A treatise on wood engravings : historical and practical . he elder Schaufflein died at Nordlingen, in 1539. At page 281,his death, on the authority of Bartsch, is placed in 1550. t The name of Cornelius Liefrink occurs at the back of some of the wood-cutsrepresenting the saints of the family of Maximilian, designed by Burgmair, mentioned rtpagj 27S, note. 294. WOOD ENGRAVING inclined to suppose that he might only have made the drawing onthe block and not have engraved the cut; and this supposition seems tobe partly confirmed by the fact that the cuts which are numbered104, 105, a
A treatise on wood engravings : historical and practical . he elder Schaufflein died at Nordlingen, in 1539. At page 281,his death, on the authority of Bartsch, is placed in 1550. t The name of Cornelius Liefrink occurs at the back of some of the wood-cutsrepresenting the saints of the family of Maximilian, designed by Burgmair, mentioned rtpagj 27S, note. 294. WOOD ENGRAVING inclined to suppose that he might only have made the drawing onthe block and not have engraved the cut; and this supposition seems tobe partly confirmed by the fact that the cuts which are numbered104, 105, and 106, corresponding with the descriptions Nos. 119, 120,and 121, have not Hans Burgmairs mark, and are much more likethe undoubted designs of Hans Schaufflein than those of that the cuts published under the title of the Triumphs of Maximilianwere not all drawn on the block by the same person will, I think,appear probable to any one who even cursorily examines them ; andwhoever carefully compares them can scarcely have a doubt on From No. 15. Witli Bnr-mairs mark. Almost every one of the cuts that contains Burgmairs mark, in theTriumphal Procession, is designed with great spirit, and has evidentlybeen drawn by an artist who had a thorough command of his horses are generally strong and heavy, and the men on their backsof a stout and muscular form. The action of the horses seems natural;and the indications of the joints and the drawing of the hoofs—whichare mostly low and broad—evidently show that the artist had paidsome attention to the structure of the animal. There are, however,a considerable number of cuts where both men and horses appearremarkable for their leanness ; and in which the hoofs of the horsesare most incorrectly drawn, and the action of the animals representedin a manner which is by no means natural Though it is not unlikely IN THE TIME OF ALBEUT DtJllER. 295 tliat Hans Burgmair was capable of drawing both a stout, heavy h
Size: 1538px × 1625px
Photo credit: © The Reading Room / Alamy / Afripics
License: Licensed
Model Released: No
Keywords: ., bookcentury1800, bookdecade1880, booksubjectwoodengraving, bookye
