Publisher's Synopsis
This historic book may have numerous typos and missing text. Purchasers can usually download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1839 edition. Excerpt: ...scarcely have a doubt on the subject Almost every one of the cuts that contains Burgmair's mark, in the Triumphal Procession, is designed with great spirit, and has evidently been drawn by an artist who had a thorough command of his pencil. His horses are generally strong and heavy, and the men on their backs of a stout and muscular form. The action of the horses seems natural; and the indications of the joints and the drawing of the hoofs--which are mostly low and broad--evidently show that the artist had paid some attention to the structure of the animal. There are, however, a considerable number of cuts where both men and horses appear remarkable for their leanness; and in which the hoofs of the horses are most incorrectly drawn, and the action of the animals represented in a manner which is by no means natural. Though it is not unlikely that Hans Burgmair was capable of drawing both a stout, heavy horse, and a long-backed, thin-quartered, lean one, about there being two persons of this name Hans Schaufflein, an elder and a younger, seems to be a mere conjecture.'" Since the sheet containing this passage was printed off, I have learnt from a paper, in Meusel's Neue Miscellaneen, 5tes. Stuck, S. 210, that Hans Schaufflein had a son of the same name who was also a painter, and that the elder Schaufflein died at Nordlingen, in 1539. At page 340, his death, on the authority of Bartsch, is erroneously placed in 1550. The name of Cornelius Liefrink occurs at the back of some of the wood-cuts representing the saints of the family of Maximilian, designed by Burgmair, mentioned at page 336, note. I cannot persuade myself that he would, in almost every instance, draw the hoofs and legs of the one correctly and those of the other with great...
