised them to make them the lords 
 for ever, and were also called the Black and revolted White 
 lot, and each of these plotted against his comrade how he 
 might betray and sell him ; and they held a council, and 
 thought they should not be able to carry their object, 
 unless they deprived the wise young king of his life, since 
 he was too wise for them, and might frustrate their plans. 
 Thus they began to intrigue together, the pious and the 
 wicked, and once, by fair words and lies, with great cun- 
 ning and treachery, they got him into a town, [thus] carry- 
 ing out their design, and surprised the young wise king 
 unexpectedly in his house, and put him and the most 
 excellent of his captains and counsellors into prison, with 
 the intention of killing the young wise king, also his cap- 
 tains and counsellors ; but the greater part of them [Q. the 
 burghers ?] took pity, for they knew that the young wise 
 king and his people were wronged, and they did not wish 
 to have the guilt of his blood on them, and they helped 
 the young wise king and his companions to regain their 
 liberty ; but they were fed very scantily, and during a long 
 time. 
 
 Gerard de Rods Version of Maximilian's Wedding* 
 
 Frederick was well informed of all these matters, and 
 sent the Bishop of Mayence, Louis Duke of Bavaria, and 
 George Heslerf ambassadors to Brussels, with orders to 
 wait there till sent for by Mary to Ghent. The Duke of 
 Cleves endeavoured to induce them to return home, but 
 without success. Others in the interests of Maximilian, 
 and chiefly Madame Hallewin and the widow of Charles, 
 advised them to proceed to Ghent. 
 
 They were received in the hall where the council was 
 
 * Librarian to Archduke Ferdinand of Austria : " Annales Rerum Belli 
 Domique ab Austriacis Habspurgicse Gentibus." Edited after Roo's death by 
 Conrad Deems (a Meydenberg), Secretary to his Highness. Innspruck, 1592. 
 
 t Said by Molinet to be a very elegant prothonotary. ED.
 
 ( 6i ) 
 
 assembled, and Mary presided. She acknowledged that 
 she had, at the request of her father, betrothed herself to 
 Maximilian, sending letters and a ring to him, and added 
 that she should carry out her obligations. The council 
 admired her resolution, and Cleves, in great anger, returned 
 home. The legates next proceeded to Louvain, and attended 
 a convention, which confirmed the arrangements determined 
 on at Ghent, and they then, having so happily discharged 
 their duties, returned home. Louis, furious at the frustra- 
 tion of his plans, invaded and took possession of Artois. 
 
 "At the close of June the arrival of Maximilian at Cologne 
 was announced. His retinue consisted, according to Corn- 
 mines, of eight hundred horse ; among whom were John, 
 the Elector of Treves ; Albert of Brandenburg ; Christopher 
 of Baden ; William, the Prince of Julia ; and many eques- 
 trian nobles, all dressed in mourning clothes. Mary in the 
 mean time, having celebrated solemn funeral rites in honour 
 of her father, ordered that such preparations as were due 
 to his rank should be made to receive Maximilian and his 
 followers. 
 
 "As soon as the young archduke had heard that the fu- 
 neral rites of Charles had been performed, he changed his 
 dress, and led his Germans, remarkable for the splendour 
 of their dresses and gold decorations, and for the tallness 
 of their figures and graceful horsemanship. 
 
 " In company with Maximilian was Charles Chymaius, 
 who, taken prisoner at Nancy, had been liberated and led 
 to Germany. When he came into the hall, meeting Mary, 
 his betrothed, he saluted and embraced her ; and she, 
 shedding tears of joy, testified her affection for him. Then 
 each returned to their allotted quarters. On the i8th of 
 August, 1477, being as soon as arrangements could be 
 made, the nuptials were celebrated, the Bishop of Tornach 
 being the officiating priest ; and among others present was 
 Cardinal Julian, the pontifical legate. After the service 
 they had feasts, dances, and knightly games, in which, it 
 is related, the Germans displayed themselves excellently, 
 their prince having accustomed them to their use."
 
 HANS BURGMAIR, DESIGNER OF THE TRIUMPH. 
 
 Hans Burgmair the elder was the son of a painter, 
 Thomas Burgmair, and was born at Augsburg in 1473. 
 
 Of the events of his life but little is known with certainty 
 beyond the dates of his birth and death. It has been 
 asserted that he became the pupil of Martin Schongauer, 
 of Colmar, in 1488 ; and if the evidence in favour of 
 this opinion is slight, yet there is no evidence of any kind 
 to the contrary. Passavant, in his " Peintre Graveur," has 
 collected all that is known with regard to Burgmair, and 
 he gives (vol. ii. p. 103) the facts which seem to favour this 
 theory. He describes an ancient writing found at the back 
 of the Munich portrait of Schongauer, which contains the 
 autograph of Hans Largkmair or Burgkmair, describing 
 himself as Schongauer's pupil, and states that the characters 
 have much analogy with the known signatures of Burg- 
 mair, except the initial letter. Passavant also cites the 
 wood -engraving of the Virgin and Child, Bartsch, No. 13, 
 which has, he says, a great analogy with the manner of 
 Schongauer. The writing containing the autograph is re- 
 produced in Bartsch, vol. vi. plate I. ; but Passavant states 
 that it is not copied with sufficient accuracy to make it of 
 value for reference. Whoever was his master, he soon fell 
 under the influence of Albert Durer, although there is no 
 reason for believing that he ever studied under him. 
 
 The portrait of Burgmair and his wife, painted by him- 
 self, preserved in the Belvedere Gallery at Vienna, gives 
 his wife's age as fifty-two, and his as fifty-six, in 1528, 
 which accords with the date of his birth, 1473. Bartsch 
 gives the date of this picture as 1529, which would require 
 him to have been born in 1474; but he states also that he 
 was born in 1473. 
 
 It appears, from the record book of Painters (Gerech- 
 tigkeitsbuch), that Burgmair was dead in 1531 ; he must 
 therefore have died between 1528 and 1531 ; and it is not 
 possible to find the date with greater precision, as his son, 
 Hans Burgmair the younger, who drew in a similar manner, 
 used the same mark. It is impossible to separate the
 
 designs of the father and the son, except in such cases as 
 those of the Wise King and of the Triumphs ; and it seems 
 not improbable that the son should in these have assisted 
 his father. Passavant attributes all the etchings on metal 
 to Burgmair the younger, including the Venus and Mercury, 
 Bartsch, No. I, and bases his opinion on a comparison of 
 the plate with the etching of the arms of Augsburg and 
 others dated 1545, and he adds more conclusively, that the 
 style proves it to belong to a period subsequent to the death 
 of the father. Burgmair the younger was still living in 
 1559, as appears from a letter from the Emperor Ferdi- 
 nand I. to the Council of Augsburg, and was at that time 
 employed to etch on iron armour (I 3 assavant, vol. iii. p. 266). 
 It is almost certain that the elder Burgmair never engraved 
 on wood himself, as in the instances in which the circum- 
 stances of the production of the blocks are known they were 
 cut by other hands. The correspondence of Peutinger with 
 the Emperor, brought out in 1851 by Theodore Herberger, 
 and quoted by Passavant, throws considerable light upon 
 the practice of the art of engraving at that time ; and from 
 various passages it may be inferred, with almost absolute 
 certainty, that few among the painters and designers, and 
 those men of less importance and consideration, such as 
 Altdorfer, cut the blocks with their own hands. It seems 
 probable also that- the practice, not uncommon in our own 
 day,of the drawing being made on the wood byan artist other 
 than the designer, was then sometimes followed, since the 
 letter of Dienecker of the 2Oth of October, 1512, contains 
 this passage : " I shall be ready to prepare all work for the 
 cutters, and will afterwards finish and polish it with my 
 own hands, in order that the work and piecework should 
 be all alike in the cut, and finished all by the same hand, 
 so that nobody would doubt it." Dienecker here proposes 
 to prepare the work ; by which he probably means to draw 
 the design upon the block. 
 
 If we except Albert Durer and Hans Holbein, the paint- 
 ings of German artists are not much sought for or known 
 in this country. Dr. Dibdin is not a high authority in art ; 
 but he was a shrewd observer, and a good listener when 
 necessary. He ("Antiquarian Tour," vol. iii. p. 85), spcak_
 
 ( 64 ) 
 
 ing of the Augsburg Picture Gallery, says, " I shall now 
 give you a notion of the talent of Hans Burgmair, a painter, 
 as well as engraver, of first-rate abilities. I will begin with 
 what I consider the most elaborate specimen of his pencil 
 in this most curious gallery of pictures. The subject is 
 serious, but miscellaneous, and of the date of 1501. It 
 consists of patriarchs, evangelists, martyrs, male and female, 
 and Popes, &c. The Virgin and Child are sitting above, 
 in distinguished mazes, &c. 
 
 " The countenances of the whole group are full of nature 
 and expression : that of the Virgin is doubtless painted 
 after a living subject. It exhibits the prevailing or favourite 
 mouth of the artist, which happens, however, to be generally 
 somewhat awry. The cherub, holding up a white crown, and 
 thrusting his arm, as it were, towards the spot where it is 
 
 to be fixed, is prettily conceived This picture 
 
 contains some very fine heads. Another picture of Hans 
 Burgmair worth especial attention is dated 1504. It is, as 
 usual, divided into three compartments, the subject, St. 
 Ursula and her virgins. Though of less solid merit than 
 the preceding, it is infinitely more striking, being most 
 singularly conceived and executed. The gold ornaments 
 and gold grounds are throughout managed with a freedom 
 and minuteness of touch which distinguish many of the 
 most beautiful early missals. In the first compartment, or 
 division, is a group of women round ' Sibila Ancyra PJiry- 
 gi(E? The dresses of these women, especially about the 
 breast, are very curious. Some of their head-dresses are 
 not less striking, but more simple, having what may be 
 called a cushion of gold at the back of them. In the second 
 compartment is the Crucifixion in the warmest and richest 
 (says my memorandum, taken on the spot) glow of colour. 
 Beneath there is a singular composition. Before a church 
 is a group of pilgrims with staves and hats on ; a man not 
 in the attire of a pilgrim heads them ; he is habited in 
 green, and points backwards towards a woman, who is 
 retreating ; a book in his left hand. Further to the right 
 a man is retreating, going through an archway with a badge 
 (a pair of cross-keys) on his shoulder. The retreating woman
 
 has also the same badge. To the left another pilgrim is 
 sitting, apparently to watch ; further up is a house, towards 
 which all the pilgrims seem to be directing their steps to 
 enter. A man and a woman come out of this house to 
 receive them with open arms. The third division continues 
 the history of St. Ursula. Her attire is sumptuous in the 
 extreme ; she sits in a vessel beside her husband Gutherus. 
 A Pope and Cardinal are to the right of St. Ursula, the 
 whole being a perfect blaze of splendour. Below they are 
 dragging the female saint and her virgin companions on 
 shore for the purpose of decapitation. An attitude of horror 
 in one of the virgins is very striking. 
 
 " There is a small picture by Burgmair of the Virgin 
 and Christ, in the manner of the Italian masters, which is a 
 palpable failure. The infant is wretchedly drawn, although 
 prettily and tenderly coloured. Burgmair was out of his 
 element in subjects of repose. Where the workings of the 
 mind were not to be depicted by strong demarcations of 
 countenance, he was generally unsuccessful. Hence it is 
 that in a subject of the greatest repose, but at the same time 
 intensity of feeling the Crucifixion this master, in a pic- 
 ture here, of the date of 1519, has really outdone himself, 
 and perhaps is not to be excelled by any artist of the same 
 period. It is thus treated : Our Saviour has just breathed 
 His dying exclamation, ' It is finished.' His head hangs 
 down, cold, pale death being imprinted upon every feature 
 of the face. It is, perhaps, a painfully-deadly countenance, 
 copied, I make no doubt, from nature. St. Anne, Mary, 
 and St. John are the only attendants. The first is quite 
 absorbed in agony ; her head is lowly inclined, and her arms 
 are above it. The pattern of the drapery is rather singular. 
 Mary exhibits a more quiet expression ; her resignation is 
 calm and fixed, while her heart seems to be broken. But 
 it is in the figure and countenance of St. JoJin that the 
 artist has reached all that an artist could reach in a deli- 
 neation of the same subject. The beloved disciple simply 
 looks upwards upon the breathless corpse of his crucified 
 master. In that look the world appears to be for ever for- 
 gotten. His arms and hands are locked together in the 
 
 K
 
 ( 66 ) 
 
 agony of his soul. There is the sublimest abstraction from 
 every artificial and frivolous accompaniment in the treat- 
 ment of this subject which you can possibly conceive. The 
 background of the picture is worthy of its nobler parts. 
 There is a sobriety of colouring about it which Annibal 
 Carracci would not have disdained to own. I should add 
 that there is a folding compartment on each side of the 
 principal subject, which, moving upon hinges, may be turned 
 inwards, and shut out the whole from view : each of these 
 compartments contains one of the two thieves who were 
 crucified with our Saviour. There is a figure of St. Laza- 
 rus below one of them, which is very fine in colour and 
 drawing." 
 
 The Editor has ventured to correct a few words in 
 Dr. Dibdin's description of Burgmair's triptychs, for the 
 sake of the grammar. 
 
 THE ENGRAVERS OF THE TRIUMPH. 
 
 HANS LEONARD SCHAUFELEIN, who held a distin- 
 guished position in art during the first half of the sixteenth 
 century, was the son of a rich merchant of Nordlingen, 
 Franois Schaufelein. The date of the painter's birth is 
 unknown, but is supposed to have been about 1490. It 
 probably was earlier, as in 1507 his name occurs in con- 
 nection with a book entitled " Speculum Passionis," pub- 
 lished by Ulrich Pinder, and printed at Nuremberg in 
 1507. It was illustrated by Schaufelein with thirty-seven 
 woodcuts. He became the pupil of Durer, and afterwards 
 remained as companion ; when he went, and the length of 
 his apprenticeship, are unknown, but it is known that he left 
 him in 1512. The usual custom in those times was for a 
 pupil to remain five years, and not till after the expiration 
 of that time could he work on his own account. In 1512 
 he went to Augsburg to illustrate the Thuerdanck, a
 
 ( 6; ) 
 
 romantic poem, supposed te have been written by Max- 
 imilian I., to illustrate his exploits in peace and war, and 
 his marriage. The cuts were designed by Schaufelein, and 
 numbered 118, eight of which, says Bartsch, are signed by 
 Schaufelein. Passavant says two only are signed ; but if 
 the little shovel belongs to Schaufelein, then there are 
 three, Nos. 48, 69, and 70, the last-mentioned having no 
 monogram. No. 30 has a mark which is not Schaufelein's. 
 Bartsch gives the following description of the size of the cuts : 
 height, 5 1 Va ~ ^ n - > width, 4^- in. Passavant does not correct 
 this error. The size is, height, 6^ in. ; width, 5 T 6 T in. Many 
 of the cuts are singularly bad. Some twenty are of superior 
 workmanship, but all are deficient in perspective. It appears 
 that Maximilian saw them before they were published, and 
 one can only wonder that he sanctioned such grotesque 
 illustrations of his adventures, as most of them render him 
 ridiculous. 
 
 He quarrelled with Schonsperger, the printer of the 
 Thuerdanck, and left Augsburg. 
 
 Between this time and 1515 he is traced by his paint- 
 ings, executing a fine altar-piece in the abbey of the 
 Benedictines at Anhausen, near Oettingen, and in 1515 he 
 was made a burgher of Nordlingen for a large picture of 
 the siege of Bethulia. 
 
 In 1516 he married Afra Tucher, and settled at Nord- 
 lingen. He died in 1540, having led a tranquil but labo- 
 rious life, as the number of his works testifies. As to their 
 character, we may quote the words of Dr. Waagen, in his 
 "Manuel de 1'Histoire de la Peinture," Stuttgart, 1862, in 
 Svo. : " Schaufelein adhered faithfully to the manner of 
 Durer. He possessed a power of invention more rich than 
 profound, especially capable of rendering lively and ani- 
 mated actions. One finds at the same time in him an 
 ardent and profound sensibility, a very distinct feeling for 
 beauty of form, grace in action, and of purity of taste in 
 the arrangement of draperies and costumes. For colour 
 and method of handling the brush, the works of the old 
 painter Frederick Herlen had evidently been carefully
 
 ( 68 ) 
 
 studied by him. The tone of his colour is rather warmer 
 and more harmonious than Durer's." 
 
 The work which best sustains Schaufelein's reputation 
 out of Germany is " Les Danseurs des Noces " (Bartsch, 
 " Peintre Graveur," vol. vii. No. 103). This author had 
 apparently not seen the complete work. No. 96, which 
 constitutes the twenty-first and last cut of the Danseurs, is 
 there described by him as a separate piece. Bartsch is 
 also in error as to the size of the figures. There is no 
 border, and the measurement must be made from the head 
 to the foot, except where a little foreground is found. Of 
 the twenty cuts which he recognize^ as the work, he gives 
 the dimensions as 8 inches -^ lines. They should be de- 
 scribed as varying in height from about 8 to above 10 inches; 
 the dimensions of the twenty-first cut as, width 15 inches, 
 height 10 inches. It should be, width 16 inches 3 lines, 
 height 10 inches 10 to 11 lines. Passavant, in his obser- 
 vations on Bartsch's notice of Schaufelein's works, does not 
 notice this. 
 
 JEROME ANDRE. Von Murr, who has been followed 
 by most of the authorities upon the subject, has, on the 
 authority of Neudoerffer, given as his real name Jerome 
 Resch. There is, however, in the cemetery of St. John a 
 tomb, mentioned by Passavant, vol. i. page 75, note, of 
 J crony mus Andre, formschneider, with the date of his 
 death, May 7, 1556. It would seem not improbable from 
 this that Jerome Andre was not the same as Jerome Resch. 
 Ncudoerfifer of Nuremberg, who wrote in 1546, relates of 
 Jerome of Nuremberg, or Jerome Resch, that he lived in 
 that town, and engraved most of the woodcuts of Albert 
 Durer, and among others the Triumphal Car, during the 
 progress of which work the Emperor visited him almost 
 daily. He speaks of him as the most able woodcutter of 
 his clay. 
 
 WILMELM and CORNELLS LIEFRIXK lived at Augsburg, 
 and engraved designs of both Bunrmair and Durer.
 
 ( 69 ) 
 
 HANS LIEFRINK was probably the same who is known 
 by some engravings both on wood and metal, and who lived 
 at Antwerp from 1 540 to 1 580. He is said to have belonged 
 originally to Leyden, and was probably a member of the 
 same family as Cornelis and Wilhelm Liefrink mentioned 
 above. Passavant describes a fine wood-engraving of 
 Duke William of Juliers and Cleves, inscribed, " Hans 
 Liefrink formschnyder," in the collection at Amsterdam. 
 
 JOST DiENECKER, or DE NEGKER, originally of Antwerp, 
 established himself at Augsburg about 1510. He never 
 appears as a designer, but his talent and ability entitle him 
 to be called an artist with Jerome of Nuremberg, and Hans 
 Lutzelburger of Basle. In his letters of the 2oth and 2/th 
 October, 1512, sent to the Emperor Maximilian, it appears 
 that other engravers were employed to assist him in the 
 production of his woodcuts for the Emperor, but that he 
 finished each block himself, so that it could not be seen 
 that more than one hand had been employed. He seems 
 to claim also to have invented the method of producing 
 chiaroscuros with three wood blocks, and refers to the 
 portrait of Hans Baumgartner, engraved on three blocks 
 after Burgmair. This engraving is dated 1512 ; but there 
 is an earlier one designed by Burgmair of a woman flying 
 from death (Bartsch, 40), of which Passavant gives addi- 
 tional particulars. It bears the date 1510, and one copy in 
 the Albertine collection has the name of Jost de Negker 
 inscribed. There is also an engraving of Hans Baldung 
 Grun of sorcerers (Bartsch, 55), from three blocks; but this 
 may have been engraved after Dienecker's was produced, 
 or it may have been engraved by him from the design of 
 Baldung Grun. To Lucas Cranach, however, belongs the 
 credit of first producing chiaro-scuro engravings, as some of 
 his, but printed from two blocks only, are dated as early as 
 1506. Dienecker probably means to claim, in his letter to 
 the Emperor, not the original invention, but the improve- 
 ment of the process. The date of his death is not known, 
 but took place before 1 561, as in that year David de Negker,
 
 ( 70 ) 
 
 wood-engraver, of Augsburg, and probably his son, repub- 
 lished under his own name Dienecker's copies of Holbein's 
 Dance of Death, which were brought out first in 1544. 
 
 He usually marked pieces engraved by him with his 
 name, sometimes spelt one way, and sometimes the other ; 
 but on one piece (Bartsch, No. 25 in Burgmair's works) he 
 used a monogram.
 
 CATALOGUE OF THE WORKS OF BURGMAIR, 
 
 Bartsctts " JPeintre-Gravatr," vol. vii. p. 197. 
 
 ETCHING. 
 i. VENUS AND MERCURY. 
 
 - At the right, Venus standing, holding an arrow in the left 
 hand, endeavouring with the right hand to awaken Mercury, who 
 sleeps, sitting near a fountain at the foot of a palm-tree. To the 
 right, in the air, is Cupid. A bandrol, with the letters H B, is 
 placed at the foot, on the same side. This plate, etched with 
 acid on iron, is the only print which Burgmair ever engraved. 
 Height 6 inches 8 lines, width 4 inches 9 lines. 
 
 See Passavant, "Etchings of Burgmair the Younger."* 
 
 WOOD ENGRA VINGS. 
 OLD TESTAMENT. 
 
 i. Eve persuading Adam to eat the forbidden Fruit. Eve is 
 standing to the left, and Adam to the right, of the en- 
 graving. In the distance, to the left, God is represented 
 creating Eve during the sleep of Adam. On the lower 
 margin we find this inscription : " Und Got Gesegnet 
 sy . . . unnder dem hi Gen. am j." 
 
 A large piece of eight plates joined together. 
 
 Height 33 inches 2 lines, width 24 inches. 
 
 This work is indifferently drawn and badly, cut. 
 
 * Passavant's observations on, and additions to, Bartsch are given, by per- 
 mission of the publishers, at the end of this list.
 
 ( 72 ) 
 
 2. Samson killing the Lion. The letters H B are engraved on a 
 
 quiver, towards the top, on left. 
 
 Height 4 inches 3 lines, width 3 inches. 
 
 3. Pharaoh drowned in the Red Sea pursuing the people of 
 
 Israel. Marked H B, below, at the left, in white. 
 Height 6 inches 5 lines, width 4 inches 6 lines. 
 This piece, and the engravings under the numbers 16, 62, and 71, 
 are to be found in a collection of sermons by Gayler of Kayser- 
 sperg, printed at Augsburg in 1510, by H. Otmar. In folio. 
 
 4. Solomon adoring an Idol. Marked H B, at the right. 
 
 Height 4 inches 5 lines, width 3 inches 6 lines. 
 
 5. Bathsheba in the Bath. Marked H B, below, at right, and dated 
 
 at the top, i <$ i o. c 
 
 Same size. 
 
 6. Dalilah cutting off Samson's hair. Marked below, at right. 
 
 Same size. 
 
 We sometimes find these three last printed in a passe-partout, 
 an architectural border adorned with vases, dolphins, fantastical 
 animals, &c. This passe-partout is 8 inches in height and 5 inches 
 8 lines in width. 
 
 NEW TESTAMENT. 
 
 7. The Virgin seated, holding a book in the right hand, the 
 
 other supporting the infant Jesus on her knees. Marked 
 on a bandrol at right top. 
 
 Height 8 inches 3 lines, width 5 inches 7 lines. 
 This engraving is sometimes met with enclosed in a passe- 
 partout, presenting an architectural border. This passe-partout 
 is ii inches 7 lines in height and 8 inches in width. 
 
 8. The Virgin with the Infant Jesus in her Arms. Marked, and 
 
 dated 1518, at left top. 
 This is hardly more than an engraving in outline. 
 
 Height 8 inches 9 lines, width 6 inches i line.
 
 9. The Virgin seated, and turned to the right. She watches 
 the infant Jesus on her knees, and holds his right foot. 
 Marked H B on a table, at right. 
 Height 8 inches 9 lines, width 6 inches 6 lines. 
 
 to. The same piece engraved a second time, with many altera- 
 tions. The principal consists of the addition of the 
 words, " Pater noster/' &c., written in the open book, 
 which is placed on a stone. Marked in the same way. 
 It is better drawn, and the cutting is more delicate than 
 the last. 
 Height 8 inches 9 lines, width 7 inches 7 lines. 
 
 11. The same, engraved a third time, without the initials. In 
 
 the margin below, the " Salve Regina," in German, is 
 printed with movable type (?). Below we read, "Jc-stde 
 Negker zu Augsburg," apparently the name of the en- 
 graver. 
 Height 7 inches 7 lines, width 5 inches 4 lines. 
 
 12. The same, engraved a fourth time. "Pater noster," &c., is 
 
 inscribed on the book. The H of the mark is without 
 the horizontal line. In a bandrol at the base of the 
 engraving we read, "O Mater Dei, memento mei." 
 Height 8 inches 8 lines, width 7 inches 4 lines. 
 
 13. The Virgin seated, and turned to the left. Her right hand 
 
 on the knee of the infant Jesus ; with her left she presents 
 him an apple. A bandrol, with the letters H B below, at 
 right. On left, a chateau with a balcony. 
 
 Height 8 inches, width 5 inches 1 1 lines. 
 
 14. Jesus Christ driving the Sellers out of the Temple. Marked 
 
 at bottom H B. 
 
 Height 3 inches 4 lines, width 2 inches 5 lines. 
 This piece is found in a work entitled " Das Leiden Jesu 
 Christi, &c., Durch Wolfgang von Mann in Gesatzweise be- 
 zwungen. Augsp. 1515. Bey dem jungen Hans Schonsperger." 
 4to. It is surrounded by a passe-partout 5 inches 3 lines high 
 and 3 inches 6 lines wide. 
 
 (See P<7ss<77'(7u/'s Ob serrations.*)
 
 ( 74 ) 
 
 15. The Resurrection of Lazarus. Marked, at right, bottom. 
 
 Height 5 inches 3 lines, width 3 inches 5 lines. 
 Found in the same work as the last. 
 
 16. Jesus Christ, Lazarus, Martha, Mary, and the Magdalen. In 
 
 the middle of the engraving, Jesus Christ, seated, listens 
 to Martha talking. She is standing on his right hand ; 
 Mary, on her knees, to the left ; and near her, Lazarus 
 standing. Mark, in middle, at top, on a mantelpiece. 
 
 Height 6 inches 3 lines, width 4 inches 6 lines. 
 
 17. Jesus Christ at the Mount of Olives. He is represented on 
 
 his knees praying and turned to the left. Three of his 
 disciples sleep on the ground in front. In the distance 
 is Judas, at the head of a troop of Jewish soldiers, who 
 come to seize Christ. Below we read, "O Herr Jesu 
 christe .... deinem gotlichen willen." Marked at right, 
 bottom, and dated 1524, in a cartouche in margin. A 
 large plate of four pieces joined. It is poorly designed 
 and badly engraved, as also is the following engraving, 
 No. 19. 
 
 Height 32 inches 8 lines, width 24 inches. The lower margin 
 three inches deep. 
 
 1 8. Jesus Christ on the Cross, between the two Thieves. Below, 
 
 John and the three Marys. Marked below, in middle. 
 
 Height 5 inches 2 lines, width 3 inches 5 lines. 
 
 This is found in the work of Wolfgang von Mann, mentioned 
 at No. 14. 
 
 19. Jesus on the Cross, between the two Thieves. At the foot 
 
 of the Cross, on the left, is the Virgin and St. John and 
 four female Saints; on the right, four men, one of whom 
 carries a cloak and pincers. Marked below, in middle. 
 On the lower margin is written, " Herr Jesu Christe, der 
 clu .... meins tods beuolhen sein." Dated 1526, in a 
 cartouche in margin. A large piece of eight plates joined 
 together. 
 
 Height 32 inches, width 24 inches.
 
 ( 75 ) 
 
 20. The Bust of the Saviour, seen in profile in a medallion. 
 
 Inscription, " Tu es Christus films/' &c. There is above 
 an accompanying text describing the discovery of the me- 
 dallion, and below, an epistle of Lentulus, which treats 
 of the expression of the features of Christ. Marked, in 
 middle, at bottom. 
 
 Diameter of the medallion 4 inches i line. 
 
 21. The Bust of the Saviour, seen in profile and turned to the 
 
 left. In a medallion. Marked on a tablet at right. 
 Height and width 8 inches 6 lines. 
 
 22. Head of Christ, full face, and crowned with thorns. The 
 
 Sudary forms the background. Marked H B, at right, in 
 margin below. 
 
 Height 7 inches, width 5 inches 7 lines. 
 
 Proofs are occasionally seen with this inscription on the margin, 
 " Salve seta facies nostri redeptooris." There are also proofs with 
 St. Veronica holding the sudary. This figure is half-length, and 
 engraved on another block joined to the preceding, giving the 
 appearance of a single engraving. 
 
 Later proofs of this piece have a monogram composed of the 
 letters H L, indicating the engraver. Burgmair's initials absent. 
 Height 5 inches 7 lines, width 3 inches 10 lines. 
 
 MALE AND FEMALE SAINTS. 
 
 23. St. George on horseback, turned to the right. This inscription 
 
 is on the left, above : " Divus Georgius Christianorum 
 militum propugnator." Below we have "H BURGK- 
 MAIR." A very fine work. 
 
 Height 12 inches, width 8 inches 7 lines. 
 
 We find -the first proofs of this engraving in chiaroscuro, done 
 with two blocks. Below, at right, signed Jost de Negker. These 
 names were removed from the after-copies. 
 
 24. St. Luke painting the Portrait of the Virgin, who is seated 
 
 under a portico. In the middle, towards the bottom, is 
 the mark, and towards the top the date, 1507. 
 Height 8 inches 2 lines, width 5 inches 6 lines.
 
 ( 76 ) 
 
 25. St. Sebastian fastened to a Column in the midst of an Arcade. 
 
 Towards the bottom, at left, is the date 1512, and at right, 
 "H BURGMAIR." It also has the monogram of 
 Josse de Negker. The engraving is arched above. 
 
 Height 5 inches 6 lines, width 2 inches 8 lines. 
 
 St. Sebastian is placed in a niche, which is a passe-partout of 
 7 inches 10 lines in height, and 5 inches 8 lines in width. 
 
 26. St. Anne receiving the Infant Jesus from the hands of the 
 
 Holy Virgin. The former is accompanied by St. Joachim, 
 the latter by St. Joseph. At bottom, at right, is a bandrol 
 marked H B, and dated 1512. 
 
 Height 8 inches 3 lines, width 5 inches 7 lines. 
 
 27. St. Clara standing. No mark. 
 
 Height 6 inches, width 2 inches 9 lines. 
 
 This Saint is placed in a niche, a passe-partout, the same as 
 is used in No. 25, in the first impressions of Nos. 48 54 and 
 55 6 1. This seems a proof that this piece was engraved after 
 a design by Burgmair, and it follows as a fair induction that all 
 these were engraved by De Negker, as they are all finished in 
 the same style as this No. 27, which bears the name of that 
 engraver in a tablet below. 
 
 28. St. Elizabeth represented Spinning. She is in the centre 
 
 of the engraving, and turned towards the right. Five 
 women occupied in spinning surround her. The name 
 S. ELS BETH is inscribed on a bandrol above. Low 
 down on the left is a shield with a lion rampant. Below 
 the shield is a mark, which is open to doubt whether it 
 means Burgmair or some other artist, since it differs from 
 the mark by which Burgmair is constantly known. 
 
 Height 6 inches 4 lines, width 5 inches. 
 
 This engraving is to be found in a work of Hans Gayler, of 
 Kaiscrsperg, entitled, " Das Buch Granatapfel." Eolio. 
 
 29. St. Radian attacked by two Wolves. Marked H B at left, 
 low, on a square stone. Very fine. 
 
 Height 5 inches, width 3 inches 9 lines.
 
 ( 77 ) 
 
 30. The same, treated differently. On the right, a cardinal is 
 
 on his knees praying. Marked H B at bottom, at left. 
 A fine piece. 
 
 Height 4 inches 10 lines, width 3 inches 6 lines. 
 
 31. The same, treated differently. Marked H B at bottom, at left. 
 
 Height 7 inches 8 lines, width 5 inches 9 lines. 
 
 PORTRAITS. 
 
 32. The Emperor Maximilian I. in complete armour, on horse- 
 
 back, and turned to the left. Above we read, " Imp. 
 Cses. Maximil. Aug.," and below the date, 1518, 
 "H BURGKMAIR." 
 
 Height 12 inches, width 8 inches 5 lines. 
 
 There are proofs of this in chiaroscuro in two blocks, which 
 are rare. 
 
 33. Bust of Pope Julius II. in a medallion. Dated 1511, towards 
 
 the bottom, at left ; and below that is a tablet inscribed 
 "H BURGKMAIR." 
 
 Height and width 9 inches 2 lines. 
 (See Passeivant's Observations.) 
 
 34. Jean Paungartner, a member of the Imperial Council. 
 
 Half-length. Three-quarter face, turned to the left. In- 
 scribed, in a tablet at top, alright, "AN. SAL. MDXII. 
 IOANNES PAVNGARTNER C. AVGVSTA. 
 AETAT. SVAE. LVII." In the middle of the left, 
 marked "H BURGKMAIR." 
 
 This is a chef-d'oeuvre of wood-engraving, executed in chiaro- 
 scuro, on two blocks. It has a rare finish. 
 
 Height 10 inches 10 lines, width 9 inches. 
 (See Passavant's Observations.}
 
 ( 78 ) 
 
 ARMS. 
 
 35. The Imperial double Eagle, accompanied by three emblazoned 
 
 shields, protected by the wings. Above the shield, on 
 the left, we read, " Ingoldstadium, 1473;" in the centre, 
 "Friburgum, 1462;" on the right, "Tibinga, 1478." 
 Above is written, " Tibi gloria semper." Marked below 
 H B. A medallion. 
 
 Height and width 4 inches 9 lines. 
 
 36. Five Shields on the same block. The first, at top, at left, a 
 
 double imperial eagle ; the second, a single eagle ; the 
 third, in the centre, contains five lions and griffins ram- 
 pant ; the fourth, below, at left, an ass ; the fifth, a boar's 
 head. Marked H B at bottom, in middle. 
 Height 6 inches 9 lines, width 5 inches 3 lines. 
 
 37. Unknown Arms. The shield is quarterly. First, two leopards. 
 
 Second, seme of hearts, a lion rampart. Third, a lion 
 rampant. Fourth, a lion rampant, within a bordure 
 compony. The crest consists of a horse without furniture, 
 near a column planted between two sickles, adorned with 
 eyes from the peacock's tail. Marked H B below, in the 
 middle. 
 
 Height 7 inches 9 lines, width 6 inches. 
 
 38. The Arms of George Baron of Limburg, Bishop of Bamberg, 
 
 who died in 1522. The shield is quarterly. First and 
 fourth, a lion rampant charged with a bend. Second, 
 three points (?). Third, five shovels. The shield is sur- 
 mounted by a bishop's mitre. 
 
 Height 6 inches, width 4 inches 3 lines. 
 No initials, but it is generally considered to be by Burgmair. 
 
 ALLEGORICAL SUBJECTS. 
 
 39. An Allegorical piece, forming the frontispiece of a book. 
 
 Above is written : " Dyalogus Johannis Stamler Augustin. 
 de diversarum gentium sectis et mundi religionibus." Low 
 on the right there is a tablet with the letters H B. 
 The execution is inferior. 
 
 Height 10 inches 7 lines, width 6 inches to lines.
 
 ( 79 ) 
 
 40. A Young Woman shrieking and flying from Death, who is 
 pitilessly killing a Young Man. In chiaroscuro, from three 
 blocks. Marked at bottom, on left, " H BURGK- 
 MAIR." A fine piece. 
 
 Height 7 inches 10 lines, width 5 inches 8 lines. 
 (See Passavanfs Observations.} 
 
 41 47. The Seven Planets. A set of seven engravings. They 
 are represented by the fabulous gods and goddesses, 
 standing in architectural niches. Above each figure is 
 inscribed, in Roman capitals, the name of the divinity ; 
 thus, SATVRNVS, IVBITER, &c. In a tablet on 
 the pedestal of each figure is the mark H B. 
 
 The height of each figure is about 5^ inches. 
 The same passe-partout, n inches 2 lines in height and 6 inches 
 i ) lines wide, surrounds each figure and forms the niche. 
 
 48 54. The Seven Cardinal Virtues. A set of seven plates. 
 They are represented by female figures standing in archi- 
 tectural niches. Above each figure, in capital letters, the 
 name of each virtue is given ; thus, 
 
 DER GLAVB DIE STERCK 
 
 HOFFNVNG DIE GERECHTIGKAIT 
 
 DIE LIEBE DIE FIRSICHTIKAIT 
 DIE MESIKAIT 
 
 The same passe-partout serves for all seven, and forms the 
 niche. It is a copy of that of No. 25. Marked H B at bottom. 
 The figures are poorly drawn and coarsely cut. 
 
 Height 8 inches, width 5 inches 9 lines. 
 
 There are three different proofs of this set. The first, that 
 above described. In the second, the figures are in the same 
 niche, but there is besides a border composed of four longish 
 plates filled with foliage. The top one contains two medallions 
 with busts, and the bottom one a cartouche, containing the name 
 of the virtue, printed with type. This set, with both passe-par- 
 touts, is ii^ inches high and 7^ inches wide. 
 
 The third exhibits the figures alone, without niches or borders. 
 Height about 6 inches, width about 2 inches 8 lines.
 
 55 61. The Seven Mortal Sins. Set of seven engravings. The 
 sins are represented by standing figures in architectural 
 niches. Above each figure the name of the sin is written 
 in German, with roman capitals : 
 
 DIE HOFART DIE FRESIKAIT 
 
 DIE GEITIKAIT DER NEID 
 
 VNKEISCH DIE TRAKA1T 
 DER ZORN 
 
 Height 6 inches, width 2 inches 9 lines. 
 
 A passe-partout, used for each of the seven, forms the niche. 
 In the middle of the base are the letters H B on a scroll. The 
 passe-partout is 1 1 inches in height by 7 inches in width. 
 
 This series is met with without a passe-partout. 
 
 62. Seven Demons, represented by very hideous chimerical 
 animals, armed with a sabre ; on the blade of each is 
 expressed, in German, the names of the mortal sins. 
 Marked H B at bottom, at right. 
 
 Height 6 inches 4 lines, width 4 inches 6 lines. 
 
 MISCELLANEOUS. 
 
 63. Alboinus, King of the Lombards, and Athanaric, King, or 
 rather Judge, of the Goths, seated opposite to each other, 
 conversing. Marked H B at top, at right. Very well 
 engraved. It has served as a frontispiece to a book, 
 entitled " Jornandes de Rebus Gothorum, &c. Aug. 
 Vindel. Per Jo. Miller, 1515." Folio. 
 
 64 69. The Three Good Men and Women of the Christians, of 
 
 the Jews, and of the Pagans. Set of six engravings. 
 
 Height 7 inches 2 lines, width 4 inches 9 lines. 
 
 (64.) Charlemagne, Godfrey of Burgundy, and King Arthur. 
 
 Marked H B at bottom, at right. 
 (65.) St. Helena, St. Bridget, and St. Elizabeth. Marked 
 
 H B at bottom, at left. 
 (66.) Joshua, David, and Judas Maccabeus. Marked H B 
 
 at bottom, at left.
 
 (67.) Esther, Judith, Jael. Marked H B at bottom, 
 at left. 
 
 (68.) Hector, Alexander the Great, and Julius Caesar. 
 Marked H B at bottom, at right. 
 
 (69.) Lucretia, Veturia, and Virginia. Marked H B, and 
 dated 1519 in the middle, at the bottom. 
 
 These six plates were engraved by Jost de Negker, who adds 
 his name, thus, " Jost de Negker zu Augspurg," at the bottom of 
 No. 64, and of 67 in a small separate plate. 
 
 This series is met with in three states. 
 
 The first as described. 
 
 The second are enclosed in a passe-partout representing a 
 portico, the pediment enriched with two figures holding a car- 
 touche. The cartouche is blank. 
 
 Height ii inches 10 lines, width 8 inches. 
 
 The third are the same as the second, with the addition of 
 four German verses printed with type in each cartouche. 
 
 70. A Man speaking to a King seated on a Throne. Marked 
 
 H B at left, top. 
 
 Height 6 inches, width 5 inches. 
 
 71. A Cook draAving a Hare, hanging from a wall on the right. 
 
 The distance shows a kitchen with a fireplace, below which, 
 towards the left, is the mark H B. 
 
 Height 6 inches 4 lines, width 4 inches 6 lines. 
 
 This piece has also been engraved, and with a better result, 
 from a drawing by Hans Baldung Griin. (Bartsch, No. 47 in 
 Griin's works.) 
 
 72. Two Pilgrims directing their Steps, towards the right of the 
 
 engraving. They are followed by a woman who leads a 
 child by the hand. The mark H B is engraved on the 
 right, at the base of a cruciform sepulchre-stone at the 
 foot of a tree. 
 
 Height 7 inches, width 5 inches 2 lines. 
 
 This piece is found in the Sermons of Jean de Kaisersperg. 
 Strasburg, 1508, published by Hans Otmar. Folio. 
 
 M
 
 ( 82 ) 
 
 73- A Woman on the Back of a Man, who crawls on all-fours. 
 Marked H B in middle, at bottom. 
 Height 4 inches 4 lines, width 3 inches 6 lines. 
 
 74. Six Doctors seated round a Table. The centre figure seems 
 
 to explain to the others the text of a large book, open 
 before him. Marked H B at right, at bottom. 
 
 Height 5 inches 5 lines, width 4 inches 5 lines. 
 This piece has been employed at page 78 of a German transla- 
 tion of the Offices of Cicero. Augsburg, 1545, by H. Steiner. 
 Fol. min. 
 
 75. A Savage standing at the right, presenting a bunch of 
 
 herbs to a female savage carrying a baby on her left arm 
 and holding a stick in her right hand. Both are clothed 
 in the skins of panthers. High up on the left we read, 
 "IN ALLAGO." Marked H B on a stone at the 
 right, low. An indifferent engraving. 
 
 Height 8 inches 6 lines, width 5 inches 8 lines. 
 
 76. A Rhinoceros seen in profile. High up on the left we 
 
 read, " Rhinoceros, M.D.XV. Marked H B on a bandrol 
 low on the right. 
 Height ii inches 8 lines, width 7 inches 10 lines. 
 
 77. The King of Gutzin carried on a Litter by four savages, and 
 
 preceded and followed by a dozen more of his Subjects, 
 some playing on different Instruments, the others carrying 
 Arms. The procession is advancing to the right. Above 
 we read, "DER KVNIG VON GVTZIN." Above, 
 on the left, in a tablet, is the mark H B, and date, 1508, 
 Four plates joined in width. 
 
 Height 9 inches 10 lines, width 47 inches 8 lines. 
 (See Passavanfs Observations.} 
 
 78. Nine different Pommels of Swords, in three rows of three 
 
 pieces. On the margin below is written, " Gedruckt zu 
 Augspurg durch Jobst de Necker Fiirmschneider." It is 
 probable that Jost de Necker engraved these from 
 Burgmair's designs. 
 
 Height 12 inches 6 lines, width about 8 inches 4 lines.
 
 83 
 
 SERIES OF ENGRAVINGS. 
 
 79. The Genealogy of the Emperor Maximilian I. A set of 
 
 77 engravings, each with a separate figure. Each prince 
 is represented in full armour, with an escutcheon beside 
 him. Some are standing, others sitting in varied attitudes. 
 Not having any bordures, it is difficult to state the size ; 
 the standing figures are about six inches high. These 
 pieces are very rare. Each piece is marked H B. 
 
 (See Passavanfs Observations.} 
 
 80. The Engravings for the work entitled "Weiss Kunig." A 
 
 series of 237 engravings, cut on wood by different en- 
 gravers after designs by Burgmair. 
 
 This work was not completed during the lifetime of the 
 Emperor. It was published first in 1775, under this title : 
 " Der Weiss Kunig. Eine Erzahlung von den Thaten Kaiser 
 Maximilian des ersten. Von Marx Treitzsaurwein auf dessen 
 Angeben zusammen getragen, &c. Herausgegeben aus dem 
 Manuscripte der k. k. Hofbibliothek Wien, auf Kosten Joseph 
 Kurzbocks, k. k. Hof buchdruckers." Folio. Twenty-four years 
 after J. Edwards, a London bookseller, having purchased the 
 remainders from the heirs of Kurzbock, replaced the German 
 text by a succinct explanation of the plates, written in French, 
 with this title : " Weiss Kunig. Tableau des principeaux evene- 
 mens de la vie et du regne de 1'empereur Maximilien I. En 
 une suite de deux cent trente-sept planches gravees en bois sur 
 les desseins, et sous la conduite de Hans Burgmair. Imprime a 
 Vienne, et se trouve a Londres chez J. Edwards. Pall-mall. 
 1799." All the engravings comprised in this work are 8 inches 
 2 lines in height, by 7 inches 2 to 3 lines in width ; except 
 Nos. 156 and 199, which have 8 inches 10 lines in height and 
 7 inches 10 lines in width. The great diversity in the execution 
 of these prints proves that several engravers have been employed. 
 
 Only ninety-two* of these prints are marked H B. These are 
 
 * There is a mistake as to the size of the plates ; 156 and 199 measure 
 h. 9 inches 4 lines, w. 8 inches 4 lines. There are 99 of the prints marked 
 HB. 
 
 No. 39 has the same monogram formed of the letters L B, as No. 78, 
 mentioned in the text. ED.
 
 ( 84 ) 
 
 the best, and it appears that Hans Burgmair himself drew the 
 designs on the blocks. 
 
 The engraving No. 78 bears the monogram ^B. No. 199 
 bears the mark of Hans Springinklee. No. 200 has the mark of 
 Hans Schaufelein. No. 237 is a modern engraving, cut at Vienna 
 in 1775. 
 
 In the Court library at Vienna there is an ancient copy of this 
 series of engravings, containing thirteen pieces, the wood blocks 
 for which have disappeared, and which are absent in the edition 
 of 1775. They are as follow : 
 
 1. An old King with a large Beard, accompanied by a Queen, 
 
 and followed by a great number of Court Ladies walking 
 before the King, who stands on the right. In the dis- 
 tance, a chamber with two windows. 
 
 2. A Tournament with many Jousters. In the distance, 
 
 spectators hehind a barrier ; and on the right, two 
 trumpeters on horseback. 
 
 3. The Interior of a Church. On the left an altar, where a 
 
 priest is administering the Lord's Supper to an old king. 
 Behind, at the right, three saddled horses. 
 
 4. An old Prince under a Portico receiving the Deputies, two 
 
 of whom have long plumes in their caps, which fall down 
 their backs. In the distance, to the right, a saddled 
 horse, secured by the bridle to the wall of a house. 
 Marked H B on the pedestal of a column, low on 
 the left. 
 
 5. A Battle. On the right, a company of infantry pursue the 
 
 enemy, who retire fighting. Amongst the slain is a king 
 with his crown on his head. 
 
 6. The Siege of a fortified place, which is seen in the distance. 
 
 In the foreground is the camp of the Imperial troops, 
 recognizable by the double eagle placed on the vane 
 of the foremost tent to the left. This tent bears the 
 mark H 13. 
 
 7. Audience Hall. To the right a prince, followed by his 
 
 ministers and some halberdiers. The prince is speaking 
 to two men who stand opposite to him, one wearing a 
 cap, and the other covered with a flat hat. In the centre 
 of the distance is a throne, at the top of which is the 
 mark H 13.
 
 8. Fight between two Bodies of Infantry. Those to the left 
 
 have flags bearing a great cross, those to the right ex- 
 hibiting the arms of Burgundy. At the head of the latter 
 a halberdier is seen attacking a bowman. 
 
 9. The Assault of a Fortress. On the left of the foreground 
 
 two tents, and six on the right. Marked H B on the 
 nearest tent on the left. 
 
 10. Audience Hall. On the right, a young king speaks to four 
 
 ministers, who surround him. In the left distance three 
 lords are passing through a door accompanied by a 
 herald. 
 
 11. The Interview of two Kings in an open Plain. They are on 
 
 horseback, each accompanied by a detachment of cavalry. 
 On the left foreground, a Turk on horseback. H B on 
 a horse's breastplate, on the right. 
 
 12. A Battle. In front, a melee of cavaliers in full armour. 
 
 Amongst the slain is a king lying on his back. In 
 the middle distance a detachment of infantry pursue 
 cavalry. In the distance, at the left, is a town ; at the 
 right, a camp. H B on the border of a horsecloth, in the 
 middle of the foreground. 
 
 13. The original Engraving from which the copy was taken, 
 
 which appears at No. 237 in the edition of 1776. 
 Marked H B towards the right, in the foreground, on the 
 border of a cloth. 
 
 (See Passavanfs Observations^ 
 
 81. The Triumph.* 
 
 (See Passavanfs Observations. ) 
 
 82. Portraits of Saints belonging to the family of Maximilian. 
 
 A series of 1 1 9 engravings by different hands. 
 Height 8 inches 8 lines, width 7 inches 8 lines. 
 
 This series was printed at Vienna in 1799. It is not known 
 how far this series is complete. In the Imperial library at Vienna 
 
 * It is not necessary to give Bartsch's remarks on the " Triumph," as he 
 merely copies without acknowledgment the French preface, of which, however, 
 he may have been the author. ED.
 
 ( 86 ) 
 
 are 122 blocks; three of which, however, are so rotten as to be 
 useless for printing purposes. The engravers are eight in 
 number ; Hans Frank, Cornelius Liefrink, Alexis Lindt, Josse 
 de Negker, Wolfgang Resch, Hans Taberith, Wilhelm Taberith, 
 Nikolaus Seemann. 
 
 These names, as well as the years 1515 and 1518, are traced in 
 ink on most of the blocks. Excepting Wolfgang Resch and 
 Nikolaus Seeman, these are the same as the engravers of the 
 "Triumph of the Emperor Maximilian I.," No. 81. It is there- 
 fore almost certain that this series has been engraved after 
 Burgmair, the rather that tradition has generally attributed to 
 him the isolated prints that have been hitherto met with. Not 
 one of them is marked H B. 
 
 In the Imperial library is to be seen an ancient copy of these 
 engravings, probably printed during the Emperor's lifetime. It 
 contains two cuts wanting in the new edition, the blocks having 
 been lost. They are 
 
 1. Saint Waudru, Abbess of Mons, in Hainault. She is in a 
 
 hospital, giving her benediction to a poor lame man 
 seated in front, to the left. 
 
 2. Saint Aldedrude, a daughter of Waudru. She is seen ex- 
 
 orcising a young girl tied by ropes to a column.
 
 HANS BURGMAIR (THE OLD AND THE YOUNG). 
 
 Passat uiif's " Piintre-Graveur, " vol. iii. Schools of Augsburg and 
 Bavaria, pp. 264 285. 
 
 WOOD ENGRAVINGS. 
 
 " Observations on Bartsch," vii. pp. 200 242. 
 
 Bathsheba at the Bath. 
 
 This is the only piece which is marked with the small h 
 before the B. 
 
 14. The Passion of Jesus Christ (Das leiden Jesu Christi, &c. 
 
 Augspurg, 1515). 
 
 In the book published by Wolfgang von Mann, with 30 wood 
 engravings as large as the page, the first piece represents the 
 author offering his book to the Emperor Maximilian ; it is without 
 mark, it is true, but certainly belongs to Hans Burgmair, and is 
 well executed. 
 
 28. St. Elizabeth. 
 
 This piece bears the monogram XD and from its appearance 
 seems to have been engraved from a design by Hans Baldung Grun. 
 
 33. Julius II. 
 
 We find a chiaroscuro of two blocks, with the inscription, 
 "Julius, Ligur Papa Secundus." A circular piece, 8 T e inches in 
 diameter. Dresden. 
 
 34. Jean Paumgartner. 
 
 We find of this very fine piece, in chiaroscuro, copies printed 
 with three blocks, and bearing the date 1512. We have already 
 shown in our historical summary, by a letter addressed to the 
 Emperor Maximilian, dated October 27, 1512, by Jost de Necker, 
 that it was cut by this celebrated engraver.
 
 ( 88 ) 
 
 40. A young Woman running away. 
 
 We find this again, with the date 1510, beside the name ot 
 Burgmair, and on a copy in the Albertine collection is seen, at 
 the left of the pilaster, the name of Jost de Necker, which is the 
 more interesting as showing that this distinguished wood engraver 
 had already, in 1510, executed chiaroscuros with three blocks, 
 and that he may claim the honour of being the inventor. 
 
 77. The King of Gutzin, 1508. 
 
 A second edition bears the date 1511. We also find a copy 
 of four plates joined, with inscriptions, h. 9 T \- in., w. 46 in., of 
 which there are recent prints in the Derschau collection, n, 
 No. 26.* 
 
 79. The Genealogy of the Emperor Maximilian. 
 
 This wood engraving was finished in 1510, as we learn from a 
 letter of Peutinger in the same year, May 17, where, concerning 
 this work and others of a similar kind which he had been com- 
 missioned by the Emperor to execute, he informs him that the 
 engraver to whom he had confided the work had left Augsburg 
 unknown to him, and that he must consequently look out for 
 another artist to execute it (attsmache), and finishes with saying 
 " that the painter here is well calculated for the work," a passage 
 which we have already sought to explain in our historical disser- 
 tation and in the article on Hans Schaufelein. But this want of 
 an engraver was soon satisfied, as Jost de Necker, of Antwerp, 
 one of the most distinguished artists of this period and in this 
 particular kind of work, settled in Augsburg the same year, as is 
 proved by the date of the preceding piece, No. 40, " A young 
 Woman," &c. 
 
 80. The Wise King. 
 
 Most of the engravings in this book were cut after designs by 
 Burgmair, and these engravings bear his mark. One of them 
 
 bears the monogram of Hans Schaufelein, ryl It is No. 200. 
 
 One other (No. iQt), that of Hans Springinklee, and others not 
 
 * The difference in the size of the blocks as given by Bartsch and Fassavant 
 indicates a copy. ED. f A mistake for 199. ED.
 
 ( . 89 ) 
 
 signed, might equally have been designed by these artists, since 
 they in no way resemble the manner of Burgmair, and want his 
 breadth of- composition. We may presume that this work was 
 already commenced in 1511, from the date which we find attached 
 to the initials on the gun in engraving 66, H. B. xi.* 
 
 The Imperial Library at Vienna possesses three proof-copies in 
 the first state of nearly half of the 237 engravings which belong 
 to this work ; viz. " Codex No. 3034. Question-book (Fragebuch) 
 de 379 feuilles, large folio, dans laquel Max Treytzsaurwein 
 aile mangl unnd fragstucke auff alle figuren vnnd schrifften, die 
 in dem puch des weyssen kunigs begriffen sein, vnnd noch ju 
 volendung desselben puechs darein gehoren, in ditz puech 
 geschrieben, dieselben mangl vnnd fragstuckh bey bemelter 
 romischer kayserlicher maiestat zu erledigen. Sollich des Treytz- 
 sauerweins einschreiben ist beschehen in den nechsten vierzehnde 
 tagen nach pfingsten Anno vc in xv vnnd funffzehnenden pfing- 
 sten (1515)." The 82 proofs have manuscript explanations. It 
 contains three from the lost blocks : i. The Coronation of the 
 Emperor Frederick III. (B. No. 13), of which the copy is found 
 in the edition of 1775, under the No. 237. 2. The Tourney 
 (B. No. 2). 3. The Siege of a City (B. No. 6), which a manu- 
 script note tells us is the siege of Padua. The 35 pen drawings 
 found in the codex are inferior, and certainly do not belong to 
 Burgmair. 
 
 Codex No. 3033. The land register-book, folio, containing 
 204 leaves and 155 engravings, in fine state, as in the first codex, 
 but not always with a large margin, and some of them printed 
 on the waste sheets of decrees of Maximilian I. of the 5th of 
 October, 1514. It contains proofs of five of the lost blocks ; and 
 on the funeral pomp of the Emperor Frederick, with the horses 
 destined for sacrifice, we find written below with a pen, the name 
 of " hans franck," probably that of the engraver, who is known 
 as Hans Lutzelburger. We also find five middling pen drawings, 
 like those of the preceding codex, and among others, that which 
 has served for the lost block, No. 7, with this inscription, " der 
 pes (bose) techant von genut " (the wicked Governor of Ghent). 
 
 Codex No. 3032 contains the fair copy of the text on 566 leaves, 
 large folio, which is faithfully rendered in the edition of 1775. 
 It is illustrated by 134 proofs from the blocks, but which are not 
 
 * This is probably not a date, but merely an ornament on the gun. Com- 
 pare with this Plates 43 and 126. Plate 54 is dated 1515. ED. 
 
 * N
 
 ( 90 ) 
 
 as fine nor in as good preservation as those of the two preceding 
 codices. Two of them are prints from the lost blocks ; these 
 are Nos. 2 and 13 in Bartsch. 
 
 The copy mentioned by Bartsch, vol. vii. p. 226, which was 
 collected towards the middle of the sixteenth century (ex Bibl. 
 Archiducis Ferdinandi), contains the twelve engravings (not 
 thirteen) of which the blocks are lost. The block described by 
 Bartsch under No. 4 as lost, is the No. 3 of the edition of 1775, 
 and in this copy bears the inscription, " Excipit legator Bohemiae 
 et Ungarise." A copy not mentioned by Bartsch (Cod. Ambras. 
 324) contains the impressions from the lost blocks Nos. 7 and 
 10. (See F. v. Bartsch, pp. 285 287.) 
 
 81. The Triumph of the Emperor Maximilian I. Series of 
 
 135 leaves. 
 
 An old copy in the library of the Emperor Ferdinand,' before 
 Archduke Ferdinand, contains 128 pieces, of which 101 are proofs 
 in the first state (see also Bartsch, p. 234). Two of them belong 
 to the lost blocks, which are not found in the edition of 1796, 
 and which have not been described by Bartsch, viz. : 
 
 1. Jerome of Heremberg, as Chief of a Column, and holding 
 
 the Tablet with Verses, is seen on horseback heading 
 the train. 
 
 This piece belongs to those which are found under the Nos. 125 
 to 129, which have been erroneously numbered in the edition of 
 1796, as follows : 
 
 No. i25,t erroneously numbered 128. 
 No. 126, ,, 129. 
 
 No. 127, 125. 
 
 No. 128, 127. 
 
 No. 129, ,, 126. 
 
 No. 129*, J. de Heremberg, wanting. 
 
 2. The Triumphal Car, with Philip I. and Joanna of Castile, 
 
 who holds the Arms of Castile and Arragon. 
 This piece ought to follow No. 135, where a genius drives a 
 team of four horses. The water-mark of these two leaves is an 
 escutcheon, with a sickle in the centre. t 
 
 + See the editor's notice of the plates of the "Triumph."
 
 Passavanfs Additions to Bartsclis List of Wood 
 Engravings. 
 
 83. Carrying the Cross. The two thieves head the procession. 
 
 At the right, on the first plane, St. Veronica holds the 
 sudarium ; on the left, a child, who carries some nails 
 and a vessel with vinegar. A crowd of people follow. 
 At the bottom is written, " O Herr Jesu Christe ich ermane 
 dich des gangs und ausfiirens do du dz schwar creutz," &c., 
 and the date, 1527. 
 
 Eight leaves joined, treated in exactly the same manner, and 
 of the same dimensions, as " Christ on the Mount of Olives " 
 (Bartsch, No. 17, vol. vii. p. 205) and "Christ on the Cross" 
 (Bartsch, No. 19). /?. 32^ inches, w. 24 inches.* Albertine 
 collection at Vienna. 
 
 84. The Virgin, half-length. She is standing, and holds the Infant 
 
 Jesus, who caresses her ; towards the left, and with both 
 hands before her. In her right hand she holds a crown 
 of roses. The arch which is above her is adorned with 
 rosettes. 
 
 We find proofs of this piece in black, and others in chiaro- 
 scuro, but in which the darkest tints are put in with the brush. 
 h. lo-Lf inches, w. 5^ inches. Berlin. 
 
 85. St. Anne. She is seated beside the Virgin, standing at her 
 
 left, who presents to her the Infant Jesus. Below, at the 
 foot, the signature H B. h. 4 r V inches, w. 3 T \ inches. 
 Munich. 
 
 86. St. Helena, St. Bridget, and St. Elizabeth. These three 
 
 standing figures are marked H B, then " Jost de Negker 
 zu Augspurg." Paris. 
 
 87 98. Twelve Leaves of the Apocalypse. 
 
 They are all marked with the initials H B, but are too weak to 
 be the work of the older Burgmair. The compositions are often 
 borrowed from Durer, and therefore must be by the younger 
 Burgmair. h. 6 inches, w. 4-^-- inches. They first appeared in 
 
 * Passavant is in error, as in Bartsch Nos. 17 and 19 differ in size. No. 19 
 is thus given : height 32 inches, margin at base 3 inches, width 24 inches.
 
 ( 92 ) 
 
 the New Testament printed by Sylvain Ottmar, at Augsburg, in 
 1523. Folio. 
 
 (87.) Christ standing in the clouds, his eyes shooting flames, 
 
 c. Mark at the right. 
 (88.) God enthroned, surrounded with emblems of the four 
 
 Evangelists, &c. Mark at bottom, at right. 
 (89.) The Distribution of Trumpets to the Angels, &c. 
 (90.) St. John eating the book. 
 (91.) Two men standing before the dragon, &c. 
 (92.) The Angels pour out vials of wrath, &c. 
 (93.) The Scarlet woman, &c. 
 (94.) The horseman called faithful and true, &c. 
 (95.) The Angel casting the millstone, &c. 
 (96.) The woman standing on the crescent and the dragon 
 
 with seven heads, &c. 
 (97.) The Angel binding the dragon with the chain. Marked 
 
 at bottom, at left. 
 (98.) The Angel shows to St. John the new Jerusalem, &c. 
 
 Marked in middle, at bottom. 
 
 99. The Emperor Maximilian hearing High Mass. (Bartsch, 
 vol. vii. p. 184, No. 31.) h. i o T 7 2- inches, w. 7^ inches. 
 The Emperor is kneeling before a priedieu in the back- 
 ground, on the right ; more in front the choristers, and 
 opposite to them the organist. In the extreme distance 
 is the celebrant, accompanied by his deacons. Above 
 are suspended the Imperial arms, with the double and the 
 single eagle, as well as those of the Medici with the seven 
 pales,* perhaps those of the Pope Leo X. 
 
 Ancient proofs bear the following inscription in three lines : 
 " Imperator Caesar Divus Maximilianus pins foelix Augustus 
 Christianitatis supremus Princeps Germanic, &rc., transiit Anno 
 Christi Domini MDXIX. Die xn. mensis Januarii, regni Romani 
 xxxm. Hungarise vero xxix. Vixit Anno LIX. Mensibus ix. 
 Diebus xix." 
 
 Another impression has above the inscription, " Ein hiipsch 
 spruch von Kaiser Maximilian " and below a German inscription 
 
 * The arms of the Medici were six pellets. En.
 
 ( 93 ) 
 
 in eighteen verses, and below the verses, " Antony Formschneider 
 zu Frankfordt." 
 
 This fine wood-engraving resembles so much the drawing of 
 Hans Burgmair, particularly in the illustrations to Petrarks Trost- 
 spiegel, that there is no doubt that it ought to be attributed to 
 him. The cutting, which much resembles that of Liitzelburger, 
 is done by an excellent wood-engraver, of whom we have no 
 notice except that furnished by the above signature. 
 
 100. Piece commemorative of the Emperor Maximilian I. 
 
 The three wood-engravings which are found have each an ex- 
 planatory inscription, and on each side, in six columns, a relation 
 in Latin of the last events of the life of the Emperor, and of his 
 death, happening on the 1 2th of January, 1519, at Wels, in Austria; 
 also concerning the funeral pomp which ensued : the whole by 
 Dr. James Mennel, Chancellor of the Order of St. John, and 
 historiographer to the Emperor, h. 18 inches, w. 14 inches. 
 Imperial Library at Vienna. See F. v. Bartsch, No. 2569. 
 
 a. Christ on the Cross, between the Virgin and St. John. The 
 
 medallion is surrounded by a broad ribbon, with twelve 
 shield.* of the military religious orders. The wood of the 
 Cross, with the head and arms of the Saviour, as well as 
 the shield of the Imperial arms, " contre-cotice d'argent," 
 and surrounded with the collar of the Order of the Golden 
 Fleece, outreach above and below the above-mentioned 
 ribbon. Diameter 9^. inches. 
 
 The inscription is as follows : 
 
 " De divi Maximilian! Roraanorum Cesaris Christiana vita Et 
 felicissimo eius obitu, &c., ad reverendissimu in Christo patrem 
 et illustrem principem Fabriciu da Carreto ex marchionibus finalis 
 sacrosancte domus Hospitalis sancti Joannis Jherosolimitani Mili- 
 taris ordinis Magnum magistrum Rhodi re. ut precipuii Cesaris 
 obsequente Jacobi Manlij doctoris, eiusdem ordinis in Germania 
 Cancellarii r dicti Cesaris hystoriographi Hysteria. De his quibus 
 potissime iam corpore egrotante animum reficiebat Cesar." 
 
 b. The Monarch weakened by Sickness. He is seated on a 
 
 throne placed hear his bed, and listens with attention, 
 surrounded by five courtiers, to the genealogist Manlius 
 (Mennel), who reads from a folio volume by the light of 
 a candle. //. 4 inches, w. 6 inches.
 
 ( 94 ) 
 
 The inscription is as follows : 
 
 " Cesari antiquissime et nobilissime Genealogie eius per Man- 
 lium libri leguntur." 
 
 c. The Coffin of the Emperor. It is covered with a mortuary 
 cloth embroidered with gold, and surmounted with a 
 Crucifix between four chandeliers or candelabra. Some 
 canons, seated in two rows, sing the Service of the Dead 
 from the books of the Choir, h. 3^ inches, w. i I T \- inches. 
 
 Inscription : 
 
 " De felicissimo Cesaris obitu, et exanimi corpore sub crucifixi 
 et militaribus S. Georgii insignibus ad sarcophagum deposito." 
 
 101. The Emperor Charles V. and the Hermit. The Emperor, 
 
 yet Prince of Burgundy, in hunting costume, speaks with 
 a hermit at the entrance of a wood. The latter is 
 standing at the right. The mark is below, at the left. 
 h. 5 T 4 ^ inches, w. 3 T % inches. 
 
 102. The Emperor Charles V. between Vice and Virtue. He is 
 
 clad in a travelling dress between the two allegorical 
 figures, Virtus et Voluptas. This last is on the right, at 
 the entrance to a wood. The mark is below, at the right. 
 h. 5 T \ inches, lu. 3 T \ inches. 
 
 These two wood-engravings are found in a book entitled : 
 " Contenta hoc libello. Virtus et Voluptas, Carmen de origine 
 ducum Austrie. Aegloga : Coridon et Philetus rustici. Ad 
 lectorem est gratus parvis nouunqm fructus in hortis, quod 
 placeat parvus sepe libellus habet." In fine : Distichon. " Invidia 
 nostra periit pars maxima fame. Invidia nostrum scandet ad astra 
 decus. Salutem ex inimicis nostris V. G. M. Magister Johannes 
 Othmar calcographus formis excusit. Auguste apud edem dive 
 Ursule cis Lychu. Anno M.D.XII. xxxi Julii." In 4to. See R. 
 Weigel's Cat, No. 21115. 
 
 103. Four Leaves, each containing a king, standing. 
 
 These are clad in a fantastic manner, like the bronze statues at 
 the tomb of Maximilian I. at Insbruck. Folio, each signed with 
 the initials H B. They were found in a stitched book containing 
 besides fifty-three etchings of the younger Burgmair, representing 
 knights in armour, and which is preserved in the collection of the 
 Stutgard Museum.
 
 ( 95 ) 
 
 104. Chronicle of the Family of the Counts Truchsess of Wald- 
 
 burg, written by Matthew von Bappenhaim. (Die Fa- 
 milien-Chronik des Grafen Truchsesen von Waidburg 
 geschrieben von Matheus von Bappenhaim d. heil. 
 Rom. Reichs Erbmarschalckh, beider Rechten Doctor 
 und Thumherr zu Augspurg.) 
 
 This is the title of a manuscript, in folio, on parchment, con- 
 taining the figures engraved on wood of 7 1 members of this family, 
 and of which 68 were designed in 1530 by Hans Burgmair. The 
 6 Qth is signed C A ; the two following have no mark, and are not 
 by Burgmair; the 7 2nd, with the signature Herr Jacob T. geb, 
 1512, is a coloured drawing. This interesting book belongs to 
 the rich collection of engravings of the Prince of Wolfegg, in 
 his chateau of the same name near to Ravensburg, where there 
 is also another copy on paper, with the engravings coloured, as in 
 the preceding. 
 
 The first engraving shows us the author, Matthew de Bappen- 
 heim, seated at a round table, covered with books and writing. 
 Signed 1530, H B. 
 
 The second represents " Herrn Gebhardt der Erst," whose arms 
 are three fir-cones, the shield surmounted with a helmet crowned, 
 crested with a fir-tree ; arms which are again found in the fol- 
 lowing pieces, except those at the last, where the shield bears 
 three lions.* We see on some of them the arms of Sonnenberg, 
 a mount with four summits, crowned with rays. The figures are 
 standing, some of them in fantastic armour, on a white ground. 
 Fifty leaves bear the signature below, H B ; the others are not 
 signed, but they have been designed by our artist. Nagler, in 
 his Dictionary, mentions another copy of this rare work as ex- 
 isting in the collection at Munich. 
 
 105. The book entitled " Schimpff vnnd Ernst" (Dass Buch 
 
 Schimpff vnnd Ernst von Joh. Pauli gedruckt zu 
 
 Augspurg durch Heinrich Stainer). Folio. 
 
 The most ancient edition is, as it appears, without date. New 
 
 editions of the book were published by the same editor in the 
 
 years 1526, 1534, 1535, 1536, 1537, 1542, 1544, 1546. The first 
 
 * The Truchsess sprung originally from Tann, in Swabia, and hence the 
 three fir-cones (Tannenzapfen) in their arms. One of them became, under 
 Conradin (of the dynasty of Ilohenstaufen), minister of this monarch in 
 Germany, and received from him the arms with the three lions.
 
 ( 96 ) 
 
 six editions contain 40 engravings on wood, of which 33 are by 
 Hans Burgmair, two by Schaeuflein (Bartsch, Nos. 85, 86 ; vol. vii. 
 p. 264), and the five others by a mediocre artist of the Augs- 
 burg school. The three last editions have only 35 engravings. 
 h. 5 & or -V inches, w. 5 T \ or |f inches ; or, h. ^ or T 8 inches, 
 w. 5 T \ inches. 
 
 106. Petrarch, the Book of Fortune. (" Petrarca's Gliickbuch, 
 Beydes dess Guten und Bosen ;" or thus, " Trostspiegel 
 in Gliick und Ungluck," etc.) The most ancient edition 
 known has this title : " Franciscus Petrarcha. Von des 
 Artzney bayder Gliick, des guten und widerwertigen. Und 
 wess sich ein yeder inn geliick und ungliick halten sol. 
 Auss dem lateinischen in das Teutsch gezogen. Mit 
 kunstlichen figuren durchauss gantz lustig und schon 
 gezyeret. 2 Theile. Augspurg. H. Stainer, 1532." Folio, 
 with 259 wood- engravings. 
 
 Stainer says in his preface that the engravings have been made 
 " after the figured compositions [visierlicher Angebung] of Dr. 
 Sebastian Brandt," by which he wishes to say that the invention 
 of the subjects belongs partly to the latter, whilst the drawings of 
 these compositions for the wood-engraver have been made by our 
 master. 
 
 Other editions of Stainer appeared at Augsburg in 1539 and 
 1545, and were followed by those of Egenolf, at Frankfort-on-the 
 Maine, in 1551, 1559, 1572, and 1584; and in the same city by 
 those of John Saur, under the firm of Vine Steinmeyer, in 1604 
 and 1620. All these editions are in folio. 
 
 The numerous engravings which are found (they mount up to 
 260 in the Frankfort editions) appear in part in the book of 
 " Schimpff und Ernst " and in the Cicero. They appear nearly 
 all to belong to the older Burgmair, though they do not bear his 
 signature. Some of them have a mark like an S recumbent, ro 
 which appears to indicate a wood-engraver. 
 
 On the first leaf the author, Francis Petrarch, is in a room 
 writing his book ; on the second, which is accompanied by a 
 piece of poetry by Sebastian Brandt, the author holds a balance 
 with vessels in which he pours water. On the verso of this leaf 
 is represented a wheel of fortune, with four figures of kings. In 
 some editions we see a second wheel of fortune, where the king, 
 who is seated above, docs not bear a sceptre. On one little
 
 ( 97 ) 
 
 wheel turned by Fortune herself, with her eyes bandaged, a 
 crowned ass is seen at the top of the wheel. The last leaf con- 
 tains an allegorical representation of the useless care which the 
 dying take about their interment. It bears the date 1520. 
 
 107. The Offices of Cicero. (Officia M. T. C. Ein buch so 
 Marcus Tullius Cicero der Romer, zu seynem Sune 
 Marco. Von den tugendsamen amptern, &c. Gedriickt 
 in der keyserlichen Statt Augspurg durch Heinrichen 
 Stayner. Vollendet am xvi. Tag Februarij Im M.DXXXI. 
 Jar.) Folio. 
 
 It is the first edition of the book of John of Schwarzenberg, 
 with 104 wood-engravings, mostly of octavo size, but of which, the 
 only piece, marked H B, is that described by Bartsch (No. 74), 
 " Six Doctors seated round a table." All of the others bear 
 notwithstanding so decidedly the imprint of the style of Hans 
 Burgmair, that we cannot hesitate to attribute them to him. We 
 ought to remark that in the composition forming the division to 
 the third book, entitled, " Was in gemeinen Kaufhandeln der 
 Ehren und Nutzbarkeytnach, sich geziemen moge," we see on the 
 
 counter of a ship the letters jj ?b* anc ^ on tne ate ^ tne 
 
 city v / of which the first belong perhaps to Burgmair the 
 
 younger, whilst the last indicate the engraver. The large en- 
 graving before the title-page represents Cicero, who gives his 
 book to a messenger, who is to deliver it to his son ; and the 
 last a buffoon, who, laughing, crowns a sow. 
 
 The second and third editions of this book were issued by the 
 same bookseller in 1531, April 29 and December 7. Successive 
 editions appeared at Augsburg, August 3, 1532, October i, 1533, 
 November 13, 1535, November 27, 1537, December 13, 1540, 
 and lastly, November 3, 1545. 
 
 Christian Egenolf, of Frankfort-on-the-Maine, afterwards ob- 
 tained the blocks, and brought out the following editions : 
 
 "Vonn Gebiire und billigkeit. Des Furtrefflichen, hoch- 
 beriimpten Romers Marci Tullij Ciceronis, drei Biicher an 
 seinen Sohn Marcum, Von Geburlichen Werken, &rc. Gedruckt 
 zu Franckfurt an Mayn bei Christian Egenolff, M.D.L. Im Jenner." 
 Folio. 
 
 " Officia Ciceronis das ist vonn Geburlichen Werken, Wolstand 
 
 O
 
 ( 98 ) 
 
 vnnd Rechtthun, etc. Gedruckt zu Franckfurt am Mayn bey 
 Christian Egenolffs Erben. MDLXV. Irn Jenner." 
 
 As the works of Schwarzenberg were very curious, Henry 
 Stainer, of Augsburg, collected and printed them in a single 
 volume, of which he produced several editions, which all bear 
 the following title, beginning with Cicero : 
 
 " Der Teutsch Cicero. Warumb das buch also genent, auch 
 inhalts solches beyde erkleert, so dieses blatt wird umgewendt. 
 M.D.XXXIII." 
 
 "Der Teutsch Cicero, etc. Vollendet am 8 Marz 1535." 
 
 " Der Teutsch Cicero, etc. Wider fleyssig ersehen vnd ge- 
 druckt. Anno MDXXXX." Folio. 
 
 According to Ebert, " Dictionnaire Bibliographique," there was 
 an edition in 8vo., published in 1562 by Kopfel, at Worms. 
 
 The illustrations of the Cicero were in part used for the 
 book entitled 
 
 " Furnemste Historien und exempel von widerwertigen Gliick, 
 etc. durch etc. Joannem Boccatium, etc. Augspurg, H. Stainer, 
 1545." Folio. 
 
 1 08. The Lives of Sts. Ulric, Symprecht, and Afra. (Das leben, 
 verdienen und wunderwerk cler heiligen Augspurgs bis- 
 tumbs bischoffen, Sant Ulrichs und Symprecht auch der 
 saligen martrerin Sant Aphre, irer muter Hilarie geschlecht 
 und gesellschaft, in unserern daselbst loblichen gotshauss 
 verstand. Augspurg, gedruckt durch Silvanum Ottmar, 
 1516.) 
 This book contains six wood-engravings : 
 
 a. The border of the Title. At the sides, two columns ; 
 
 above, an arabesque with two angels. //. 6 inches, 
 w. 4 T 6 ^- inches, as in the four following pieces. 
 
 b. Sts. Ulric, Symprecht, and Afra. Full length, standing 
 
 under a porch. Below, three shields. 
 
 c. St. Ulric. Full length, with the border of the title. 
 
 d. St. Symprecht. Full length, with the same border. 
 
 e. St. Afra. Full length, ditto. 
 
 f. A Church, with the inscription, " Ain form visier und 
 
 vorreissung der angefangen Kirchen Sant Ulrichs und 
 Aphren zu Augspurg." h. 6 T '\ inches, w. 5 inches. It 
 is the last leaf of the book.
 
 ( 99 ) 
 
 See R. Weigel, Catalogue No. 16353, Dut ne does not sa y ^ 
 the pieces bear the signature of the master. 
 
 109. The Battle of St. Ulric. The Emperor is accompanied to 
 the field by the Saint-Bishop, to whom an angel brings a 
 cross. At the left, below, on a shield, is the date, 1520. 
 This piece has been described wrongly by Bartsch in the works 
 
 of Lucas Cranach (No. 74), though it belongs decidedly to 
 
 Burgmair. h. 6 T 2 inches, w. 4^ inches. 
 
 no. The Steersman. On a large ship is seen at the helm a man 
 of condition, clad like a savant, and who raises his left 
 hand to speak. At the right, below, are the initials H B. 
 h. 6 T 5 ^ inches, w. 4 T V inches. 
 
 On the back of this piece, in the impression in the Munich 
 Cabinet, we find Latin verses with these words : " Venerabili Viro 
 diio Georgio Reysch : patri ac priori, etc. friburgo A. 1510," which 
 may enable us to trace the book in which it is to be found. 
 
 in. The Changes of Fortune. This piece is divided into six 
 compartments, three and three in two rows. They are 
 separated from each other by columns, and each contains 
 two figures, representing a rich and a poor man in con- 
 versation. Above we read, on a bandrol " Wie der Arm 
 rich wirt vnd der Reich arm." 
 See Brulliot, "Table generale des Monogrammes," &c., p. 491. 
 
 112. A Child with Three Legs. This monstrosity is represented 
 
 twice : at the left, seated on a cushion, and vis-a-vis, lying 
 down. Below, at the right, the signature H B. Above, 
 this inscription, " Disz Kiind ist geboren wordeji zu 
 Tettnang." Below, an explanatory text. h. 3 T \ inches, 
 w. 5 T 9 ^- inches, without the inscriptions. 
 
 Noticed by Brulliot, "Table," &c., who had seen a copy which 
 bore, above, a shield with the date 1516. 
 
 113. The Column with the Vase emitting flames. On a column 
 
 at the right a vase is seen, from whence flames issue. 
 Three peasants are on their knees in adoration ; some 
 others appear to run off to rejoin a large troop with cattle 
 that are seen in the distance. At the left, below, the 
 initials H B. h. 2^\ inches, u 1 . 3}^ inches. (Albertine 
 Collection at Vienna.)
 
 ii4- A Manual (Taschenbuchlin). 
 
 " Aus einem closter in dem Riess 
 Kompt dieses Taschenbiichlin suss 
 Das cler Mensch sol bey jm tragen 
 Und dam it sein veind verjagen." 
 
 Augspurg, Hans Miller, 1516. 8vo. 
 
 Of the fourteen engravings which adorn this little book, ten 
 belong to Hans Burgmair, one is used twice (the four others are 
 by Hans Schaufelein). h. 3^ inches, ^u. 2 T 9 inches. 
 
 a. God the Father giving his benediction. 
 
 b. The Annunciation. 
 
 c. The Sacrifice of the Mass. 
 
 d. Christ on the Cross, between the Virgin and St. John. This 
 
 piece repeated as the tenth engraving. 
 
 e. The Mass of St. Gregory. 
 
 f. St. George killing the dragon. 
 
 g. Sts. Sebastian and St. Roch. 
 h. The Last Supper. 
 
 /. The Prayer of St. Thomas Aquinas to God the Father. 
 With the signature of the master. 
 
 (See R. Weigel, Catalogue, No. 18771.) 
 
 115. A Chronicle. (Fine schone Chronik un Hystoria. wye nach 
 der Synndlflut Noe, die Teutschen, das streitbar volck 
 jren anfang empfangen haben, besonder den ersten 
 namen Schwaben gehaissen worden, Wa und wie sy v<3 
 ersten gewont. . . . Auch dar bey von der Kayserlichen 
 Statt Augspurg, etc. (published by Meisterlen). Augs- 
 purg, Melchior Ramminger, 1522. fol.) The title, with 
 St. Ulric and St. Afra, bears the initials of Burgmair. 
 
 Amongst other wood-engravings there is a copy, after Schauflein, 
 of the battle of St. Ulric by the master rjt (see Brulliot, Diet., i. 
 
 No. 2502). This monogram is attributed to the printer, Henry 
 Steiner of Augsburg, who was probably also a wood-engraver. 
 (See Weigel, Kunstcat. No. 18772.)
 
 1 16. The Banquet. (Ein nutzlich Regiment der gesundtheyt 
 
 genant das Vahquete oder gastmal der Edlen Diener 
 
 von der Complexion, etc. gemacht durch . . . Dr. Hein. 
 
 Ludovicum de Avila . . . durch Mich. Krautwadel ver- 
 
 teutscht, etc. Augsburg, H. Steyner, 1531. 4to.) 
 
 In this book of medicine we find six wood-engravings of 
 
 middling quality, of which one, the portrait of the doctor Avila, 
 
 bears the signature of H. Burgmair. The Spanish edition, " Van- 
 
 quete de nobles cavalleros, etc. Vindelicorum Urbe Augusta 
 
 per industriosum virum Henr. Stainer chalcotypu." S. A. 4to. 
 
 contains eight more engravings, in all 14 pieces, which are all 
 
 attributed to our master. (See R. Weigel, Cat. Nos. 12857 
 
 and 19438, and Wiechmann-Kadow, in Naumann's "Archives," 
 
 ii. p. 158.) 
 
 117. The Brotherhood of Fools (Schelmenzunft-durch . . . 
 
 Thoman Murner von Strassburg. Augsburg, S. Otmar, 
 i5 J 3 et 1514- 4*o.) 
 
 The first of the 40 engravings in the book represents the author 
 with the inscription, "DOCTOR L A VX," and bears the initials 
 H B. The others are equally attributed to Hans Burgmair, but 
 appear to be inferior work. (See Wiechmann-Kadow, in Nau- 
 mann's "Archives," ii. p. 158.)' 
 
 1 1 8. Portrait of Conrad Celtes. Half-length, turned slightly to 
 
 the left, under an arch richly adorned, on which is written 
 the inscription, "EXITVS. ACTA PROBAT. QVI 
 BENE FECIT HABET." He rests his hands on 
 four volumes of his works, which bear upon the 
 edges the following titles : "GER. ILLVS. AMOR. 
 EPIGRA. ODAR." At the sides below are seated 
 two little genii weeping, and in the corners above are 
 Apollo and Mercury. The arms of Celtes, a shield 
 broken in the middle, are seen at the lower margin, with 
 an inscription beginning : 
 
 "D. M. S. 
 FLETE PII VATES ET TVNDITE PECTORA PALMIS" 
 
 and ending 
 "HIC IN CHRIS. QVIESCIT VIXIT AN. IXL. SAL 
 
 SESQVIMILL ET VII. 
 SVB DIVO MAXIMIL. AVGVST."
 
 ( 102 ) 
 
 Before him, the broken shield of his arms bears two C's 
 adorsed, and two pallets, accompanied by three stars. 
 On the margin, below, H B. 
 
 This piece, so far from having been engraved in honour of 
 the poet after his death, was done for Celtes himself during his 
 lifetime, and he presented it to his friends. As he died the 
 following year, they changed the false date 1507 to "MDVIII 
 Mensis Februarij, Die iv." (See Naumann's "Archives," 1856, 
 ii. p. 143.) 
 
 119. Portrait of James Fugger. A bust in profile, turned to the 
 
 left, and the head dressed with a band. Inscription, 
 "Jacobus Fugger Civis Augustus." 
 
 This piece, engraved by Jost de Necker in a very delicate and 
 graceful manner, is an impression in colour red, brown, and 
 black. The drapery in green, on a white ground, gives a charming 
 effect, h. 8^2 inches, w. 6 inches. (Butsch collection at Augs- 
 burg. Berlin.) 
 
 1 20. The great Imperial Eagle. It is printed in black, and 
 
 contains several allegorical subjects. On the neck is 
 seated the Emperor, and beside him, two heralds of arms. 
 Below flows a stream, with the inscription, "FONS 
 MVSARVM," and close to it the initials H B. In the 
 basin are seated the nine muses, below them the seven 
 liberal arts, and still lower, a composition represents 
 Paris roused by Mercury to deliver his judgment on the 
 beauty of the three goddesses standing before him ; at 
 the right, Discord, kneeling, presents to him the golden 
 apple. Near we read, " MERCVR DISCORDIA." 
 On the feathers of the wings are fourteen medallions, in 
 two series of seven, containing the days of the Creation 
 and the seven liberal arts. Above, the inscription : 
 
 "LAVREA SERTA GERIT SACRO JOVIS ALESINORE, 
 MAXIMILIANIS JAM CELEBRATA SCOLIS;" 
 
 And further off 
 
 "AQVILA DIVVS IMPERIALIS DIVINA FABRICA 
 MAXIMI II. VANA INVETA."
 
 ( 103 ) 
 
 Below : 
 
 "BVRGKMAIR HANG AQVILAM DEPINXERAT ARTE 
 JOHAES ET CELTIS PVLCHRAM TEXVIT HIS- 
 TORIAM. ILLE NOVEM MVSIS SEPTENAS JVNX- 
 ERAT ARTES QVAS STVDIO PARILI DOCTA 
 VI EN A COLIT." 
 
 h. 1 2 T S 2- inches, u>. 8 T "^ inches. (Albertine collection at Vienna, 
 Basle, Munich.) 
 
 121. The Imperial Eagle. On a shield is the Imperial eagle, 
 
 crowned, bearing on its breast the shield of Austria. The 
 helmet is crested by a vol. Inscription : " ARMA ET 
 INSIGNIA SACR. ROM. IMPERIL 1515." 
 Below, at the sides of the shield, the letters H B. 
 //. 7 T S ^ inches, w. 6 inches. Basle. 
 
 122. The Single Eagle. The eagle is printed in black on a 
 
 white ground, bearing on its breast the arms of Austria ; 
 party per fess. Marked below, H B. h. 7-^- inches, 
 w. 5^ inches. Berlin. 
 
 123. The Arms with the two Crescents. Party per pale with the 
 
 two crescents facing. Surmounted by an open helmet 
 crested by a demi-figure of the Virgin holding in each 
 hand a crescent. At right, at bottom, the mark H B 
 small, h. 5 inches, w. 4 inches. Basle. 
 
 124. The Arms with the crest of the winged Lion. Per saltier, 
 
 argent, and sable charged with a lion, argent. The 
 closed helmet is crested by a demi-lion, winged. At 
 right, at bottom, the mark H B very small. //. 6 1- inches, 
 w. 4f inches. Basle. 
 
 125. The Arms with the Griffin rampant. Quarterly, argent 
 
 and sable. Four griffins counter-changed. Over all, an 
 escutcheon party per fess, in chief a demi-lion, in base 
 a chevron pignonn'e. The helmet is surmounted by a 
 crown between the plumes of a peacock. Not marked. 
 h. 7! inches, w. 4^ inches. Basle. 
 
 126. The Arms with the two Lions argent. Quarterly, first and 
 
 fourth sable ; a lion, argent ; second and third fretty, 
 argent, and sable. The helmet is crested with a lion, 
 sejant, crowned, between two demi-vols. Basle.
 
 ( 104 ) 
 
 127. The Arms with an Eagle debruised by a saltier. The eagle 
 
 sable. The shield is surmounted by a crowned helmet, 
 which is crested by a demi-eagle, crowned ; charged with 
 St. Andrew's cross, argent. Basle. 
 
 128. The Shield with the head of ^Eolus. It is turned to the 
 
 dexter, and the helmet is crested by the representation 
 of a field. The escutcheon is on a black background, 
 and surmounted by an arch having at the springs two 
 angels' heads, h. 8f inches, w. 5 T \ inches. Basle. 
 
 129. The Arms with the Lilies. Argent; a cinquefoil, gules: 
 
 impaling, gules ; lilies couped, argent. The helmet is 
 crested with lilies between two demi-vols. Marked H B 
 at right, h. 14 inches, w. 9 inches (?). (Albertine Col- 
 lection at Vienna.) 
 
 130. Initials, with Children. 1521. There are 23 initials in 
 
 the roman character, with the children, who are playing. 
 They are detached in white on a black ground. They 
 are enclosed in a square with two lines of border. The 
 24th compartment, a circle inside a square, concludes the 
 series. Below is printed : " Gedruckt zu Augspurg durch 
 Jost De Necker," or only " Jost de Negker zu Augs- 
 purg," and near the last letter the date 1521. 
 
 In neither of the two editions is the signature of Btirgmair, but 
 in the impression at Basle his name is in writing ; besides, the 
 design and style of the children and of the ornaments are abso- 
 lutely in the manner of the master ; and the belief that it is his 
 work receives again more force from the circumstance that it was 
 engraved by Jost de Necker at Augsburg. 
 
 The third edition of the Initials bears likewise, near the JetterZ, 
 the date 1521 ; but we find on a ball near the letter F the mono- 
 gram, slightly crooked, of Albert Durer, which has given recently 
 ground for the opinion that it was designed by this master. A 
 mutilated impression, containing 22 initials, belonging formerly 
 to an amateur at Nuremberg, came into the possession of 
 Mr. R. Weigel at Leipsic (see Kunstcat. No. 19099), who had 
 executed for his work, entitled " Holzschnitte beriihmter Meister," 
 two facsimiles of the letters A and F. 
 
 These initials, cut on two blocks, were not destined for the 
 ornamentation of books, but rather to serve as models, as is
 
 ( 105 ) 
 
 abundantly proved by the fact that the tail of the letter Q en- 
 croaches on the ground of the letter R, and indeed they are not 
 found in any of the Augsburg editions. 
 
 We find, however, ancient copies in many publications at Basle, 
 Cologne, and Nuremburg; amongst others, in the book which 
 bears the title : 
 
 " Theophylacti Enarrationes in quatuor Evangel. Basileae, 
 Cratander, 1525." 
 
 And in : 
 
 " Ex recognitione Des. Erasmi Roterodami. C. Suetonius 
 Tranquillus. Dion. Cassius. Nicseus. Aelius Spartanus etc. 
 Colonise in aedibus Euch. Cervicorni. 1527." 
 
 And probably in the anatomical work of Volcker Goiter, Nu- 
 remberg 1572 and 1575, folio. All these copies exhibit striking 
 differences. The better reproductions do not exhibit the letters 
 in white on a black ground, but are divided into two parts by a 
 line, and have one side shaded. The compartments have three 
 lines of border. Some have a thin line at the left of the initials. 
 The third copy has the letters in white, but the cutting is so 
 bad that it is immediately seen to be a counterfeit. 
 
 The first edition of the alphabet, as well as the second, 
 is always printed on two folio leaves, IO T % inches high and 
 5 T \ inches wide, and each letter is from 2 inches to 2^ inches 
 square. 
 
 The subjects are as follows : 
 
 A. Two children are blowing horns ; that at the left presents 
 
 its back. Above, a shell. 
 
 B. Six children, in part furnished with wings. One of them 
 
 plays the bagpipes ; another, at the right, the dulcimer. 
 Above, a fabulous bird. 
 
 C. Three children ; the middle one is winged and riding on a 
 
 roebuck. 
 
 D. Three children ; the middle one rides on a dolphin and 
 
 holds a standard. 
 
 E. Two children sitting amongst reeds. One of them holds 
 
 a crane fastened by a string. Below, at the right, a 
 monkey. 
 
 F. Four little Cupids playing. That seated at the right rests 
 
 on a ball, which, in the last edition, bears the monogram 
 of Durer, crooked, which is never so found in his works. 
 
 P
 
 ( io6 ) 
 
 G. Four children. One at the right pours a liquid from a 
 
 flagon into a basin, in which another child is seated. 
 H. Three children. One in the middle is seated and playing 
 
 on a double pipe. 
 I. Four children. One is seated in a basket, and drawn by 
 
 one of his companions on all-fours. 
 
 K. Three children at the left, and a bear dancing at the right. 
 L. Five children. One of them rides on a stick carried by the 
 
 others. 
 M. Four winged children. One of them is standing on the 
 
 backs of two others lying on the ground. 
 N. Five children, some winged. The second, to the right, 
 
 holds a flytrap above another kneeling in front. 
 O. Six children, some winged. In the midst of them a 
 
 buffoon. 
 P. Six children, mostly winged, play together. Two among 
 
 them rest their hands on the ground. 
 Q. Four children carry another in triumph, after the manner 
 
 of Bacchus. At the left, and in the middle, two other 
 
 children are partly visible. 
 R. Three children play at cards. Above is seen a fourth with 
 
 his back turned. 
 S. Three children going hunting with a dog and a falcon. 
 
 They go towards the left. 
 T. Two children ride on seahorses. 
 V. Five children, two of whom hold a string. 
 X. Five winged children, two playing music. 
 Y. Five children play at soldiers. They march towards the 
 
 right. Two of them ride wooden horses. 
 Z. Two children are standing near an urn, and hold labels 
 
 with the date 1521.* 
 
 * Other initials are seen with the children playing ; amongst others, the 
 figures which are used in the books printed by Steyner of Augsburg, and 
 which may be attributed with great probability to Hans Burgmair. \Yeich- 
 mann-Kadow has described several in Naumann's "Archives," i. p. 126 ; and 
 we refer to what he has said in the hope that further researches will lead to a 
 satisfactory result on this point.
 
 ETCHINGS BY BURGMAIR THE YOUNGER. 
 
 i. Venus and Mars. h. 6 ^-inches, w. 4| inches. (Bartsch, vii. 
 
 p. 199, No. i.) 
 
 The bookseller Stockel of Vienna had, in 1820, the original 
 plate, from which he took some impressions. 
 
 2., The Arms of the town of Augsburg. The shield, with the 
 fir-cone on the capital of a column, has as supporters two 
 griffins. Below, in two bandrols, "ffi VOGTHERR, 
 H. BVRGKMAI," and above, 1545. h. yf inches, 
 w. 5 T X inches. 
 
 The handling is exactly the same as No. i, and, judging by the 
 date, this is the work of the younger Burgmair. These arms are 
 found in the book mentioned below, No. 3, which does not, how- 
 ever, seem to have appeared till 1618. 
 
 3. The Escutcheons, with supporters, of noble families of Augs- 
 burg. 80 leaves, h. 7| inches, w. 5^ inches. 
 
 The supporters are, for the most part, figures, covered with 
 fanciful heraldic ornaments, resembling the statues on the 
 sepulchral monument of Maximilian I. at Innspruck. Beside 
 each is the shield. None of these leaves bear a mark, and in 
 the first editions the names of the families even are wanting. 
 The first edition probably appeared about 1545, since the Arms 
 of Augsburg, mentioned above, serve as the title-page and bear 
 that date. These arms have the names of H. Burgmair and 
 Henry Vogtherr, who appear to have been associated in the 
 execution of these etchings. According to Nagler, this first 
 edition only contained twenty-three plates, and is entitled "Arms 
 and Supporters of some noble Families of the town of the Holy 
 Roman Empire Augsburg.''' " Wappen und derselben Wappen- 
 haltern einiger Adelichen Geschlechte in der heil. Rom. Reichs- 
 stadt Augsbourg." 
 
 In the collection of prints at Stuttgard there is a book containing 
 fifty-three proofs of these etchings in the first state, partly num- 
 bered, and one of which bears the number 50, as well as some
 
 original pen-and-ink drawings by Burgmair and by other hands, 
 dated 1547. It may be inferred that there was then in contem- 
 plation a more extended edition than that with twenty-three plates, 
 and that such an edition may have appeared about 1547. 
 
 The edition in folio, largely supplemented by Zimmermann, 
 and containing 80 plates, appeared at Augsburg in 1618, under 
 the following title : 
 
 " Ernewrtes Geschlechterbuch der loblichen desz heiligen 
 Reichs Slatt Augspurg Patriciorum darunder So vorausz lustige 
 zierliche contrafacturen, der Schild, Helm und Wappen Ehre- 
 gemeldter Geschlechtern von weylandt der Kunstreichern Mahlern 
 in Augspurg, Johann Burckmair und Heinrichen Vogtherr von 
 Anno 1545 in Stahel zierlich geradiert, die ubrigen von Wilhelm 
 Peter Zimmerman auffs fleissigst hinzugethan worden, &c. 1618." 
 
 On the title-page are the Arms of Augsburg, already mentioned, 
 with the date, 1545. 
 
 The entire work is divisible into three parts. In the first should 
 be placed the pages i, 3, 6, 7, 10, 13, 16, 19, 22, 23, 25, 26, 27, 
 28, 31, 32, 37, 39, 46, 47, 49, which are boldly executed in the style 
 of Burgmair. Others, similar in style, but executed with a finer 
 point, are without any doubt by Henry Vogtherr. The remainder 
 are very inferior, and form the portion added by Zimmermann. 
 
 4. The Virgin and Infant Jesus. She is standing in a landscape^ 
 and supports with her right arm the infant Jesus, who passes 
 his arms round her neck. She carries a palm in the left 
 hand, and her long hair floats towards the right. On the 
 same side is a slender tree, and another, thicker. At the 
 right a rocky landscape, h. 6 inches, w. 4 inches. Berlin. 
 This etching, without signature, is indeed treated entirely in 
 the manner of Burgmair, but it has at the same time very con- 
 siderable analogy to another etching, in the style of Burgmair, 
 executed by the master Jaccop, described No. i, under the 
 heading " Le Maitre Jaccop " (vol. iii. p. 287), and might well be 
 his work.
 
 TRIUMPH 
 
 OF THE EMPEROR 
 
 MAXIMILIAN I 
 
 In a succession of a hundred and thirty-five 
 
 wood engravings after the 
 
 designs 
 
 of 
 
 HANS BURGMAIR. 
 
 With the Ancient Description dictated by the 
 Emperor to his secretary Marc Treitzsaurwein. 
 
 Printed at Vienna by Matthias Andre Schmidt, printer 
 
 to the Court, and sold in London, 
 
 by J. Edwards, Pall Mall.
 
 PREFACE, 
 
 ( Translated from the Edition of 1 796. ) 
 
 A MONGST the works relating to literature and the 
 \_ arts, which were the fruits of the leisure of the 
 Emperor Maximilian I., his Triumph deserves to be placed 
 in the first rank. Destined, like the Theurdanck and the 
 Weiss Kunig, to serve as a monument of his grandeur, the 
 Emperor there represents the circumstances of his house, 
 his pleasures, his territorial possessions, his wars, his con- 
 quests, and many other events in his reign, by a proces- 
 sion of several hundred figures, of which some on foot, 
 others on horseback, or drawn in cars, form a very magni- 
 ficent triumphal cortege. 
 
 This Triumph was at first executed in miniature of the 
 most precious work, on a hundred and nine sheets of 
 parchment, of the extraordinary size of thirty-four inches 
 in length, and twenty inches in height ; forming a work, 
 which, for its magnitude, and the richness of its execution, 
 deserves to be placed amongst the most precious works 
 of this kind. It is now in the Imperial Library,* amongst 
 the most important manuscripts it possesses. 
 
 The Emperor, probably not wishing to confine the 
 pleasure of a work so important, to himself, or rather 
 desiring to render it a lasting monument by multiplying 
 it, had it engraved on wood ; and it is the collection of 
 these engravings which is now offered to the public. 
 
 It consists of a hundred and thirty-five pieces, precious 
 
 * Vienna.
 
 ( H2 ) 
 
 specimens of the art of wood-engraving-, which for their 
 spirit and beauty of design, as well as for the care and 
 skill of their cutting, deserve the attention and appro- 
 bation of all connoisseurs. Sandrart, an acknowledged 
 authority, and who had seen a part of these engravings, 
 characterizes them as the finest that have ever been pro- 
 duced. Many other connoisseurs have arrived at nearly 
 the same conclusion. But may-be not to the artist alone 
 will they be interesting, as, offering exact designs of cos- 
 tume, armour, instruments, manners and customs of the 
 time of Maximilian, they may prove useful to the historian 
 in search of facts and evidence. 
 
 On this account, it is to be regretted that this work is a 
 fragment. Forty blocks were preserved in the cabinet of 
 curiosities at Ambras, in the Tyrol, where in all proba- 
 bility they had remained from the death of the Emperor ; 
 the other ninety-five were found at the Jesuits' College at 
 Gratz, in Styria, without any information as to how they 
 got there, until they were both transmitted to Vienna in 
 1779, and deposited in the Imperial Library. 
 
 Following the drawings painted in miniature, where each 
 leaf contains the subject of two of the wood-engravings, 
 the number of the latter ought to reach above two hun- 
 dred if the work had been carried to a conclusion. The 
 two sets of blocks having been found in two different 
 places, there was room for conjecture that a third, con- 
 cealed from our observation, might lie hidden in some 
 other cabinet or library. Following out this idea, the 
 most industrious search was made ; but it was altogether 
 fruitless ; and as up to this day nothing has been disco- 
 vered, we may rest satisfied that absolutely no other 
 blocks exist than the hundred and thirty-five now re- 
 united in the Imperial Library. 
 
 The proof that the work is incomplete must be sought 
 in the tablets and bandrols which, destined to inclose 
 the inscriptions, are blank and print black, as may be 
 seen in the engravings 130 to 135, and at the top of the 
 banners in the engraving No. 57, &c. Another proof which 
 may be adduced is the marking of the years at the back
 
 of the blocks, which, beginning at 1516, end at 1519, and 
 leave scarcely any doubt that the work had been stopped 
 by the death of the Emperor, which took place in this 
 same year, 1519. The suggestion of Sandrart, that these 
 blocks had perished in a fire at Augsburg, becomes value- 
 less in the fact of their actual existence ; and the facts 
 mentioned above will not allow us to refer this loss to 
 another part of the blocks, as there is not the slightest 
 proof that, besides those which are known, others have 
 been engraved, and that they have been mislaid.* If, 
 however, any loss has taken place, it could only refer to 
 two blocks at the most. 
 
 A small number of proofs were printed from some 
 of these blocks, probably when first cut. The Imperial 
 Library possessed ninety of the oldest before there was 
 any knowledge of the existence of the blocks. Sandrart 
 had only seen a hundred proofs ; Mariette possessed a 
 set of eighty-seven pieces, according to the statement of 
 Basan, who adds at the same time, in a note, that the 
 cabinet of the king of Sweden held the like. Impressions 
 were taken from the blocks found at Ambras ; likewise 
 some proofs were taken from those which had been at 
 Gratz. But these proofs having been struck off in dif- 
 ferent places, and in very small number, there was 
 scarcely any means of obtaining them, supposing that 
 any one desired to possess them in their then state ; viz., 
 printed mostly in a negligent manner, and on common 
 paper and of various kinds. 
 
 These considerations have led to the determination to 
 publish this collection in a complete form, arranged in 
 the prescribed order, printed with the necessary care, and 
 accompanied with an explanatory text. 
 
 These blocks were engraved, as has been already said, 
 in the years 1516, 1517, 1518, and 1519, by seventeen 
 skilful wood-cutters, on the drawings of Hans (Jean) Burg- 
 mair, painter, and pupil of Albert Durer, whose monogram 
 H B is marked on many of the pieces. The blocks are 
 
 * See Passavnnt's remarks on missing blocks. ED.
 
 of pear-wood, and the names of the engravers are written 
 in full, in ink, on the back of a great number of them, 
 or only engraved in monograms on the wood. They 
 are : 
 
 1. Jerdme Andre, properly named Resch or Rosch, and 
 was in his time one of the most skilful wood-engravers of 
 Nuremberg.* 
 
 2. Jean de Bonn. Papillon mentions a Bartholome and 
 a Corneille de Bonn.f This Jean is unknown. 
 
 3. Cornelius. According to probability, the same Cor- 
 neille de Bonn whom we have named, or Corneille Liefrink, 
 who follows at No. 7. 
 
 4. Hans Frank. 
 
 5. Saint German. 
 
 6. Guillaume. This is perhaps Liefrink, at No. 8. 
 
 7. Corneille Liefrink. 
 
 8. Guillaume Liefrink. A Jean Liefrink is known and 
 mentioned by different authors, but we do not find any 
 trace of a Guillaume. 
 
 9. Alexis Lindt. 
 
 10. Josse de Negkher, undersigned, wood-engraver at 
 Augsburg, on many other pieces. He is noticed by 
 Papillon,J who, however, only knew one other engraving 
 of his. In the Imperial Library there are many other 
 examples marked H B, and bearing at the same time the 
 name of this engraver. 
 
 11. Vincent Pfarkecher. 
 
 12. Jaques Rupp. 
 
 13. Hans Schaufelein de Nordlingen, a well-known 
 artist, known by many wood-engravings, chiefly by those 
 of Thuerdanck.il 
 
 * C. T. Murr, "Journal zur Kunstgeschichte," &c., vol. ii. p. 158. 
 t " Traite de la Gravure en bois," vol. i. p. 135. 
 J Vol. i. p. 391. See Passavant, &c. ED. 
 
 || The Theurdanck is an early and by no means a favourable specimen of 
 the artist. See further notice of him. En.
 
 14- Jean Taberith. 
 15. F. P. 
 
 1 6. 
 
 I a meaning perhaps Hans Frank, named above, 
 
 at No. 4. 
 17. W. R. 
 
 The statement of C. T. Murr* to the effect that it was 
 Albert Durer who made the designs of this 'Triumph, for 
 which the Emperor paid him a hundred florins a year, is 
 by no means authentic, and appears to be only a conjec- 
 ture of this writer. The letter of Albert Durer found in 
 his journal, and in which there is mention of a Triumph, 
 proves only that this artist had a claim of a hundred 
 florins, but no mention is made of an annual salary. If 
 the claim of a hundred florins, which might refer to the 
 Triumphal Arch, which is one of the principal wood- 
 engravings of Albert Durer, has special reference to this 
 Triumph, it is evident that the interest which Durer had 
 in it relates solely to the engravings, either entire or in 
 part, which were engraved under his direction, possibly 
 only by his engravers, who were stated to have lived and 
 worked in his house. If Durer had made the designs, 
 he would certainly have put his monogram on them, as 
 he nearly always did on the wood-engravings designed 
 by him. 
 
 An absolute proof that Burgmair is the designer, and 
 not simply the engraver, as de Murr suggests in this 
 very instance, is that the names of the engravers are 
 written on the backs of the blocks, even of those where the 
 monogram of Hans Burgmair appears on the woodcut. 
 
 This last speciality is very interesting, because it con- 
 firms at the same time this fact, which on many grounds 
 we. have no reason to doubt, that the monogram marked 
 on a wood-engraving indicates nearly always the name 
 of the designer, very rarely that of the engraver, except 
 
 "Journal," vol. ix. p. i.
 
 ( 1 16 ) 
 
 in the special instance where an engraver's tool is marked 
 with the letters. 
 
 The engravings of the Triumph, far from being servile 
 copies of the miniature paintings, differ entirely in style 
 and design. Nearly all the groups have a different 
 arrangement, each figure has a different pose ; Hans 
 Burgmair appears before us rather in the character of an 
 author than a copyist, more especially as he has surpassed 
 his model in many points. But whatever may be the 
 difference between the engravings and the drawings on 
 vellum, the subjects still so far correspond, that they may 
 be recognized without the least difficulty. 
 
 However, we must make an exception as regards 
 eighteen plates, where this correspondence will be sought 
 in vain ; viz. those twelve from No. 89 to 100, and six 
 from 130 to 135. Of these we know nothing, except that 
 they represent wars, and we have no means of naming 
 them, as they have no resemblance to those in the painted 
 one, and the search will be in vain for any proper mark 
 to distinguish their true meaning, excepting No. 89, which 
 we recognize as the Venetian war, by the lion ; and three 
 others, where the heraldic shields may lead us to conjec- 
 tures. It has been thought better to place these twelve 
 engravings together, arranging them indistinctly but in a 
 continuous line. The six others, whose subjects are en- 
 tirely foreign to those of the painted leaves, appear to 
 have been additions made during the course of the exe- 
 cution of the Triumph. The impossibility of assigning 
 them an exact place has led to their being placed at the 
 end of the work.* 
 
 To contribute as much as possible to the lustre of this 
 work, care has been taken to deepen the places intended 
 for the inscriptions, wherever it was apparent that the 
 black masses would be too great, and might injure the 
 delicacy and harmony of the engraving. t 
 
 * See the letter of the keeper of the Imperial Library. ED. 
 
 t In our reproduction we have carried this plan throughout the series, as 
 there was no engraving not injured in effect by the black mass on the scroll. 
 En.
 
 As regards the ancient description placed before them, 
 the Imperial Library keeps two manuscripts. One is the 
 first scheme, dictated in 1512 by the Emperor to his secre- 
 tary Marc Treitzsaurvvein, after which the Triumph was to 
 be finished in painting.* The couplets are not here, only 
 the theme written in prose. The other manuscript was 
 written after the completion of the paintings in miniature. 
 This contains all the couplets,t but the subjects have less 
 detail than the prose, agreeing, however, in all things, except 
 that the notice of the original project of the Triumph is 
 omitted. It is from these two manuscripts that the de- 
 scription of the plates is drawn ; the text of the former, 
 which is more in detail, serves as a basis, and such in- 
 formation as may be gathered from the couplets is added. 
 To distinguish the two texts interlaced in this style, the 
 couplets are marked with a parenthesis, as also are all the 
 variations or additions which are taken from the second 
 manuscript, and which seem to be useful in rendering more 
 clear the explanation of the engravings. 
 
 Such special care has been taken to preserve the original 
 text in its integrity, that the names of a few subjects not 
 mentioned in the manuscripts have been printed in a 
 different character. 
 
 To render the reference to this description more easy 
 and more general, the old German text is accompanied 
 with a French translation. The couplets have been 
 omitted, with the object of rendering it less tiresome, 
 
 * This manuscript does not differ from that which Murr has printed in the 
 ninth volume of his "Journal," except in a few insignificant expressions. It 
 should be noted that 'this last is not the rough copy written by the Emperor's 
 own hand, as de Murr pretends, but a fair copy in a strange though cotem- 
 porary hand. It is now in the Imperial Library. 
 
 f- Except eight, which have been extracted from a manuscript note-book, 
 which has for its title " Vers zu Kayser Maximilian des ersten dis namens 
 Triumph, 1512. Selbe mundlitch seiner kaj Mr. Secretarj Treizsaurwein 
 angeben ;" that is to say, "Verses for the Triumph of the Emperor Maxi- 
 milian I. of this name, dictated in 1512 to Treizsaurwein, Secretary to his 
 Majesty." This manuscript is the first rough copy, and the same from which 
 Mr. de Murr made his copy in 1 760 at Inspruck, afterwards placed in the 
 Imperial Library.
 
 ( n8 ) 
 
 without any risk of altering the essence of the original. 
 These couplets, of which the substance is given, contain 
 nothing but eulogiums on the Emperor, and are utterly 
 devoid of historic or poetic interest. Robbed of their 
 rhyme, which is their only merit, a translation would only 
 have offered an insipid and disgusting verbiage.
 
 THE TRIUMPH 
 
 OF THE 
 
 EMPEROR MAXIMILIAN I 
 
 OF GLORIOUS MEMORY. 
 Translated from the Preface of 1796. 
 
 THAT which is written in this book has been dictated by the 
 Emperor Maximilian to me, Marc Treitzsaurwein, Secretary to 
 his Majesty, in the year 1512. 
 
 In the sequel follows the order according to which the ''Triumph''' 
 of the Emperor Maximilian must be arranged and painted. 
 
 PRECO (HERALD OF THE TRIUMPH). 
 
 PL. i. The march commences with a naked man mounted on a 
 griffin (an imaginary animal) without a saddle. The 
 wings of the animal partially cover the man. He holds 
 in his mouth a twisted horn of peculiar form. He bears 
 the name of Preco, and is decorated with a crown of 
 honour. 
 
 REPRESENTATION OF THE TITLES. 
 
 PL. 2. Two horses harnessed into shafts, led by two grooms, 
 and carrying a large board, on which is placed a large 
 tablet ornamented a 1'Italienne, on which are written 
 the following titles.
 
 ( 120 ) 
 
 TITLES OF THE EMPEROR. 
 
 This Triumph has been executed in praise of and for the 
 perpetual commemoration of the noble pursuits and glorious 
 victories of his most serene and very illustrious Prince and Lord 
 Maximilian, Roman Emperor elect and chief of Christendom, 
 king and heir of seven Christian kingdoms, Archduke of Austria, 
 Duke of Burgundy, and of other grand principalities and provinces 
 of Europe, &c. 
 
 FIFES AND DRUMS. 
 
 PL. 3. The fifer Anthony (of Dornstadt) mounted on horseback 
 and bearing his couplet. He is distinguished from the 
 other fifers by his dress. He carries by his side the case 
 of his instrument and a long sabre. The substance of 
 his couplet is nearly as follows : " I, Anthony of Dorn- 
 stadt, have played the fife in many countries for the 
 valorous Emperor Maximilian in many great battles, 
 also in tourneys, both friendly and hostile. For these 
 services I have the honour of appearing in my rank of 
 fifer in this Triumph." 
 
 Following are three mounted fifers playing their instru- 
 ments. They are clad in coats of arms (in the ancient 
 fashion, their heads covered with little blue hats orna- 
 mented with plumes). They carry instrument-cases and 
 wear long sabres. 
 
 PL. 4. Five mounted drummers marching in line and beating 
 their drums. They are clad in the ancient fashion, and 
 have long sabres at their sides. 
 All the fifers and drummers are decorated with the crown of 
 
 honour. 
 
 ' FALCONRY. 
 
 PL. 5. Hans Teuschel, master falconer, mounted on horseback, 
 and clad in a hunting coat of more distinguished fashion 
 than those worn by his followers. He has his hawking- 
 pouch by his side, and bears his couplet, which says 
 in substance that, profiting by the instruction of the 
 Emperor, he has carried falconry to such perfection 
 that he is ready to afford his master the pleasures of 
 the chase, both in winter and summer.
 
 PL. 6. Following on horseback, and in line, are five falconers, of 
 whom four carry a hawk perched on the fist, and the 
 fifth an owl.* They are clad as falconers, and have 
 their pouches attached. One carries a wand. 
 All the falconers are decorated with the crown of honour. 
 
 Below them, in the air, are three hawks, one chasing a 
 heron, the second a vulture, and the third a duck. 
 
 WILD-GOAT AND CHAMOIS HUNT. 
 
 PL. 7. A chamois-hunter, in the costume of his calling. 
 
 This hunter is Conrad Zuberle. He bears his couplet, which 
 implies that he has carried out the perilous chase of the wild goat 
 and the chamois, according to the suggestions furnished to him 
 by the Emperor, in a more diverting manner than had hitherto 
 been known. 
 
 Following these, five wild goats and chamois in line, and 
 intermixed. 
 
 PL. 8. Five chamois-hunters clad in doublet and breeches, shod 
 with high shoes, 1 and carrying their crampirons, 2 havre- 
 sacs, 3 knives, snow-hoops, 4 and staves. The latter are 
 pointed below, and furnished at the top with a cutting- 
 blade. 
 
 All the chamois-hunters are decorated with the crown of 
 honour. 
 
 * See Observations on Plates. ED. 
 
 1 Shoes that are tied above the ankle-bone, to exclude small stones detached 
 in climbing. 
 
 2 Iron hooks, which the hunter fastens on to his soles with leather bands, 
 to prevent his slipping whilst mounting steep rocks or places slippery from 
 snow or ice. 
 
 3 The chamois inhabit only the highest and most desert mountains, whose 
 summit is bald. The approach is as difficult as it is long, and the hunters are 
 obliged to take provisions for several days, which they carry in havresacs, 
 and which are ordinarily composed of bread, cheese, and a mixture of melted 
 butter and flour. 
 
 4 We see in the engraving these snow-hoops slung from the thighs of the 
 hunters. The thin hoop has many bands of leather interlaced, to form the 
 bottom. The hunter attaches it below the sole of his shoes, and thus saves 
 himself from the danger of binking in snowdrifts. 
 
 R
 
 ( 122 ) 
 
 STAG-HUNT. 
 
 PL. 9. Conrad von Rot, master of the staghounds, on horseback, 
 and carrying his couplet. He is clad in a dress which 
 distinguishes him from the other hunters. (It is of an 
 ancient fashion.) He carries a hunting-horn of the Low 
 Countries. His couplet says that he has arranged the 
 chase of the stag according to the suggestions of the 
 Emperor, both in the mountains and the plains, in a 
 manner to give everybody great pleasure. 
 
 Five stags marching abreast. 
 
 PL. 10. Five hunters follow, mounted and abreast (in ancient 
 dresses), with their hunting-knives by their sides, 
 carrying the hunting-horns of the Low Countries, and 
 holding staves in their hands. 
 All the hunters are decorated with the crown of honour. 
 
 WILD-BOAR HUNT. 
 
 PL. ii. Wilhelm von Greyssen, 5 master hunter of the wild boar, 
 on horseback, bearing his couplet. He is distinguished 
 by his dress from the others, &c. The couplet, in 
 substance, states that, following the directions of the 
 Emperor, he has arranged the chase in such a manner 
 as to give the greatest satisfaction. 
 
 Five furious wild boars represented marching. 
 
 PL. 12. After them five mounted wild-boar hunters, carrying their 
 new swords and their naked spears. Each carries a 
 German hunting-horn. 
 These hunters are decorated with the crown of honour. 
 
 BEAR-HUNT. 
 
 PL. 13. Theobold von Schlandersberg, master hunter of bears, 
 mounted, well clothed according to his position, carry- 
 ing a large hunting-horn and displaying his couplet, 
 
 5 This Wilhelm von Greyssen is the writer of a treatise upon hunting which 
 has never been printed, but exists in manuscript in the Imperial library.
 
 which expresses that, following the information given 
 by the Emperor, he has planned the perilous bear-hunt 
 in a new and strange manner, calculated to afford fine 
 sport. 
 
 Five bears abreast, some turning their heads, and threaten- 
 ing the hunters who are behind them. 
 
 PL. 14. Five bear-hunters follow on foot. They have short coats 
 and girdles. Each carries a hunting-knife and a spear. 
 The bear-hunters are decorated with the crown of honour. 
 
 THE FIVE OFFICES OF THE COURT. 
 
 PL. 15. Following the hunt is a man on horseback carrying a 
 tablet on which is inscribed the five offices of the 
 Court ; viz. those of the cupbearer, the cook, the 
 barber, the tailor, and the shoemaker. 6 It is Eber- 
 bach, vice-marshal, who carries the tablet. His couplet 
 is not yet written. 7 
 
 PL. 1 6. Five men on horseback and in line. The first carries 
 a goblet, the second a ladle, the third a razor, the 
 fourth a tailor's scissors, the fifth a last. 
 All decorated with the crown of honour. 
 
 MUSIC OF THE LUTE AND REBEC. 8 
 
 PL. 17, A low car with plough wheels, drawn by two elks and 
 1 8. driven by a young boy, who carries at the same time 
 
 6 It appears to have been the duty of these five officers to be in constant 
 personal attendance on the Emperor, because their services were absolutely 
 necessary. For this reason he could not omit them in this "Triumph." In 
 a manuscript which contains the history of the captivity of the Emperor Maxi- 
 milian at Bruges, given with much detail, we find amongst the Imperial 
 attendants the names of Michel Raphael, equerry to his majesty ; Spreng, the 
 cupbearer ; Master George, the cook ; Abert, the harness-keeper ; Graff, the 
 barber. The only officer wanting is the shoemaker. It does not appear that 
 these officers, except the two first, were attached to the Court, either before or 
 after Maximilian. 
 
 7 The reader must remember, that on this and other occasions it is the 
 Emperor who speaks whilst arranging the work. 
 
 8 An ancient word, which signifies a violin with three strings and tuned in 
 fifths. It is derived from a Spanish word, Rabd> in Arabic Rebab, which the 
 Italians have made into Ribeba. The rebec is our present violincello, as may 
 be distinctly seen iu the woodcut. (See Observations on Plates. ED. )
 
 ( 124 ) 
 
 the couplet. In the car are seated five players of lute 
 and rebec. At their head is Artus, master player of 
 the lute, and his couplet states that with the assistance 
 of the Emperor he has brought to perfection the music 
 of the lute and rebec. 
 
 The musicians and the boy-driver are decorated with the crown 
 of honour. 
 
 MUSIC OF THE PIPES, TROMBONES, AND TRUMPETS. 
 
 PL. 19, Another low car with plough wheels, drawn by two 
 20. buffaloes and driven by a little boy, who carries the 
 master's couplet. In the car are seated five musicians. 
 Neyschl, trombone master, is at their head. His 
 couplet, carried by the young driver, expresses that he 
 has brought this sort of music to perfection under the 
 instructions of the Emperor. 
 
 The musicians and the little boy are decorated with the crown 
 of honour. 
 
 MUSIC OF THE REGAL 9 AND POSITIK* 
 
 PL. 21, A car similar to the last, drawn by a camel and driven by 
 22. a little boy, who carries the master's couplet. On this 
 car is a regal and a positif. Paul Hofhaimer, 10 master 
 organist, is playing the latter instrument. His couplet 
 contains, in substance, that by the aid of the Emperor 
 he has learnt and brought to perfection this kind of 
 music. 
 
 These musicians and the little boy are decorated with the 
 crown of honour. 
 
 9 According to Cuspinien, this instrument was invented during the reign 
 of Maximilian I. Diarium apud M. Freheri, "Script. I\er. Austr.," vol. ii. 
 p. 607. 
 
 * The positif was a choir organ. ED. 
 
 10 He was bom at Salsburg, and \vas court organist to Maximilian I. 
 Ottomarus Luscinius speaks of him in high terms. Musurg, lib. i. p. 15. 
 Cuspinien calls him the king of musicians and the first organist of Germany. 
 Diarium, p. 607. His poetic harmonies were printed at Nuremberg in 1539.
 
 ( 125 ) 
 
 MUSIC OF SWEET MELODY. 
 
 PL. 23, A car similar to the. last, drawn by a dromedary and 
 24. driven by a little boy, who carries the master's couplet. 
 After follows sweet melody, given by the following instru- 
 ments : a drum, a quinterne, 11 a great lute, a rebec, a 
 violin, a loud flute, 12 a harp, and a large loud flute. 
 The master of the music has not been named, and his couplet 
 has not yet been written. 
 
 The musicians and the boy driving are decorated with the 
 crown of honour. 
 
 MUSIC OF THE KAPELLA. 
 
 PL. 25, A similar little car on plough wheels, drawn by two bisons 
 26. and driven by a little boy, who carries the couplet of 
 the Kapelmeister. In this car is the orchestra and 
 some cornet- and trombone-players. Herr George 
 Slakony, 13 Bishop of Vienna, is the master of the 
 Kapella, and his couplet signifies that he has arranged 
 the singing of the kapella in the most agreeable 
 manner, under the instructions of the Emperor. Steudl 
 is the master of the trombones, and Augustin is the 
 cornet-master. A little boy, seated in the car, carries 
 their couplet, which certifies that they have brought to 
 perfection the consonance of the cornets and trom- 
 bones, following the advice of the Emperor. 
 The little boy and all these musicians are decorated with the 
 
 crown of honour. 
 
 JESTERS. 
 
 PL. 27. Conrad von der Rosen 14 on horseback, dressed as 
 a jester, and carrying the couplet of jesters and 
 fools. 
 This couplet is not yet written. 
 
 11 A musical instrument with four or five catgut strings. The body is 
 elongated, like a guitar. Draudius, in his "Bibliotheca Classica," p. 1625, 
 mentions a Latin work which treats of the manner of playing this instrument. 
 
 12 This flute, since improved, is now called the hautboy. 
 
 13 Bishop of Vienna, and confidential adviser of the Emperor. His arms 
 ire emblazoned on the car near him. 
 
 14 This Conrad von der Rosen was a court jester and the confidant of the 
 Emperor. His courage was equal to his strength, and he saved the life of
 
 ( 126 ) 
 
 PL. 28. A small car drawn by two wild horses, in which are 
 seated the following buffoons : Lenz, Caspar, Bauer, 
 Meterschy, and Dyweyndl. 
 A little boy drives them, and they are all decorated with the 
 
 crown of honour. 
 
 FOOLS. 
 
 PL. 29, Another small car, containing the following fools : 
 30. Gylyme, Bock, Gulichisch, Caspar, Hans Wynter, 
 Guggeryllis. It is drawn by a mule (by two asses), 
 and driven by a little boy. 
 
 The jesters and natural fools, as also the two little drivers, 
 are decorated with the crown of honour. 
 
 MUMMERY. 
 
 PL. 31, Herr Peter von Altenhaus, master of mummery, mounted, 
 
 32. and handsomely clad in the coat of the golden masque. 
 
 He carries his couplet, which states that under the 
 
 orders of the Emperor he has arranged mummery in 
 
 an amusing manner. 
 
 Following are two ranks of masked men on foot, each 
 rank consisting of five men, and each man carrying a 
 lighted torch. The first rank is the Golden mummery. 
 The maskers wear the short dress of the ancient 
 Suabians. 
 
 The second rank represents Spanish mummery. The 
 maskers have short golden coats mixed with colour, 
 and with slashed and flying sleeves. 
 All these persons are decorated with the crown of honour. 
 
 his master, at the peril of his own, on various occasions. Fugger relates 
 several anecdotes of this remarkable man in his history, entitled "Spiegel der 
 Ehren" (" Mirror of Honour"), and he notices his exploits at greater length 
 in his geat work, named "Ehrenwerk" ("Book of Honour"), of which the 
 manuscript is in the Imperial library. In the latter is his portrait in minia- 
 ture, from an original painting, which, at the time when Fugger lived, was 
 seen at Augsburg. It is a half-length, full face, the left hand grasping a big 
 sword. The portrait of a German knight, represented in the attitude which 
 we have described, and engraved by David Hopfer, is this same Conrad von 
 der Rosen.
 
 ( 127 
 
 FENCING. 
 
 PL. 33. Herr Hans Hollywars, 15 fencing-master, on horseback, and 
 clad in regulation style. He carries his couplet, sig- 
 nifying that, following the suggestions of the Emperor, 
 he has arranged the noble art of fencing at the Court. 
 
 Following the fencers, marching on foot in ranks of five men, 
 we have : 
 
 Five men with leathern flails. 
 PL. 34. Five men with short staves. 
 PL. 35. Five men with lances. 
 PL. 36. Five men with halberds. 
 
 Five men with battle-axes. 
 
 PL. 37. Five men with shields, carrying the sword drawn (with 
 fencing-swords and hand-shields). 
 
 PL. 38. Five men with little targes and naked knives (swords 
 ED.). 
 
 PL. 39. Five men (in Hungarian costume) with pavois 16 (Hun- 
 garian targes) and Hungarian military maces (iron 
 maces). 
 
 PL. 40. Five men with sabres (ordinary two-handed swords), 
 which they carry over their shoulders. 
 
 All these persons are decorated with the crown of honour. 
 
 TOURNEY. 17 
 
 PL. 41. Herr Anthony von Yfan, master of tourney, mounted, in 
 complete armour, as for the tourney, and carrying his 
 
 15 This, according to appearances, is the Holubar, known by a fight which 
 took place between him and Matthias, king of Hungary. Galeotti, "Com- 
 ment, de dictis et factis Mathire Regis, cap. 14. Apud Schwandtneri Script. 
 Rer. Hung.," vol. i. pi. 2, p. 545. 
 
 16 A kind of shield invented by Ziska. The name is derived from the word 
 pmveza, which, in the Bohemian tongue, signifies shield. 
 
 17 We owe the possibility of rendering this chapter, and the explanations 
 which accompany it, almost entirely to two manuscripts enriched with figures 
 painted in colours, which are in the Imperial library, and in which are seen
 
 ( 128 ) 
 
 couplet, stating that he has arranged the tourney in a 
 manner worthy of the grandeur of the court of the 
 Emperor, and following his instructions. 
 
 PL. 42. A row of five tilters on foot, completely armed, their 
 heads covered with the casque, 18 and not with the 
 heaume. 19 They wear the sword and the lances of 
 horsemen, as jousters do, but their lances are without 
 guards. 20 
 
 PL. 43. A rank of five tilters, mounted, completely armed, wearing 
 swords and horsemen's lances, the head protected by 
 a casque. 
 
 All these persons wear the crown of honour over the casque. 
 
 the representations and the names of all the kinds of tournaments which are 
 found in the plates of this Triumph. Jeremy Schemel is the author of one of 
 these manuscripts. He was a painter at Augsburg, about the year 1570 : the 
 other, shorter and by an unknown author, but apparently written in the time 
 of the Emperor Maximilian, has for its title, " Etliche Rennen und Treffen 
 Kaisers Maximilians I." The first, which is the most instructive, contains 
 exact copies of the plates of this Triumph, accompanied with the names of 
 each kind of joust and course, and explanations of the armour of the knights 
 and the equipment of their horses. Although these explanations are not as 
 complete as we could desire, they furnish nevertheless, on many points, useful 
 information, and the more precious, that we cannot find them in any other 
 authors who have treated of ancient tourney. It is entirely owing to these 
 two manuscripts that it is possible to arrange the plates of these tourneys 
 according to their respective names. 
 
 18 They had casques of different shapes and different names. For example, 
 they call Alte Hdtnlin the small ancient casques, or Alte Stechhdme, ancient 
 tourney casques, those which we see in Plates 42, 43, 45, 46, 47, 48 ; Neue 
 Stechhdme, the modern tourney casques, in Plate 49 ; JRennkute or Eisenhiite, 
 tilting-caps or head-pieces, those in Plates 50, 51, 52, and 55. Thus we see 
 the French had formerly their morions, bassinets, salades, cabassets, armets, 
 pots, and Imrgonets, of which we can only say that they designate different 
 
 kinds of casques, but the exact meaning of which is lost with the things 
 themselves. (See Observations on Plates. ED.) 
 
 19 The heaume was of entirely different shape from those mentioned in the 
 preceding note. The opening for the eyes was furnished with a grating or 
 barred work, which served for a vizor. We see these heaumes in nearly all 
 ancient armories, but they were no longer in use in Maximilian's time. 
 
 20 The vamplate is to the lance what the guard is to the sword, that is to say, 
 a round or semicircular protruding piece, able to ward off the stroke of an 
 adversary's lance. They called these vamplates Scheiben, Brechscheiben, that 
 is to say, rings or guardrings, when they were circular ; Schwebscheiben, that is 
 to say, movable vamplates, when they were semicircular. This form is also 
 described by the term Garbeisen, drayoire, probably from their resemblance 
 to the tanner's head-knife, which bears the same name.
 
 JOUSTS. 21 
 
 PL. 44. Herr Wolfgang von Polheim, master of jousts and of 
 the course, mounted and clad as a tilter. His 
 head is unarmed, only wearing the crown of honour. 
 He has a golden chain round his neck, and bears no 
 target. He carries his couplet, stating that the games 
 of chivalry have never been exercised in the world 
 with the same varieties of style as in the court of the 
 Emperor, where they have been instituted with his 
 assistance. 
 
 Here follow the jousts and the tilting. 
 PL. 45. The Italian joust, a rank of five men. 
 PL. 46. The German joust, a rank of five men. 
 PL. 47. The joust with the high poitrel, 22 a rank of five men. 
 
 PL. 48. The joust with leg armour, a rank of five men ; the horses 
 caparisoned with leather. 
 
 The jousters carry their lances high and hold them below the 
 vamplate. They are decorated with the crown of honour, and 
 each bears his crest on his casque. 23 
 
 21 The joust is properly the single combat with the lance, and is distinguished 
 from the tourney, which is an encounter between several knights, who fight in 
 a troop. 
 
 It is to be observed here, that in the place of jousts and tiltings specified 
 hereafter, the second manuscript describing the Triumph, painted in miniature, 
 says only, " Several rows of jousters and tillers, each of five men, follow." 
 
 22 The jousters of this kind were seated on a very high saddle, before the 
 pommel of which was raised a heurt, also very high. It is called heurt (from 
 heurter), in German Vorbug, that part of the iron armour which the tourney 
 horse carries before his chest. This saddle and this heurt, taken together, 
 were named in German hohes Zeug, that is to say, high barde. The designs 
 for this furniture are found in the manuscript Etliche Reniien, &c. We see 
 from that, that G. Schubart was in error when he imagined that the German 
 name for this kind of joust came from the long lances they employed. De 
 Ludis equestribus. Halae, 1725. 
 
 23 These crests are only seen in the German joust. 
 
 S
 
 COURSES. 24 
 
 PL. 49. The Italian course, with mornettes. 25 These are rounded, 
 and have round vamplates, 26 a rank of five men. 
 
 PL. 50. The course named Bund, 27 a rank of five men with the 
 targes, 28 which fly over their heads. 
 
 PL. 51. The course of the ingenious breastplate, 29 a rank of five 
 men with breastplates, of which the pieces leap into 
 the air. 
 
 The Elmet (Helmlef) course, 30 a rank of five men. 31 
 
 84 The difference between the joust and the course consisted in this, that in 
 the latter the lances were pointed with iron, in the former they were tipped 
 with three hooks placed in a triangle. This iron was named in Germany 
 Kronldn, or little crown. The armour of the champions and the poitrel of 
 the horses were much lighter in the courses than in the jousts, and it seems 
 that the rush of the horses and the stroke of the lance were delivered with 
 much more rapidity. 
 
 25 A species of lance, which the combatants protected with a case of iron, 
 so as not to wound the adversary. These protectors are not noticed in the 
 plates. 
 
 86 The Emperor made this remark on purpose to distinguish the different 
 kinds of arm-guard. All, except two, have drayoires for arm-guards in the 
 following courses. 
 
 27 The representation of this course exactly corresponds with that given in 
 the manuscript by Schemel, and which has this inscription in German : " This 
 course is called Bund " ; but there is no characteristic which throws any light 
 on this name. The word Bund has various meanings ; as union, association, 
 bundle of sticks, truss, packet. 
 
 28 It was upon these targes that the j ousters, to apply the terms then in use, 
 gave and received the strokes ; and as they were but lightly attached, they flew 
 into the air when the stroke was good. These targes bore also the name of 
 chapeau de mentonniere or grande mentonniere. (See Note 34.) 
 
 29 It appears that the targes which were used in this kind of course were 
 arranged so that the springs, united in the centre, held the different pieces 
 ingeniously together ; but when struck on the union of the springs, the pieces 
 flew up. 
 
 30 The word el met has the same origin as the German Helmlet, the Italian 
 Ehnt'tto, which signified formerly in Italy a kind of little helmet. "Diction, 
 de Trevoux," article Armet ; and " Dizion. della Crusca," article Elmetto. 
 
 31 We cannot avoid remarking that this kind of course, as well as the three 
 others, of which there are no engravings, is neither found in the work of 
 Schemel, nor in the MS. entitled "Etliche Rennen," &c. Is it not possible 
 that one kind of course might have two different names, and that the names
 
 PL. 52. The Shield course, 32 a rank of five men with movable 
 vamplates, 33 and chapeaux a la mentonniere. 34 
 
 PL. 53. The Breastplate course, 35 a rank of five men. 
 
 The course in the Caspar Wintzer style, 36 a rank of five 
 men, carrying targes and drayoires. 
 
 The Vamplate course, a rank of five men with elmets. 
 
 PL. 54. The Camp course, a rank of five men with round guards 
 and small targes. 
 
 PL. 55. The course d la queue (schweifrenneri)* 
 PL. 56. The course with the wreath? 1 
 
 of the two latter courses, newly inserted, relate to two of the four without 
 engravings ? Is it not probable that the majority of these names were the 
 creation of the Emperor? The jousts and courses, taken together, occupy 
 twelve engravings. There is one more amongst the miniatures, but as it bears 
 no inscription, we cannot determine to which of the four mentioned names it 
 relates. 
 
 3J Named also the course of the ingenious shield (Geschaftet-Scheiben- 
 Rennen). It was on this shield that the assault was delivered. (See Note 29.) 
 
 33 See Note 20. 
 
 34 They called the mentonniere the lower part of the casque, which covers 
 the chin, the neck, and half of the chest. The chapeau de mentonniere, also 
 called the great mentonniere, was a kind of shield which the champion attached 
 above the mentonniere, or, if he had it not, simply on the chin. To have the 
 chapeau a la mentonniere was as much as to say, to be armed with this targe. 
 These chapeaux differed from the mentonniere in that they were larger. 
 Usually they were ornamented with the same material as the caparison of 
 the horse. 
 
 35 The stroke was delivered on a breastplate, which the tilter wore attached 
 to his chest. It consisted of a square piece of wood surrounded by a border 
 and ornamented with embossed work. In place of this it was sometimes 
 covered with open iron-work, which they called simply the Gril (Rost). As 
 the champions fought with bare heads, and were only armed with a cuirass, 
 this kind of course was extremely perilous. It was their custom to place a 
 coffin in the tilting-ground before the champions undertook the course. 
 
 36 This Caspar Wintzer is mentioned by Fugger amongst the combatants in 
 a tourney given by Maximilian at Vienna in 1515; m the place called Am 
 Hofe. " Ehrenspiegel," p. 1335. 
 
 * See Observations on the Plates. ED. 
 
 37 In ancient times knights of a certain class wore their casques ornamented 
 with a wreath, which most commonly was composed of the colours of their 
 mistress. Wilson de la Colombiere, "Science hero'ique," p. 416. (See 
 Observations on the Plates. ED.)
 
 ( 132 ) 
 
 The tilters carry their lances high, holding them above 
 the drayoires. 38 
 
 They are all in appropriate costume, and decorated with the 
 crown of honour. 
 
 THE MARRIAGE OF BURGUNDY. 
 
 Three kettle-drummers in the Austrian livery. 
 Two ranks of five trumpeters in the Austrian livery. 
 They are decorated with the crown of honour. 
 
 THE HEREDITARY COUNTRIES OF THE HOUSE 
 OF AUSTRIA. 
 
 The hereditary countries of the house of Austria are represented 
 on standards, and not on gonfalons, with their shields, helmets, 
 and crests. The standards of the countries in which the Em- 
 peror has made war are borne by the cuirassed horsemen. The 
 armour of each is variously designed after the ancient form. Those 
 of the horsemen in whose" countries the Emperor has not made 
 war are magnificently clad, each according to the fashion of his 
 country, and they are all decorated with the crown of honour. 
 
 PL. 57. Austria. 
 
 The ancient arms of Austria. 
 
 Styria. 
 
 PL. 58. Carinthia, Carniola, Swabia. 
 PL. 59. Alsace, Hapsburg, Tyrol. 
 PL. 60. Goritz, Ferreten, Kyburg. 
 PL. 6 1. The Countries on the Ens, Burgau, Cilley. 
 PL. 62. Nellenburg, Hohenberg, Seckingen and Urach. 
 PL. 63. Glaris, Sonnenberg, Feldkirch. 
 PL. 64. Ortenburg, Ehingen, Achalm. 
 
 38 The champions of the Italian course only hold the hand below the vam- 
 plates, which are circular.
 
 ( 133 ) 
 
 PL. 65. Friburg, Bregentz, Saulgau. 
 
 PL. 66. Waldhausen, Ravensburg, Kirchberg. 
 
 PL. 67. Tockenburg, Andex, Frioul. 
 
 PL. 68. Trieste, Windismark, Pordenone. 
 
 PL. 69. Triberg, Rhatzuns or Razins, Torgau. 
 
 PL. 70. Reineck, the grey league of the Grisons, Lieben. 
 
 PL. 71. Ehrenberg, Weissenhorn, Hohenstauffen. 
 
 PL. 72. Rapperswyl, the Black Forest, Neuburg on the Inn. 
 
 PL. 73. Tybein or Duino, Upper Waldsee, Lower Waldsee. 
 
 PL. 74. Burgundy, Zeringen. 
 
 PL. 75. Bohemia, heritage ; England, heritage. 
 
 PL. 76. Portugal, heritage; Moravia, heritage. 
 
 BURGUNDIAN FIFERS. 
 
 PL. 77 Burgundian fifers playing on the bombarde 39 and the loud 
 1079. flute. They are decorated with the crown of honour. 
 
 THE PROVINCES OF BURGUNDY. 
 
 The provinces of Burgundy, represented on standards borne by 
 horsemen. They wear no cuirass, but are magnificently clad, and 
 carry precious chains round the neck. 
 
 PL. 80. Burgundy (the duchy), Lorraine, Brabant. 
 PL. 8 1. Limburg, Luxemburg, Gueldres. 
 
 PL. 82. Hainalt, Burgundy (Fran che Comte, or Upper Burgundy), 
 Flanders, Artois, Holland, Zealand. 
 
 PL. 83. Namur, Zutphen, Friesland. 
 PL. 84. Malines, Salins, Antwerp. 
 PL. 85. Charolois, Maconois, Auxerrois. 
 PL. 86. Boulogne, Alost, Chimay. 
 
 39 A bass instrument, which formerly served to accompany the fifes. Its 
 name came from an Italian word, bombarc, to hum.
 
 ( 134 ) 
 
 PL. 87. Ostrevant, Arco, Aussone. 
 
 PL. 88. Tenremonde, Franeker, Bethune. 
 
 THE MARRIAGE OF THE EMPEROR. 
 
 .Two men on horseback carry the marriage of the Emperor, 
 entitled " The Marriage of the Emperor Maximilian to the 
 hereditary Princess of Burgundy." 
 
 VICTORIES AND CONQUESTS. 
 
 PL. 89 Some lansquenets 40 in Roman costume, carrying castles 
 to 100. and towns. 
 
 WAR IN HAINAULT. 
 
 Some lansquenets carrying the war of Hainault ; with this 
 inscription, " The war in Hainault and Picardy." 
 
 BATTLE NEAR TERROUANE. 
 
 Some lansquenets carrying the battle of Terrouane ; with this 
 inscription, " Battle near Terrouane, in Artois." 
 
 FIRST WAR OF GUELDRES. 
 
 Some lansquenets carrying the first war of Gueldres ; with this 
 inscription, " The first conquest of Gueldres." 
 
 WAR OF UTRECHT. 
 
 Some lansquenets carrying the war of Utrecht ; entitled " The 
 war of Utrecht." 
 
 FIRST WAR IN FLANDERS. 
 
 Some lansquenets carrying the first war in Flanders; thus 
 entitled, " The first conquest of Flanders." 
 
 40 The lansquenets were soldiers engaged for the term of a campaign, and 
 who served both within and outside the empire. They were instituted and 
 drilled by Maximilian I. They were the first regular troops of which we have 
 any knowledge in the history of Germany. Fugger, p. 1372.
 
 ( 135 ) 
 
 WAR OF LIEGE. 
 
 Some lansquenets carrying the war of Liege; entitled, "The 
 victory obtained over the people of Liege." 
 
 TROPHY CAR. 
 
 PL. 101, A car with a trophy, composed of the different arms 
 102. and armours of the Low Countries and of France; 
 
 also standards of all kinds of colours. 
 (This car is preceded by a. man on horseback.) 
 
 ROMAN CORONATION. 
 
 Two men on horseback, carrying a picture where is 
 represented the coronation of the King of the 
 Romans. 
 
 There is a shield with the double-headed eagle, and the in- 
 scription is, " The coronation of the Emperor as King of the 
 Romans." The Roman empire is represented by a lady wearing 
 the Imperial dress and the Imperial crown. 
 
 Three men in noble costume (of ancient fashion, and 
 marching in single file) and carrying the three Roman 
 crowns on their cushions; namely, (the first,) the 
 crown of straw (crown of rue ; the second,) the 
 crown of iron (the Royal crown ; and the third,) 
 the crown of gold (the Imperial crown). 
 
 THE GERMAN EMPIRE. 
 
 A man mounted, and bearing the picture of the German 
 empire, represented by the Emperor seated and clad 
 in royal vestments as king of the Romans. 
 In the shield the eagle has only one head, such as belongs to 
 a king of the Romans. 
 
 The three provinces of Austria, Bavaria, and Saxony, and the 
 three bishoprics of Magdeburg, Salzburg, and Bremen, with their 
 emblazoned shields. 
 
 The empire of Germany is represented by a lady with long 
 hair, wearing a crown.
 
 ( 136 ) 
 
 SECOND WAR IN FLANDERS. 
 
 Some lansquenets carrying the war in Flanders ; with this in- 
 scription, " The second conquest of provinces of Flanders." 
 
 WAR IN BURGUNDY. 
 
 Some lansquenets carrying the war in Burgundy; entitled, 
 " The conquest of the two counties of Burgundy and Artois." 
 
 AUSTRIAN WAR. 
 
 Some lansquenets carrying the Austrian war ; which has for its 
 title, " The conquest of a part of Lower Austria." 
 
 HUNGARIAN WAR. 
 
 Some lansquenets carrying the Hungarian war; with this in- 
 scription, "The bloody war in Hungary." 
 
 (After them, some horsemen bear the heraldic standards of 
 Dalmatia, Croatia, and Bosnia.) 
 
 TROPHY CAR OF HUNGARY. 
 
 A car with a trophy, composed of the different arms of 
 Hungary, Poland, Turkey, and Illyria (and ornamented 
 with four little banners). 
 
 MARRIAGE OF KING PHILIP. 
 
 Horsemen magnificently clad, with costly chains round their 
 necks, carrying on their standards the arms of the king- 
 doms of Spain (Castile, Leon, Aragon, Sicily, Jerusalem, 
 Naples, Granada, Toledo, Galicia, Valentia, Sardinia, 
 Catalonia, Biscay, fifteen hundred islands). 
 
 Two men mounted, carrying the marriage of King Philip, with 
 this inscription : " Marriage of King Philip, Archduke 
 of Austria, son of the Emperor Maximilian, with the 
 hereditary Princess of Spain."
 
 ( 137 ) 
 
 PL. 103. (In the picture is represented the Emperor Maximilian, 
 King Philip and the Queen of Spain, in their imperial 
 and royal decorations, each having their shield near 
 them.) 
 
 SWISS WAR. 
 
 Some lansquenets, carrying the Swiss war ; entitled, " The 
 horrible war with the Swiss." 
 
 NEAPOLITAN WAR. 
 
 Some lansquenets carrying the Neapolitan war ; with this in- 
 scription, " Naples victoriously relieved." 
 
 BAVARIAN WAR. 
 
 Some lansquenets carrying the Bavarian war; entitled, "The 
 Bavarian war." 
 
 (Some horsemen carrying on their standards the arms of 
 Kuffstein, Rotenburg, and Kitzbuhel.) 
 
 BATTLE OF BOHEMIA. 
 
 Some lansquenets carrying the battle of Bohemia ; with this 
 inscription, " The battle of Bohemia." 
 
 TROPHY CAR OF BOHEMIA. 
 
 In the trophy car of Bohemia are found different arms, armours, 
 shields, and banners of different colours. 
 
 SECOND WAR IN GUELDRES. 
 
 Some lansquenets carrying the second war of Gueldres; 
 entitled, " The long second war in Gueldres." 
 
 RECAPTURE OF MILAN. 
 
 Some lansquenets carrying the recapture of Milan; with this 
 inscription, " Milan reconquered." 
 
 T
 
 138 
 
 VENETIAN WAR. 
 
 Some lansquenets carrying the Venetian war; with this in- 
 scription, " The long Venetian war." 
 
 ITALIAN TROPHY CAR. 
 
 A car with a trophy composed of the arms and standards of 
 Lombardy. 
 
 FRONTISPIECE OF WARS. 
 
 A man on horseback carrying a tablet with a couplet, which 
 contains in substance this 
 
 In this Triumph are marked the countries conquered by the 
 arms of his Majesty. 
 
 The towns, forts, and castles taken by him are numberless, 
 and the memory of man is incapable of retaining them. 
 
 (Two men carry the model of a little galley. 
 
 Two others carry that of a large galley. 
 
 Two others carry a large ship. 
 
 Four others carry a picture, on which is written, " Different 
 naval wars finished at sea and in the rivers." In the same picture 
 are also represented ships of different sizes on the water.) 
 
 THE KINGDOM OF LOMBARDY. 
 
 A horseman armed cap-a-pie, bearing a standard with the 
 arms of the kingdom of Lombardy, with the following 
 inscription, " The kingdom of Lower Lombardy." 
 
 THE SIX NEW AUSTRIAN AND BURGUNDIAN 
 KINGDOMS. 
 
 Some horsemen carry on their standards the arms of the Archi- 
 palatinate, of the Archduchy, and of the kingdoms of 
 Austrasia and of Lorraine, of Belgium, of Slavonia or the 
 Wendes, of New Austrasia, and of Austria. 11 
 
 any indications are found which lead to the belief that the Emperor 
 ilian intended to elevate the archduchy of Austria into a kingdom, but 
 
 41 Many indicati 
 Maxim
 
 ( 139 ) 
 
 In these royal standards are represented the Roman empire, 
 and the Austrian countries making part of the empire. 
 
 The standards are borne by horsemen magnificently attired. 
 
 ARTILLERY. 
 
 Here follows a park of artillery, having this title, " Famous 
 
 artillery." 
 
 The persons who accompany it are decorated with the crown 
 of honour. 
 
 TREASURE. 
 
 Four men carry the Imperial jewels and treasure ; the title is, 
 
 "The jewels and the treasure used by the Emperor." 
 The persons carrying them are decorated with the crown of 
 honour. 
 
 TREASURE OF THE KAPELLA. 
 
 Four men carry the treasure of the kapella ; with this inscrip- 
 tion, "The treasure of the kapella/' 
 
 The persons who carry it are decorated with the crown of 
 honour. 
 
 SEPULCHRAL STATUES. 
 
 A man on horseback carrying a picture, on which is written : 
 " The following statues represent the illustrious emperors, 
 kings, archdukes, and dukes whose countries form part 
 of the possessions of the Emperor, and whose arms he 
 bears/' 
 
 The horseman is decorated with the crown of honour. 
 
 These statues, of which each is accompanied by the heraldic 
 shield of the prince it represents, are placed on poles carried by 
 horses. 
 
 The grooms who lead the horses are decorated with the crown 
 of honour. 
 
 it is doubtful with regard to the six other provinces, for which he announces 
 here the same project of elevation. It remains still to be discovered which of 
 the provinces he wished on this occasion to erect into an archipalatinate and 
 into an archduchy.
 
 ( HO ) 
 
 These are the names of the sepulchral statues : 
 
 The Emperor Frederick III. decorated with the Imperial 
 
 ornaments. 
 
 The Emperor Charles in cuirass, and ornaments above it. 
 Rodolph, King of the Romans, in cuirass, and with the 
 
 ornaments. 
 
 Albert I., King of the Romans, with the ornaments above 
 the cuirass. 
 
 Albert the last, King of the Romans, without cuirass, only 
 
 with ornaments. 
 
 King Arthur, in complete armour. 
 King Ladislaus, in royal costume of ancient fashion. 
 King Philip, clothed as Ladislaus. 
 King Etienne, in ancient royal costume. 
 King John of Portugal, in ancient costume. 
 The Archduke Frederick of Austria, clad as archduke and 
 
 holding the archiducal sceptre. 
 The Archduke Sigismund of Austria, clad as archduke and 
 
 holding the archiducal sceptre. 
 Duke Philip of Burgundy, in ducal robes. 
 Duke Charles of Burgundy, in ducal robes. 
 Madame Cunegonde, Duchess. 
 Madame Margaret, Duchess. 
 Madame Cymburga, Archduchess. 
 Madame Maria, Archduchess. 
 Elizabeth, Queen of the Romans. 
 Bianca Maria, Queen of the Romans. 
 Eleonora, Roman Empress. 
 
 Sepulchral statues following the order observed in the 
 plates, ,- 42 
 
 PL. 104. Frederick III. 
 
 42 We have deemed it necessary to give here a second list of sepulchral 
 statues, arranged according to the number and order observed in the plates, 
 where we only find seventeen statues in place of twenty-one, and where there 
 are some not marked in the first list. The names of these are taken from the 
 miniature paintings, where the number of statues is thirty-three.
 
 PL. 105. Charlemagne. 
 Clovis I. 
 
 Etienne, King of Hungary. 
 Albert I. 
 
 PL. 1 06. Odobert, King of Provence. 
 Arthur, King of England. 
 John, King of Portugal. 
 Godfrey de Bouillon, King of Jerusalem. 
 
 PL. 107. Albert, King of the Romans. 
 
 Albert, King of the Romans, of Hungary, and Bohemia. 
 Ladislaus, King of Hungary and of Bohemia. 
 Ferdinand, King of Spain. 
 
 PL. 1 08. Philip, King of Castile. 
 
 St. Leopold, Margrave of Austria. 
 Sigismund, Archduke of Austria. 
 Charles, Duke of Burgundy. 
 
 PRISONERS. 
 
 (A man on horseback, carrying a tablet, on which is 
 written, " The prisoners of different nations whom 
 the Emperor has conquered.") 
 
 PL. 1 09, Two groups of prisoners (of different nations), surrounded 
 1 10. by a chain and escorted by some lansquenets. 
 
 All the lansquenets appearing in this Triumph, without a single 
 exception, wear the doublet and military hose, and are decorated 
 with the crown of honour. 
 
 All the horsemen represented in this Triumph, also without 
 exception, are decorated with the crown of honour. 
 
 PL. in, Two groups of ten men, each carrying a statue of a 
 112. female figure winged, and carrying a palm-branch in 
 her hand. 43 
 
 43 It is probable that these little statues represent treaties of peace and 
 alliances concluded by Maximilian I.
 
 IMPERIAL TRUMPETERS. 
 
 PL. 113 A large number of mounted trumpeters and kettle- 
 to 115. drummers, having the Imperial arms figured on the 
 streamers of their instruments. 
 
 All decorated with the crown of honour. 
 
 HERALDS. 
 
 PL. 116 Some mounted heralds clad in their coats (marked by 
 to 1 1 8. different devices, and each carrying a yellow wand). 
 
 They are all decorated with the crown of honour. 
 
 IMPERIAL STANDARD. 
 
 Christopher Schenk, mounted, cuirassed, decorated with 
 the crown of honour, and bearing the standard of the 
 empire, with the double-headed eagle. 
 
 THE SWORD OF THE EMPIRE. 
 
 The Marshal of the empire carrying the sword of the 
 empire. 
 
 He is mr Gjnificently clad, and decorated with the crown of 
 honour. 
 
 TRIUMPHAL CAR OF THE EMPEROR. 
 
 The triumphal car of the Emperor is magnificently con- 
 structed. On it is seated, in all his majesty, the 
 Emperor in his Imperial robes. On this car, ac- 
 cording to their ranks, are seated his first wife, Philip 
 and his wife and Frau Margaret, and King Philip's 
 children. The Archduke Charles crowned.* 
 
 This car is drawn by horses equipped in splendid harness, 
 becoming a car of Imperial triumph. 
 
 * There is an error in the French translation, which has been corrected 
 from the German. El).
 
 ( H3 ) 
 
 PRINCES.** 
 
 A horseman in magnificent costume and decorated with the 
 crown of honour, carrying a tablet, on which is written, 
 " The elected princes." The princes mounted in ranks 
 of five, carrying their banners, on which their names are 
 written. 
 
 Frederic, Duke of Saxony. 
 Albert, Duke of Bavaria. 
 Albert, Duke of Saxony. 
 Otto, Duke of Bavaria. 
 Henry, Duke of Brunswick. 
 Frederick, Count Palatine of Bavaria. 
 Christopher, Duke of Bavaria. 
 Eric, Duke of Brunswick. 
 William, Duke of Juliers. 
 Frederick, Margrave of Brandenburg. 
 William, Landgrave, second, of Hesse. 
 Christopher, Margrave of Baden. 
 Sigismund, Margrave of Brandenburg. 
 Albert, Margrave of Brandenburg. 
 Casimir, Margrave of Brandenburg. 
 Rodolph, Prince of Anhalt. 
 The Prince of Chimay. 
 
 All these princes are decorated with the crown of honour. 
 
 COUNTS. 
 
 Another horseman magnificently dressed, and decorated with 
 the crown of honour, carrying a tablet on which are written 
 these words, " The celebrated counts and lords." 
 
 44 The?e princes and counts, barons and knights, who follow after, are 
 frequently named by the authors who have written of the reign of Maximilian, 
 and particularly by Fugger, who, in the work often cited, details the important 
 services which they have rendered to their master, one of the rewards of which, 
 doubtless, is their place _in this Triumph.
 
 ( 144 ) 
 
 Count Albert of Zorn. 
 Count Frederick of Zorn. 
 Count Eitel Frederick of Zorn. 
 Count Ulric of Werdenberg. 
 Count Henry of Fiirstenberg. 
 The Counts of Nassau. 
 The Counts of Frangipan. 
 
 HERREN. 4 * 
 
 The Lords of Polheim. 
 
 The Lord of Vay. 
 
 Everard, Lord of Aremberg. 
 
 Pfeffers. 
 
 James, Lord of Luxemburg. 
 
 John, Lord of Berghes. 
 
 Veyt, Lord of Wolken stein.* 
 
 Heyg of Milin. 
 
 The Lords of Lanno. 
 
 Cornelius, Lord of Berges. 
 
 Francis de Montibus. 
 
 Thierry, Lord of Tschernahor. 
 
 Morsperg. 
 
 Lord Christopher Weytmulner. 
 
 All these counts and lords are decorated with the crown of 
 honour. 
 
 KNIGHTS. 
 
 Another horseman in magnificent costume, and decorated with 
 the crown of honour, carrying a tablet on which is written, 
 " The honourable knights." 
 
 The knights mounted, in ranks of five, bearing each his banner 
 with his name. 
 
 45 Barons. 
 
 * This and the three following are found in the German list, but omitted in 
 the French, ED.
 
 ( 145 ) 
 
 Rembert, Lord of Reichenberg. 
 
 Frederick, Lord of Capelle. 
 
 William, Lord of Pappenheim. 
 
 Josse, Lord of Lalain. 
 
 John, Lord of Teschitz. 
 
 Ewald, Lord of Lichstenstein. 
 
 Gallin of Berghes. 
 
 John, Lord of Salazar. 
 
 Syrich, Lord of Zebitz. 
 
 Melchior, Lord of Massmunster. 
 
 Lord Reinhard May. 
 
 George, Lord of Ebenstein. 
 
 Ulric, Lord of Ankenrent. 
 
 Philip of Friburg. 
 
 Josse, Lord of Prantner. 
 
 Louis de Vaudrey. 
 
 Sixte, Lord of Trautson. 
 
 James of Ems. 
 
 Francis Schenk. 
 
 Charles de Saveuse. 
 
 Henry, Lord of Hundbiss. 
 
 Alferat. 
 
 Falkenstein. 
 
 James Valera. 
 
 Truchsess Christopher of Stetten. 
 
 James, Lord of Haider. 
 
 Leonard, Lord of Vetter. 
 
 They are all decorated with the crown of honour. 
 
 SOLDIERS OF MERIT. 
 
 A foot-soldier decorated with the crown of honour, carrying a 
 tablet, on which are inscribed these words : " The soldiers 
 of merit." 
 
 U
 
 ( H6 ) 
 
 PL. 119. (Two ranks of five arquebusiers.) 
 
 These soldiers march in ranks of five, bearing their lances, 
 each distinguished by his name, written on his coat or on the 
 streamer attached to the crown of honour, with which his head is 
 decorated. Their names are as follows : 
 
 Martin Schwarz. 
 
 Manng of Schaffhaussen. 
 
 Jenusch (Janusch). 46 
 
 John Talsat, Spaniard. 
 
 Peter of Winterthur.* 
 
 Peter Plarer. 
 
 John Wanner. 
 
 Richard Vantos (Vantois), Englishman. 
 
 Conrad Hechinger. 
 
 Weidehart. 
 
 Henry Oterle, of the confederated cantons. 
 
 Rap of Cilley. 
 
 George of Ulm. 
 
 John Ebwein. 
 
 Peter Rorl. 
 
 James Miillner. 
 
 Spagorl, drummer. 
 
 Jeckel, fifer, with the large fife. 
 
 (Three ensigns, and by their sides two halberdiers. The three 
 ensigns bear on their flags the arms of the Empire, Austria, and 
 Burgundy. 
 
 One rank of halberdiers. 
 PL. 120. Two ranks of lancers with long lances. 
 
 Above the first rank are marked the following names : 
 Linsel. 
 
 Fleck, of the confederate cantons. 
 Lofling. 
 
 46 Probably Janes, Hungarian for John, and pronounced Janoche. 
 * This name is not found in the German list. ED.
 
 ( 147 ) 
 
 Peter Wunderlich. 
 John Schwarz. 
 Ergot. 
 
 Two ranks of arquebusiers.) 
 PL. 121. Two ranks with sabres. 
 
 They are all decorated with the crown of honour. 
 
 BARRICADE OF WAGONS. 
 
 Herr Hans Wulfesdorfer, commander of the train, 
 mounted, decorated with the crown of honour and 
 carrying his couplet, which has not yet been com- 
 posed. 
 
 Next comes the train of wagons. 
 All the attendants are decorated with the crown of honour. 
 
 SAVAGES OF CALICUT. 
 
 PL. 122 A savage of Calicut, naked (having a girdle round his 
 
 to 124. loins, mounted on an elephant), wearing the crown 
 
 of honour on his head and carrying a tablet, on 
 
 which is written, "These people are subjects of the 
 
 thrones and houses mentioned above." 
 
 Following are the savages of Calicut. 
 
 A rank armed with targets and swords. 
 
 A rank armed with pikes. 
 
 Two ranks with English bows and arrows. 
 
 They are all naked, or dressed in the Indian or Moorish fashion, 
 and decorated with the crown of honour. 
 
 THE HEAVY BAGGAGE OF THE ARMY. 
 
 Jerome von Heremberg, commander of the heavy 
 baggage-train, mounted, and carrying his couplet, 
 which is not yet written.
 
 
 PL. 125 The heavy baggage of the army (attended by different 
 
 to 129. kinds of attendants and domestics) marching without 
 
 order, mounted and on foot, according to the usual 
 
 custom, with baggage-trains '. and they are all deco- 
 
 rated with the crown of honour. 
 
 END OF THE TRIUMPH. 
 
 APPENDIX. 
 
 PL. 130. A king and a queen (possibly Philip, King of the 
 Romans, and Joanna, his wife) on horseback, clad 
 in their royal robes, with the sceptre in the hand. 
 They are preceded and followed by six foot-guards 
 armed with pikes. 
 
 PL. 131. A princess on horseback, magnificently clad, with a 
 crown upon her head and holding a little whip in 
 her hand. Her horse is led by the bridle by two 
 gentlemen. Behind her are two ladies of the court, 
 also on horseback, richly dressed, and followed by 
 three halberdiers. 
 
 PL. 132. A horseman carrying a tablet destined for a couplet, 
 and followed by two men of a foreign nation, each 
 of whom leads a horse saddled and equipped. 
 
 PL. 133, Two ranks of five men, in the costumes of different 
 134. nations, each leading a horse saddled and equipped. 
 
 PL. 135. The forepart of a triumphal car, drawn by four horses 
 galloping, and driven by a winged genius, who holds 
 a laurel crown in his left hand.
 
 OBSERVATIONS ON THE TRIUMPH. 
 
 IN the reproduction of the " Triumph " it has been found con- 
 venient to reduce the size of the plates to three-fourths of that of 
 the original. This reduction affects equally all the lines and the 
 black and white spaces, so that, although the effect produced is 
 to some extent different, the general characteristics are preserved. 
 When the edition of 1796 was printed, the wood blocks, having 
 lain unused for more than 250 years, had become warped and 
 worm-eaten, so that most of the plates show imperfections resulting 
 from one or both of those causes. 
 
 Each design is composed of several blocks fastened together, 
 and the warping of many of them has separated the edges, so that 
 white lines appear across those prints ; and in some cases the blocks 
 have been so bent that the edges have, in the printing, nearly cut 
 through the paper. The unevenness of the surface has also had the 
 effect of giving a faint impression and an appearance of rottenness 
 to the print. These defects necessarily appear in all the copies 
 of this work printed in 1796, and are faithfully copied in this re- 
 production, which is taken from a large paper copy. When the 
 blocks were found, the spaces on the banners, scrolls, and tablets 
 intended to carry the inscriptions were uncut ; but as these large 
 black spaces, which were not intended by the designer to remain, 
 injured materially the effect of the printed engravings, they were 
 in many instances cut away. Why this was not done in every 
 case is not explained, and those plates where the blackness 
 remains are as much injured in effect as the others would have 
 been had it not been removed. Up to No. 57, all the black 
 spaces are cut out ; afterwards, this is only done sometimes. It 
 has been deemed advisable, in the reproduction, to leave in every 
 case these spaces blank. 
 
 The numbering of the plates in the 1796 edition was very 
 carelessly done, so that in many cases the same numbers were 
 repeated on different plates, and do not agree with the numbers
 
 given in the preface. In this reproduction, the numbering is as 
 far as possible corrected, the numbers of the 1796 edition being 
 given, and the true numbers added in brackets. The plates 89 
 to 100, which represent the wars of the Emperor, are so entirely 
 different from the series of the wars in the picture on vellum, and 
 from the descriptions in the manuscripts, that the editor of 1796 
 does not profess to have found the correct order. He notices only 
 No. 89, the Venetian War, which can be recognized from the 
 winged lion. No. 94 was probably intended as the preface to 
 the wars, as it has two large tablets for inscriptions ; and No. 93 
 is certainly the Austrian War, as the Emperor appears accom- 
 panied by a crowned female figure carrying the Austrian flag, 
 and the arms also appear on the car : in addition to this there is 
 a figure which seems intended to represent a navigable river, 
 probably the Danube. 
 
 From No. 105 to 129, the original numbering of the plates is 
 altogether incorrect. The arrangement of those numbered no, 
 in, 125, 129, and 128 only needs special mention. Jackson* has 
 fallen into an error in placing these plates, as he says of them : 
 " It is evident that some are wanting, for the two which may be 
 considered as the first and last of those five respectively require 
 a preceding and a following cut to render them complete ; and 
 there are also one or two cuts wanting to complete the inter- 
 mediate subjects." He places them in the following order, 
 129, 128, no, in, 125. 
 
 By placing them in the order in which they appear in the repro- 
 duction, they form a consecutive series, but are short of a cut 
 before no (125), which should contain the horses for the waggon 
 in that plate. Passavant describes the missing print, which is 
 contained in the ancient copy in the Imperial library at Vienna. 
 It contains Jerom von Heremberg, as commander of the baggage, 
 holding his tablet. Passavant,t in giving the order in which these 
 cuts should appear, has overlooked the general arrangement, by 
 which the head of the procession appears as No. i, and has 
 reversed the true order. He alters 128 to 125, and places Jerom 
 von Heremberg as No. 129*, following his new number 129. The 
 copy of the " Triumph " which he has used has been, apparently, 
 numbered differently to that seen by Jackson and that used for 
 
 * "A Treatise on Wood Engraving," by Jackson and Chatto, p. 301. 
 f "Peintre-Graveur," vol. iii. p. 269.
 
 the reproduction, since he refers to Nos. no and in as 126 
 and 127. 
 
 The arrangement adopted in the reproduction is as follows : 
 
 No. (125), in 1796 edition No. no. 
 No. (126), No. in. 
 
 No. (127), No. 125. 
 
 No. (128), No. 129. 
 
 No. (129), No. 128. 
 
 Passavant also notices another engraving found in the Vienna 
 library, and for which the wood block has been lost, representing 
 the triumphal car of Philip I. and Joanna of Castile. This was 
 intended to follow No. 135, which contains the four horses driven 
 by a winged figure, the two forming one design. 
 
 In comparing the engravings with the description prepared by 
 the order of the Emperor for the instruction of the designer, it 
 will be found that there are others besides those already mentioned 
 in which the instructions have not been followed. The Car of 
 Natural Fools, Plate 30, contains only five instead of six fools. 
 The Soldiers, Plate 119, have not their names written on the 
 dress, but scrolls are placed above the procession for that pur- 
 pose, and the Savages of Calicut, Nos. 122 to 124, are treated 
 in a more picturesque manner than the Emperor intended. 
 
 The editor of the descriptions in 1796 omitted to insert refer- 
 ence numbers to Plates 41, Hans von Yfan, and 42, a rank of 
 five men on foot. Although he is open to censure for the care- 
 lessness displayed in matters of this kind, yet he does not deserve 
 the sweeping condemnation which Jackson* pronounces against 
 him. The preface gives all the information then obtainable with 
 regard to the history of the work, to which more modern research 
 has added little. The notes, explanatory of the cuts and of the 
 difficulties which are met with in the manuscript descriptions, are 
 in most cases valuable aids to an understanding of the subjects, 
 but there are some few errors and omissions which may be noticed 
 here. 
 
 Plate 6. One of the falconers carries an owl. This bird was 
 used in falconry as a siren to attract the kite, so as to enable the 
 hawk to approach it more easily. 
 
 * Jackson and Chatto, pp. 289 and 292. 
 *
 
 ( 152 ) 
 
 "On se sert du due dans la fauconnerie pour attirer le milan; 
 on attache au due une queue de renard, pour rendre sa figure 
 encore plus extraordinaire ; il vole a fleur de terre, et se pose dans 
 la campagne, sans se percher stir aucun arbre; le milan, qui 
 l'apergoit-de loin, arrive et s'approche du due, non pas pour le 
 combattre ou Fattaquer, mais comme pour 1'admirer, et il se tient 
 aupres de lui assez long terns, pour se laisser tirer par le chas- 
 seur, on prendre par les oiseaux de proie qu'on lache a sa pour- 
 suite." " Histoire Naturelle des Oiseaux," par de Buffon, par 
 Sonnini, torn. iv. p. 40. 
 
 Plate 1 8, Note 7. In this note it is erroneously stated that the 
 rebec is our present violincello. as may be seen in the woodcut, 
 and it is added, it is tuned in fifths. This is hardly correct, 
 though the tuning in both instruments is the same : the instru- 
 ment as given in the engraving has seven strings. It would be 
 more correctly described as the viol de gamba, or leg viol, an old 
 musical instrument with six strings, so called because it was held 
 between the legs. It was derived from the rebec, a Moorish 
 instrument with two strings, to which the Spaniards added a third. 
 This number was afterwards increased to six. This instrument 
 has been used in modern orchestras on rare occasions. 
 
 Plate 26, Note 13. The Bishop of Vienna is the only eccle- 
 siastic who appears in the procession, and he only appears as 
 kapellmeister, and not in his sacerdotal character. This is the 
 more remarkable, as Maximilian professed to be the head of 
 Christendom, and desired at one time to be made Pope himself. 
 
 Plate 42, Note 18. The history of armour is now better under- 
 stood, and descriptions and illustrations of the various kinds 
 of helmets will be found in " Weapons of War," by Auguste 
 Demmin, translated by C. C. Black, M.A. London, Bell & 
 Daldy. 1870. 
 
 Plate 55 is described as the Course a la queue. The German 
 is Schweifrennen, which might be translated into English as the 
 train or tail course. 
 
 Plate 56, Note 37. This note does not throw much light on 
 the meaning of the name given to this course. The wreath is 
 said to have been introduced into Europe by the Crusaders, who 
 copied it from the Saracens, and was worn over the helmet below
 
 ( 153 ) 
 
 the crest. In English heraldry, its colours are derived from the 
 coat-of-arms, in later times ; but on its first introduction, there 
 would be no such rule observed. 
 
 The wreaths in the engraving are worn upon a cap of leather 
 or cloth, and it is doubtless called the course of the wreath from 
 the wreath being the principal protection to the head, and not a 
 mere adjunct to the helmet. 
 
 Plate 82. The reference to this plate is wrongly given, as 
 there are only the first three provinces represented out of the 
 six named. It is evident that there is a wood block for the 
 last three missing. 
 
 Besides this there are many other breaks in the series of 
 designs, which are the result either of the blocks not having 
 been found, or possibly of their not having been engraved. 
 This latter is, as regards the greater number of omissions, the 
 more probable, as there are no breaks before the 36th block. 
 Following the Plate No. 36, a cut representing five men with 
 battleaxes is missing; following No. 51, the Elmet Course; 
 fol lowing No. 53, the Course of Caspar Wintzer and the Vam- 
 plate Course; following No. 56, the Marriage of Burgundy; fol- 
 lowing No. 82, the standards of Artois, Holland, and Zeland ; fol- 
 lowing No. 88, the Marriage of the Emperor; following No. 102, 
 the Hungarian Trophy Car. Before Plate 103 there is a plate of 
 Horsemen carrying Standards, missing ; and following both the 
 Nos. 103, 118, and the intervening plates, there are many missing 
 blocks. Between Nos. 119, 120, and 121 there are several blocks 
 missing; and following No. 121, the Barricade of Wagons; fol- 
 lowing No. 124, Jerom von Heremberg ; and following No. 135, 
 the Triumphal Car of Philip and his wife. 
 
 At the back of many of the wood blocks the names of the 
 engravers are written in ink, and in the preface to the " Triumph," 
 which is followed by Bartsch, these are stated to be : 
 
 1. Jerome Andre. 
 
 2. Jean de Bonn. 
 
 3. Cornelius. 
 
 4. Hans Frank. 
 
 5. Saint German. 
 
 6. Guillaume. 
 
 7. Corneille Liefrink. 
 
 8. Guillaume Liefrink.
 
 ( 154 ) 
 
 9- Alexis Lindt. 
 
 10. Josse de Negker. 
 
 11. Vincent Pfarkecher. 
 
 12. Jaques Rupp. 
 
 13. Hans Schaufelein. 
 
 14. Jean Taberith. 
 
 15. FP. 
 
 1 6. H F in a monogram. 
 
 17. WR. 
 
 The present keeper of the Imperial library, Herr Anton Ritter 
 von Perger, has kindly furnished, in a letter to the editor of this 
 reproduction, the following as the correct list, and has added the 
 number of blocks executed by each : 
 
 Hans Schaufelein ... ... ... i block. 
 
 Jerom Andre ... ... ... 5 ,, 
 
 . . . Schriftler 16 
 
 Hans Taberith ... ... ... 13 ,, 
 
 Wilhelm Lieferink ... ... 14 ,, 
 
 Cornelis Lieferink ... ... 4 ,, 
 
 Hans Lieferink ... ... ... i ,, 
 
 Jobst Danneck ... ... ... 10 ,, 
 
 Jan de Bon ... ... ... 9 ,, 
 
 Cornelis May ..-. ... ... 5 ,, 
 
 Hans Frank ... ... ... 2 ,, 
 
 Alexis Lindt ... ... ... a ,, 
 
 Jacob Rupp ... ... ... 2 ,, 
 
 WR 2 
 
 j~T- (Hans Frank?) ... ... 6 
 
 N i 
 
 The two lists do not agree entirely, as the first contains Cor- 
 nelius, Saint German, Guillaume, Vincent Pfarkecher, and the 
 initials F P, not contained in the latter ; and that contains 
 Schriftler, Hans Lieferink, Cornelis May, and the initial N, 
 which are not found in the former. It is singular that there 
 should have been any mistake about these names, as the editor 
 of the " Triumph " and Bartsch, who was the keeper of the Royal 
 Library, had access to the blocks themselves. It may be re- 
 marked, however, that the Cornelius of one list is probably the
 
 Cornells May or Cornells Lieferink of the other, and Guillaume 
 is no doubt Wilhelm Lieferink; but the others cannot be 
 identified. 
 
 Besides these names, written on the back of the blocks, there 
 are marks on the plates, some of which may be those of engrave, s. 
 The first " Wisend," however, evidently refers to the bison in 
 the design, and some of the others appear to be numerals. These 
 marks are as follows : 
 
 On Plate 25 ... 
 
 6 7 
 68 
 
 6 9 
 
 72 
 73 
 
 ,, 83 (84) 
 
 86(87) 
 
 Burgmair's mark, H B, appears upon many of the plates, but 
 the majority have no mark of any kind, and the unequal merit of
 
 ( 156 ) 
 
 the design and the drawing has led Jackson, in his " Treatise on 
 Wood Engraving," to doubt whether they were all the work of 
 Burgmair himself. He says (p. 293) : " At the back of the block 
 which corresponds with the description numbered 120, Hans 
 Schaufflein's name is found coupled with that of Cornelius Lie- 
 frink ; and at the back of the cut which corresponds with the 
 description numbered 121 Schaufflein's name occurs alone. The 
 occurrence of Schaufflein's name at the back of the cuts would 
 certainly seem to indicate that he was one of the engravers ; but 
 his name also appearing at the back of that described under 
 No. 120, in conjunction with the name of Cornelius Liefrink, 
 who was certainly a wood-engraver, makes me inclined to sup- 
 pose that he might only have made the drawing on the block, 
 and not have engraved the cut ; and this supposition seems to 
 be partly confirmed by the fact that the cuts which are numbered 
 104, 105, and 106, corresponding with the descriptions Nos. 119, 
 120, and 121, have not Hans Burgmair's mark, and are much 
 more like the undoubted designs of Hans Schaufflein than those 
 of that artist. That the cuts published under the title of the 
 ' Triumphs of Maximilian ' were not all drawn on the block by 
 the same person will, I think, appear probable to any one who 
 even cursorily examines them ; and whoever carefully compares 
 them can scarcely have a doubt on the subject." He then draws 
 attention to the spirited design of the drawings incontestably 
 Burgmair's, to the strength and heaviness of the horses, the 
 muscular form of the men, and the natural action and the 
 drawing of the hoofs of the horses, mentioning particularly 
 Nos. 15, 27, and 33. With these he contrasts the series of 
 banner-bearers, Nos. 57 to 88, which he says are "remarkable 
 for laboured and stiff drawing, gaunt and meagre men, and leggy 
 starved-like cattle." He objects to the action of the horses 
 and the drawing of the hoofs. He proceeds : " Not only 
 are the men and horses represented according to a different 
 standard, but even the very ground is indicated in a different 
 manner." 
 
 There certainly is a great difference between the designs alluded 
 to ; but even among those which bear Burgmair's mark there are 
 some much inferior to others, and the hoofs of the horses are not 
 in all cases well drawn. It is possible also that Burgmair's son 
 should have assisted in the designs a not improbable supposition, 
 and one which would account for the inferiority which certainly 
 exists. From Dienecker's letter, quoted in the notice of the life
 
 ( 157 ) 
 
 of Burgmair, it would seem as if he sometimes transferred the 
 design to the wood; and if he was accustomed to do so, 
 others might be employed in the same way. Dienecker him- 
 self would no doubt have been able to copy with fidelity, but 
 others of less sureness of hand might travesty the design in 
 drawing on the wood. Burgmair may therefore have made the 
 designs of the banner-bearers, which may have been transferred 
 to the wood by an inferior draughtsman. This is the more pro- 
 bable, as Burgmair drew animals with great truth and power, and 
 evinced a thorough knowledge of their habits and character, as 
 may be seen in all the earlier designs of the series of the Triumph ; 
 and he drew the human figure equally well. If his design was 
 transferred to the wood by one who had studied only to draw the 
 human figure, and who had no knowledge of the construction and 
 movements of the horse, the result would probably be similar to 
 what we find in the series of the banner-bearers. The men would 
 be drawn much better than the horses. Against this theory must 
 be put the fact that some of the horses exhibit a want of harmony 
 in the action of the legs which must have existed in the original 
 design, a want of harmony similar to that found in Schaufelein's 
 early work, as is seen in the illustrations to Sir Theurdank. Jackson 
 formed too low an opinion of Schaufelein, not apparently knowing 
 his best work, the " Marriage Dance," which is of extreme rarity. 
 Ottley, in his " Inquiry," vol. ii. p. 756, expresses the opinion that 
 Schaufelein may have made a few of the designs of the " Triumph." 
 There are seventeen cuts, Nos. 89 to 103, which present some 
 difficulties also, and Jackson confidently states (page 290) that 
 sixteen of them, 89 to 99 and 101 to 103, are not by Burgmair. 
 He omits No. 100, which is precisely similar in drawing to the 
 other sixteen ; but he was no doubt induced to do this because 
 the four horses in that plate are the same group as those in 
 No. 135, which is undoubtedly by Burgmair. These again may 
 have been designed by Burgmair, but not drawn on the wood 
 by him. 
 
 Jackson admits the possibility of this supposition, although he 
 leans strongly to the opinion that there were more designers 
 than one. 
 
 The plates Nos. 125 to 129 are a source of as much difficulty 
 as any, since they only have a background, and they are very 
 differently drawn from any of the others. Jackson inclines to 
 attribute them to Durer, but without giving any sufficient 
 reason ; but Mr. W. B. Scott, who has given considerable
 
 ( 158 ) 
 
 study to Durer's works, pronounces a very decided opinion to 
 the contrary. 
 
 Mr. Scott's reasons for coming to this conclusion, and Dr. 
 Willshire's for holding an opposite opinion, are printed from letters 
 (to be found at the end of this division) kindly sent by those 
 gentlemen to the editor. 
 
 From Mr. Scott's letter it will be seen that he leans strongly 
 to the opinion that Burgmair designed the whole series ; and 
 from Dr. Willshire's, that he favours the opinion of Jackson, that 
 several designers were employed. These letters are printed in 
 extenso, as valuable contributions towards the solution of an 
 obscure problem. 
 
 The whole of the series of the " Triumph " is not uniform in 
 the scale of the designs and the height and size of the figures. 
 Even among those bearing Burgmair's mark the difference is very 
 great. The whole series may be divided into several series, each 
 series differing in these respects from the other, but the plates in 
 each agreeing together. 
 
 The cutting of the blocks follows a similar division, and is not 
 of uniform merit. Jackson, whose opinions are upon this point 
 of the greatest value, as he was a practical wood-engraver of 
 considerable ability and knowledge, says (p. 304) : " The best 
 engraved cuts are to be found among those which contain Burg- 
 mair's mark. Some of the banner-bearers are also very ably 
 executed, though not in so free or bold a manner ; which I con- 
 ceive to be owing to the more laboured style in which the subject 
 has been drawn on the block. The mechanical subjects, with 
 their accompanying figures, are the worst engraved as well as the 
 worst drawn of the whole. The fine cuts which I suppose to have 
 been designed by Albert Durer are engraved with great spirit, but 
 not so well as the best of those which contain the mark of Burg- 
 mair." Jackson does not seem to have remarked the difference 
 in the style of cutting of some of the later pieces bearing Burg- 
 mair's mark, such as the Savages of Calicut, Nos. (122) and (123), 
 from the earlier. Thus there are four or five hands only apparent 
 in the cutting, although there were at least sixteen engravers em- 
 ployed upon the work. This result was gained, there can be no 
 doubt, by the pieces which have similar characteristics having 
 been finished by the same engraver. As the work was in progress 
 during four years, from 1516 to 1519, when the Emperor died, 
 there would be ample time for one engraver to finish the cutting 
 of many blocks, if they had been carried to some degree of com-
 
 ( 159 ) 
 
 pleteness when put into his hands. This course had already been 
 pursued in the earlier works for the Emperor, as we learn from 
 the letter of Dienecker, already alluded to, and which is given 
 in Herberger's " Conrad Peutinger in his Relations with the 
 Emperor Maximilian I.''* 
 
 He writes on the 2oth of October, 1512 : 
 
 " I have been told that your Imperial majesty wishes that the 
 work and piece-work which I prepare and do should be rather 
 pushed on, &c., and that you have written to Doctor Bewtinger 
 on that account to give me the assistance of two or three more 
 form-cutters. I am very glad of it, your majesty, and as 1 know 
 two form-cutters who are very clever, and would like to be 
 employed by me in your majesty's service, ... I should be glad 
 if your majesty would give orders that the two form-cutters may 
 enter my service ; and let each of them be accredited to Bam- 
 gartner for a hundred florins a year, in order that I may retain 
 them with me and they may have enough to live. 
 
 " Under these circumstances I shall be ready to prepare all 
 work for the cutters, and will afterwards finish and polish t it with 
 my own hands, in order that the work and piece-work should be 
 all alike in the cut, and finished all by the same hand, so that 
 nobody could doubt it. 
 
 " Being then three workers instead of myself alone, I pledge 
 myself to furnish your majesty six or seven good pieces a 
 month, all done in my very best style ; and after my wish has 
 been granted, Schonsperger may begin to print. I shall do my 
 very best, and exercise my best skill to push the work and please 
 your majesty. 
 
 " May it likewise please your majesty to give orders that we 
 three cutters may have a private room or house, that we may 
 be alone and unmolested, as the work requires it that we 
 should be." 
 
 The "Triumph" was never completed, being, like all the art- 
 works of Maximilian, interrupted by his death, and not resumed 
 by his successor. The wood blocks were laid aside, and after a 
 
 * "Conrad Peutinger in seinem Verhaltnisse zum Kaiser Maximilian I." 
 Theodor Herberger. Augsburg, 1851, p. 29, note 91. 
 
 f The wood blocks, when the engraving is completed, are polished by 
 being rubbed with the hand.
 
 time lost sight of and believed to be destroyed, until their dis- 
 covery at the end of the last century. A few impressions had, 
 according to Bartsch,* been taken as proofs in a slovenly manner 
 from some of them upon odd pieces of paper. M. Mariette 
 possessed 87, and the king of Sweden a like number, as is stated 
 in the catalogue of M. Mariette's collection, 1775. Sandrart had 
 seen a hundred. The Imperial Court library possesses an ancient 
 copy, formerly in the library of the Archduke Ferdinand, which 
 contains, according to the present keeper, in his letter to the 
 editor, which has been mentioned earlier, 135 plates ; Bartsch 
 says 90, and Passavant, 128. The difference is easily explainable, 
 on the supposition that the collection has been added to. 
 
 There is another copy in that library, which was printed in 1796 
 on parchment, and another on paper, of the same date, which 
 latter contains only 127 plates. 
 
 The editor has been favoured by Mr. Reid, the keeper of the 
 print-room of the British Museum, with an account of the prints 
 of the " Triumph" which it contains. Among them is a volume 
 of early proofs, which was originally in the Ottley collection, after- 
 wards passed into that of Mr. Coningham, and was acquired by 
 the Museum in 1845. If Bartsch's description of the greatest 
 part of the early impressions known in his time is correct, the 
 Museum is especially fortunate in possessing this series of early 
 impressions, which are generally fine. 
 
 It contains impressions from two of the lost blocks, Jerome 
 von Heremberg, and the Triumphal Car drawn by the horses, in 
 Plate 135. Passavant mentions (No. 81) similar impressions 
 from these two blocks as existing in the Imperial library at 
 Vienna, and describes the watermark on both the sheets on 
 which they are printed as " tm ecusson en coeur avec une fau- 
 cillc." The watermark of the paper of the series in the British 
 Museum, a facsimile of which is given on next page, is a double 
 eagle ensigned and charged with a sickle. It is most probable that 
 Passavant intended to describe the same watermark, and if that 
 is so, the impressions were probably struck off at the same time. 
 
 Besides the Ottley series, the Museum possesses three early 
 proofs which were in the old Museum collection, and are believed 
 to have originally formed part of the Cracherode collection. They 
 correspond in subject with Nos. 44, 76, and no of the edition of 
 1796. The last, of which the subject is, "Captives surrounded 
 
 * Vol. vii. p. 2;;.
 
 ( 161 ) 
 
 by a chain," is a remarkably fine impression, and contrasts very 
 favourably with even large paper copies of the 1796 edition, 
 although the block does not seem to have suffered by age so 
 much as some of the others. 
 
 The trustees of the British Museum have permitted the HOL- 
 BF.IN SOCIETY to photograph the two unpublished plates for the 
 purpose of reproducing them. They are reproduced uniformly 
 
 Y
 
 ( 162 ) 
 
 with the others, on a scale of three-fourths of the size of the 
 originals. As far as is known, there are only two impressions, 
 those above mentioned, and as they have never been before 
 copied, they musj be considered to add considerable interest to 
 this publication of the HOLBEIN SOCIETY. 
 
 Jerome von Heremberg is numbered in the Museum list 124*, 
 but in this reproduction i24 A . It contains Jerome von Herem- 
 berg on horseback, followed by country people also on horseback, 
 and two horses driven by a peasant carrying a large whip over his 
 shoulder. These horses draw the waggon in Plate no (125), 
 and there is part of a tree at the side, which completes the tree 
 in that design. 
 
 The other plate is numbered 102** in the Museum list, but in 
 this reproduction I35 A . It follows the team of four horses driven 
 by a genius, No. 135. It is singular that a man is introduced 
 assisting to turn one of the wheels. 
 
 Dr. Wiltshire has drawn the attention of the editor to a 
 notice of the "Triumph" in Retberg's "Diirer's Kupperstiche 
 v. Holzschnitte, &c.," Munich, 1871, in which it is stated that 
 Dr. M. Thausing, president of the Albertina, discovered, by a 
 careful comparison of the sketches in the Ambras and Albertina 
 collections, and of the plates in the Triumphal Arch and Tri- 
 umphal Car, and from an allusion of Neudorffer's, that the designs 
 of twenty-four of the plates are by Albert Durer, and he gives as 
 his, Plates 89 to 103, 104 to 108, 130, 131, and 135. 
 
 At present it is impossible to determine the value of the results 
 which he has arrived at, as the evidence upon which the con- 
 clusion is formed is not accessible ; but among the designs said 
 to be by Durer are some of the worst in the procession.
 
 ( 163 ) 
 
 Letters from Mr. SCOTT and Dr. WILLSHIRE. 
 
 From WILLIAM B. SCOTT, Esq., Author of " Half-hour Lectures 
 on the History and Practice of the Fine and Ornamental 
 Arts"; "Albert Durer : his Life and Works," &c. Long- 
 mans, Green, & Co. 1869. 
 
 " On receiving your note I have again looked at the Burgkmairs, 
 and considered over again your reasons for supposing it likely 
 that Durer* assisted that artist in some of the ' Triumphs of Maxi- 
 milian.' I am still, however, of the same opinion, and fancy that 
 if we were together, with the prints before us, you would consider 
 my reasons good for retaining the conviction that the Nuremberg 
 artist did not assist, or at least that he did not actually do any 
 of the sheets of the procession, nor any complete figures of the 
 extensive work of the Augsburger. The speculation is, however, 
 an interesting one, and worth considering in your literary accom- 
 paniment to the volume of the HOLBEIN SOCIETY'S reprint. The 
 reason you assign in proof of Durer having put his hand to the 
 work, that other designs in the ' Triumph ' are occasionally so 
 very inferior that he must have received help, where the drawing 
 is so good, is only a negative one. Burgkmair was nearly always 
 a careless draughtsman, with .a wild freedom, both in the use of 
 the instrument wherewith he drew on the block and in the action 
 of his figures. The expression of his faces, too, has always an 
 emphatic peculiarity. Durer's manner, on the contrary, had an 
 extraordinary amenity, his grotesque was premeditated, and his 
 faces are all thinking rather than acting faces. The difference 
 between the two would have been apparent, and left no doubt 
 on the observer's mind. Some other able artist might be found 
 perhaps who had the faculty, and did not mind exercising it, of 
 imitating, while assisting, the long labour of Burgkmair. Hans 
 Sebald Beham, for example, in his large print of the ' Pillaging 
 
 * The opinion of the editor upon this subject has been modified since he 
 wrote the letter to which Mr. Scott refers, as will be seen in the preceding 
 pages.
 
 ( 164 ) 
 
 Train,' on four great blocks, shows much the same vigour as 
 Burgkmair ; but Durer, throughout the ' Triumphal Arch,' an 
 immense undertaking, enough to try his patience, never loses his 
 careful handling and refined touch. But it appears to me Burgk- 
 mair needed no aid ; he was unboundedly prolific, only he seems 
 to have made no preliminary sketch, and to have left the drawing 
 on the block as good or bad luck would have it. He is therefore 
 a very unequal artist, although always, or nearly always, a man of 
 startling power and invention. If his worst things are bad, his best 
 are extraordinarily fine. ' Death and the Lovers,' one of the rarest 
 early German chiaroscuro prints, of which I could show you a 
 very fine impression, is in the highest degree splendid. So is the 
 ' St. Luke painting the Virgin,' a woodcut not very large, wherein 
 the pose of the Madonna and the faces of the two principal figures 
 are so sweet and refined, they are equal to any Italian work of 
 the period, combined with individuality and appropriateness 
 belonging to his own German nature." 
 
 Mr. Scott, carrying out his views, has omitted from his ex- 
 haustive catalogue of Durer's works the six cuts in the 
 "Triumph." 
 
 Extract from a letter from WILLIAM HUGHES WILLSHIRE, Esq., 
 M.D. Edin., late President of the Medical Society of 
 London, &c. ; author of "An Introduction to the Study 
 and Collection of Ancient Prints." Ellis & White, London, 
 1874. 
 
 " In reply to your questions of the 2oth ult, I may say that 
 I had always considered Chatto's critical exposition (' Treatise 
 on Wood Engraving,' by Jackson & Chatto, 2nd edition, pp. 289 
 et sff.) of the cuts of the Triumphal Procession as true an one as 
 it was possible to give of a matter much of which, after all, must 
 remain a question of opinion, and can never become of demon- 
 strative certainty. Since I heard from you I have again gone 
 over the two copies of the Triumphal Procession in the 
 British Museum, with Chatto's critique in hand, and the result 
 is that I am of the same opinion still. That Burgkmair was 
 the designer of the majority of the cuts in question not any one 
 can dispute, ot" course. There is documentary evidence that 
 he was engaged on the work ; many cuts bear both his initial
 
 marks and characteristic style, and others evince the style, 
 though the marks are absent. But with this allowance, I think 
 it should be admitted that there are perhaps nearly fifty cuts 
 which neither bear Burgkmair's mark nor evince his style. On 
 the contrary, in many of these not only is the style not Burgk- 
 mair's negatively, as it were, but it is positively somebody 
 else's, so individual and marked is it. In illustration of this, I 
 would refer to what Chatto says respecting the joints and the 
 hoofs of the horses and the general forms of the latter, of the 
 treatment of the ground in cuts 57 to 88, and of the peculiar style 
 of some of the subsequent cuts of the series, in which the pine- 
 trees play a prominent part. These cuts from 57 to 103, with the 
 after ones (which evince a Diireresque feeling), show neither the 
 H B nor Burgkmair's power, quoad 57 to 103, nor his style, quoad 
 the remainder. Who were the designers of these doubtful pieces 
 then ? All that can be said for certain is, that H. Schaufelin's 
 name is on the back of one of the blocks, of which block he was 
 probably cutter as well as designer, and hence his name on it 
 without that of anybody else ; while on another block his name 
 occurs with that of Liefrink, who probably engraved in part 
 Schaufelin's design. Schaufelin was not accustomed to cut his 
 own designs, as shown by the letter of Dienecker, in which, 
 says Passavant, ' Dienecker se plaint que la dessinateur ou peintre, 
 Hans Schaufelin, n'ait pas encore ete payee pour les dessins 
 qu'il lui a livres, et prie S. M. de vouloir bien en remettre le 
 montant,' &c. Further, if Diirer was engaged, as we know he 
 was, to design part of the great works the Arch and the Car, 
 why may he not have contributed those latter cuts of the series 
 of the procession, which are not Burgkmair's, are too good for 
 Schaufelin, and are really like the style of Diirer ? 
 
 " The same may be said of the Weiss Kunig as of the Triumphal 
 Procession. I think that, though Burgkmair was the designer of 
 most of the cuts, he certainly was not of the whole ; as on 200 
 is Schaufelin's mark, on 199 Springenklee's, and on 78 ^.g I 
 question if 33, 34, and 35 are H B's, or 41, 47, 95, 150, 236, &c.
 
 APPENDIX.
 
 APPENDIX, 
 
 VEHME-GERICHTE. 
 
 DURING the reign of Maximilian the Vehm-Gerichte * was 
 becoming the subject of general discussion and public 
 opposition ; the Institution, which in earlier times was only 
 mentioned in awe-struck whispers, was now openly denounced, 
 and its mysteries made public property, by the hand of yEneas 
 Silvius (Pius II.). In its prevailing days death was the penalty 
 for divulging the names of the promoters or the proceedings 
 of their tribunals, and the utmost secrecy was secured. The 
 date of their establishment is as little known as the origin 
 of the name. Leibnitz suggests Fehm, as derived from the 
 Latin fama, common report, and geright, tribunal ; but we need 
 scarcely go further than the archaic German word feme, con- 
 demnation, which gives us at once a criminal court. They bore 
 another name, the Carolinian Courts, from their supposed institu- 
 tion by Charlemagne. The first clear evidence of their existence 
 is in the year 1267, when a document was issued from one of 
 these courts under the presidency of Bernard of Henedorp, freeing 
 one Gervin of Kinkenrode from feudal service for his inheritance 
 of Broke, for lands held under the Count of Mark. 
 
 The jurisdiction of these courts extended over the whole of 
 ancient Westphalia, embracing the lands between the Weser and 
 the Rhine. The lawlessness and anarchy of the Middle Ages, 
 when might ever prevailed over right, necessitated the establish- 
 ment of courts which paid little respect to rank, and had power 
 enough to execute their judgments with speed and secrecy. 
 
 * Dr. Berck, in his work, " Geschichte der Westphalischen Femgerichte, " 
 Bremen, 1815 (" The History of the Westphalian Vehm Gerichte"), collected 
 all available information on this subject. See "Secret Societies of the Middle 
 Ages." Nattali. London, 1848. 
 
 Z
 
 The supreme power and authority of the Vehme may be under- 
 stood by the fact that no writer dares so much as mention their 
 name till the middle of the fourteenth century, when Henry of 
 Hervorden, a Dominican monk, wrote against them ; and a 
 century later, when ^Eneas Silvius (Pius II.), then Frederick's 
 secretary, computed the number of the initiated at 100,000; and 
 no instance had been known of a single person divulging their 
 secrets. 
 
 Although secret, so far from being illegal courts, they reckoned 
 amongst the initiated the highest nobles, and sometimes the 
 Emperors, either personally or by deputy. Each tribunal lord 
 had his separate district, and either sat himself or appointed a 
 Free count as deputy. When he presented his deputy, he took 
 oath that the count was born on Westphalian soil, that his father 
 and mother were so born, that he had committed no crime and 
 was of good repute. The income of the Free count was con- 
 siderable, and was derived from fines and presents from the free 
 Schoppen, or initiated, and also from a fixed allowance in money 
 or in kind. Next to the count were the Schoppen, or assessors. 
 They formed the main body of the society. A solemn ceremony 
 attended the initiation of a candidate. Kneeling, with his hand 
 upon a sword and halter, he took the following oath : 
 
 " I promise on the holy marriage, that I will from henceforth 
 aid, keep, and conceal the holy Fehms from wife and child, from 
 father and mother, from sister and brother, from fire and wind, 
 from all that the sun shines upon and the rain covers, from all 
 that is between sky and ground, especially from the man who 
 knows the law, and will bring before this free tribunal under which 
 I sit, all that belongs to the secret jurisdiction of the Emperor, 
 whether I know it to be true myself or have heard it from trust- 
 worthy people, whatever requires correction or punishment, what- 
 ever is Fehm-free [a crime committed in the county], that it may 
 be judged, or, with the consent of the accuser, be put off in grace ; 
 and will not cease to do so for love or for fear, for gold or for 
 silver, or for precious stones, and will strengthen this tribunal and 
 jurisdiction with all my five senses and power; and that I do not 
 take upon me this office for any other cause than for the sake of 
 right and justice ; moreover, that I will ever further and honour 
 this free tribunal more than any other free tribunals ; and what I 
 thus promise will I steadfastly and firmly keep, so held me God 
 and his Holy Gospel."
 
 After this he swore that he would ever, to the best of his ability, 
 enlarge the holy empire, and that he would undertake nothing 
 with unrighteous hand against the land and people of the 
 Stuhlherr (tribunal lord). 
 
 The Schoppe, after this, was initiated, the mysteries of the 
 tribunal were revealed, and the secret sign was communicated. 
 He was further informed of the dreadful death which awaited 
 him if he forgot his vow. In such a case he was blindfolded, 
 his tongue was pulled out, and he was hung seven feet higher 
 than any other felon. 
 
 For the lawful holding of a Vehm court other officers were 
 necessary ; Frohnbotten (holy messengers or servants of God), 
 who acted as sergeants or messengers, and a clerk to enter the 
 decisions in the Blood-book. 
 
 Amongst the initiated were persons of various ranks, from the 
 highest to the lowest freeman, so that every man might be tried 
 by his peers. 
 
 The authority of the Emperor alone was recognized as con- 
 trolling the decrees of the court. 
 
 The Count held two kinds of courts one open, one secret. 
 The open court was held three times a year at least, and at this 
 every householder in the county was bound, under a penalty, to 
 appear and to declare an oath what crimes he knew to have been 
 committed in the county. The secret courts were held in the 
 open air, and in daylight, and instant death was the penalty of 
 intrusion by the uninitiated. Persons caught in the actual com- 
 mission of crimes, whether noble or not, were executed on the 
 spot ; if they escaped, they were cited to appear and tried in 
 due form. 
 
 The Emperors found this tribunal of such value to them that 
 they extended its jurisdiction over the whole empire. 
 
 The court had power, in case of contumacy or non-appearance 
 after citation, to order a sentence of outlawry, and from that day 
 the offender was liable, when caught, to be hanged on the nearest 
 tree with a withy branch ; a knife was stuck by his side, to show 
 that he had not been murdered. The court had power to sen- 
 tence princes and towns to outlawry, with the immediate loss of 
 all privileges. If the citation was attended to, due regard to 
 justice was observed, and an appeal, in case of condemnation, 
 allowed to the Imperial Chamber at Dortmund, or to the Emperor 
 or king. If the Emperor was initiated, he heard the cause him- 
 self; if not initiated, he referred it to such of his counsellors as
 
 were. In the fifteenth century several princes were cited to 
 appear, and Duke Henry of Bavaria was obliged to become a 
 free-schoppe to save himself. 
 
 Maximilian's father, Frederick, at last fell under the ban of the 
 tribunal, and he was cited in 1470, with his chancellor, to appear 
 between the gates of Wunnenberg to defend his person and 
 highest honour, under penalty of being held a disobedient 
 emperor. He treated the citation with contempt. 
 
 Maximilian, on his accession, superseded the authority of the 
 Vehm tribunal by that of the Imperial Chamber, and by dividing 
 the empire into circles, each with its tribunals of justice. He 
 outlawed the Duke of Wurtemberg, whom the tribunal would 
 have justified. This institution was never wholly and formally 
 abolished, but lingered on with diminished powers. In some 
 districts they were abolished by special decree, and where they 
 claimed jurisdiction, exemptions and privileges against them were 
 multiplied ; they were denounced by different diets, held their 
 courts in absolute secrecy, and, hunted down by an enraged 
 population, gradually died out. 
 
 Undoubtedly these courts had become utterly corrupt and 
 venial, but still it was a bold thing for Maximilian to strike at 
 their very existence, as their early protective value to the weak, 
 the certainty and celerity of the punishment of offenders, had on 
 the one side endeared them to the peasants, and created a feeling 
 of perhaps ill-defined awe amongst the higher ranks of the com- 
 munity. 
 
 MAXIMILIAN AND HIS DAUGHTER MARGARET. 
 
 AFTER the battle of Liege, won by Maximilian, the am- 
 bassadors of the Emperor and of Louis XI. met at Arras, 
 the principal city of Artois, and after long deliberation it was 
 considered that the marriage of Margaret to the dauphin would 
 best secure oblivion of their mutual wrongs. This was decided 
 on, and it was arranged that the young girl should be sent to
 
 ( 173 ) 
 
 France. Throughout the kingdom, on her progress to Paris, 
 Margaret was received by applauding crowds as the mediator of 
 peace. She was sent for from Amboise, whither Louis had 
 ordered the members of his family and other noble persons to 
 meet together. On arriving at Paris, the king confirmed the 
 marriage publicly, and the betrothal and rites having been cele- 
 brated, the day was spent as a public holiday. 
 
 What Gerard Roo speaks of as a betrothal, Commines speaks 
 of as a marriage; further, Dupont (vol. iii. p. 352 et seq.} writes 
 thus : Margaret was then three years and a half old, and the 
 dauphin rather more than twelve. Their meeting took place on 
 Sunday, the 22nd of June, 1483, at a place called Metairie le 
 Rayne, near Amboise. "The dauphin," says a contemporary 
 letter, " left the castle of Amboise dressed in a robe of crimson 
 satin, lined with black velvet, and mounted on a hackney, and 
 attended with thirty archers. At the bridge he dismounted, after 
 having saluted the ladies and changed his dress, and put on a 
 long robe of cloth of gold. Presently the dauphiness arrived and 
 descended from her litter, and immediately they were betrothed 
 by the prothonotary, nephew of the Grand Seneschal of Normandy, 
 who demanded of the dauphin in a loud voice, so that all could 
 hear him, if he would have Margaret of Austria in marriage ? and 
 he answered, 'Yes'; and the complemental question was put to 
 the dauphiness, who gave the same answer. Upon which they 
 joined hands, and the dauphin kissed the dauphiness twice; and 
 they then returned to their lodgings. And the streets of Amboise 
 were hung with cloth, and in the market-place was a figure of a 
 siren, who spouted forth white wine and red from her breasts." 
 The next day, the ceremony of marriage took place in the chapel 
 of the castle. 
 
 In strange contrast with her gallant reception by the dauphin 
 was his ignominious dismissal and repudiation of her when she 
 had attained her thirteenth year. 
 
 This curious woodcut, produced below, and bearing on the 
 subject, of which M. T. Ph. Berjeau has obligingly sent me a 
 stereotype, appeared in his publication the " Bibliophile."* 
 Dr. Wiltshire drew my attention to it, and copied the passage in 
 the publication for me, which, as he says, is "out of print and. 
 extremely difficult to procure." 
 
 ' Le Bibliophile," tome ii. p. 68. Paris, June, 1863.
 
 ( 174 ) 
 
 " Lorsqu'elle [/'. e. Anne de Bretagne] devint en suite la femme 
 de Charles VIII., malgre son precedent mariage avec Maxi- 
 milien, celui-ci fut naturellement furieux de la double injure 
 
 qui lui faisait subir cette union. Tons les Allemands ressen- 
 tirent comme lui cette injure, et c'est ce qui fut Foccasion d'un 
 echange assez amer d'epitres en vers et en prose entre Jacques 
 Wimpheling de Schlestadt, qui habitait Spire en 1492, et Robert 
 Gaguin, general de Trinitaires, que ses travaux avaient amene 
 a Heidelberg dans la meme annee. Leurs lettres furent pub- 
 liees pen de temps apres en un petit volume, in-4to de 12 ff., 
 sans lieu ni date, mais probablement imprime a Strasbourg, sous 
 ce titre, ' Disceptatio oratoru duorum regu/Romani, scilicet et 
 Franci, super ra/ptu Illustrissime ducisse britannice.' Au-dessous 
 du titre est le petit bois grave, que nous reproduisons ici, et qui 
 represente sans doute Marguerite d'Autriche venant rendre a son 
 pere son contrat de mariage brise par Charles Y1II. On se 
 demande pourquoi 1'artiste a couronne le pere et la fille d'une
 
 ( 175 ) 
 
 aureole, car ni Fun ni 1'autre n'ont ete canonises apres leur mort, et 
 ne pouvaient 1'etre d'ailleurs de leur vivant. La seule explication 
 possible est peut-etre que 1'artiste a voulu flatter ainsi la prevention 
 etrange de Maximilien, qui se faisait appeler Pontifex Maximus, 
 a 1'exemple des empereurs romains, et voulait absolutement que 
 le Pape le prit comme coadjuteur dans le pontificat romain."- 
 ("Le Bibliophile illustre," vol. ii. p. 68.) 
 
 TRANSLATION. 
 
 "When she (i.e. Anne of Brittany) became the wife of 
 Charles VIII., notwithstanding her previous marriage with Maxi- 
 milian, he was naturally enraged by the double outrage to which 
 he was subjected by this union. All the Germans, in common 
 with him, resented this wrong, and thus sprung the occasion of 
 an exchange of bitter letters, both in verse and prose, between 
 James Wimpheling of Schlestadt, who lived at Spire in 1492, and 
 Robert Gaguin, general of the order of the Trinity,* whose duties 
 had brought him to Heidelberg in the same year. Their letters 
 were published a short time after in a small quarto volume of 
 twelve leaves, without place or date, probably printed at Strasbourg, 
 under the title, ' Disceptatio oratoru duorum regu Romani, scilicet 
 et Franci, super raptu Illustrissime ducisse britannice.' Below the 
 title is the little wood-engraving, which we reproduce here, and 
 which represents without doubt Margaret of Austria coming to 
 restore to her father the contract of marriage broken by 
 Charles VIII. We may ask why the artist has crowned the 
 father and the daughter with an auriole, since neither one nor 
 the other was canonized after death, and could not be so during 
 
 * Generally known, and at first described, as the order of the Mathurins, 
 from their founder, John de Matha, who saw a vision when the bishop, 
 raising the Host, exclaimed, "Accipe Sanctum Spiritum" of an angel clothed 
 in white, bearing a cross on his chest of two colours, azure and scarlet, which 
 was the prognostic of the order which he was about to institute. Being in 
 company with a holy hermit near Meaux, they saw a stag quenching its thirst 
 at a clear stream, and having between its horns a cross resembling that which 
 St. John vowed to the angel when he celebrated his first mass ; he determined 
 to build the house of his order on this spot. He went to Rome and told the 
 Pope (Innocent III.) of his intention to dedicate his monks to the deliverance 
 of captives ; the Pope confirmed their rule (A.D. 1107), and named the order 
 " Of the Trinity of the -redemption of captives." Matha, having founded the 
 convent of St. Thomas at Rome, died there in the year 1214. See " Briefve 
 Histoire de ITnstitution des Ordres Religieux." Du Fresne. Paris, 1658.
 
 ( 176 ) 
 
 their lives ? The only possible explanation is, that perhaps the 
 artist desired to support the strange pretension of Maximilian, 
 who caused himself to be named Pontifex Maximus, after the 
 fashion of the Roman emperors, and absolutely wished the Pope 
 to take him as coadjutor in the pontificate." The writer seems 
 to forget that living persons were occasionally crowned with the 
 nimbus. (See Didron's "Christian Iconography," page 80.) 
 
 The cut seems to represent a female undergoing the trial by 
 fire, as she appears to be walking over (red-hot) ploughshares, the 
 third figure possibly representing the executioner. The impossi- 
 bility of such an event having taken place must be obvious, as 
 none of the chroniclers have mentioned it. What she holds in 
 her right hand may be, if it is meant for a trial, a piece of red-hot 
 iron, such as was used in the Middle Ages, or it may be a box 
 containing the marriage contract. 
 
 IN addition to those gentlemen whose friendly services have 
 been already acknowledged, the Editor has to express his 
 gratitude to G. VOIGT, J. G. WEHNER, and FREDERICK UNGER, 
 Esqrs., especially to the first-named gentleman, for translating the 
 archaic text of German works ; and to his son, LEES ASPLAND, 
 for valuable assistance. 
 
 THIS should have appeared as a note at page 10, but by an 
 accident the editor omitted it. 
 
 Dr. Bryce, in alluding to Maximilian's obtaining leave from 
 Pope Julius II. to assume the title of Imperator electus, says 
 (page 318): "After Ferdinand, each assumed, after his German
 
 coronation, the title of Emperor Elect, and employed this in 
 all documents issued in his name. But the word ' elect ' being 
 omitted when he was addressed by others, partly from motives of 
 courtesy, partly because the old rules regarding the Roman coro- 
 nation were forgotten, or remembered only by antiquaries, he 
 was never called, even when formality was required, anything but 
 Emperor." Gerard Roo (page 437), speaking of his coronation, 
 in 1508, by the Pope's legate, has this passage : " No jam regem, 
 ut hactenus, sed Romanorum Imperatorem deinceps appellandum, 
 promulgari jubet." 
 
 THE Council of the HOLBEIN SOCIETY desire to record their 
 deep regret at the loss of the Rev. HENRY GREEN, M.A., 
 their first editor. He devoted his well-earned leisure, with an 
 almost youthful enthusiasm, to the interests of the HOLBEIN 
 SOCIETY. His scholarly mind, literary aptitude, and unusual 
 powers of work enabled him to edit with great success the re- 
 productions of our Society. Lovers of emblem literature are 
 under great obligations to him for an exhaustive essay on this 
 subject; and still more so for his volume, "Shakespeare and the 
 Emblem-writers," which is a work of great merit. 
 
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