Page:A History of Wood-Engraving.djvu/107

Rh were of his line. His personality groups the variety of the procession round itself alone; but the real interest of the work does not lie in him or his praise, but in the revelation there made of the secular side of the Middle Ages, the outward aspect of life, the ideal of worldly power and splendor, the spirit of pleasure and festival, shown forth in this marvellously varied march of laurelled horses and horsemen whose trappings and armor have the beauty and glitter of peaceful parade. There is nowhere else a work which so presents at once the feudal spirit and feudal delights in such exuberance of picturesque and truthful display.

The designs for this work were first painted upon parchment, and were afterward reproduced by engraving in wood; but the reproduction varied from the originals in important particulars. The series was far from completion at the time of Maximilian's death, and was left unfinished; it was never published until 1796, when the first edition appeared at Vienna, whither the lost wood-blocks had found their way in 1779. In its present shape the series consists of one hundred and thirty-five large cuts, extending for a linear distance of over one hundred and seventy-five feet; all but sixteen of these are reproductions of the designs on vellum, which numbered two hundred and eighteen in all, and these sixteen are so different in style from the others as to suggest a doubt whether they belong to the Triumph or to some other unknown work. Hans Burgkmaier is believed to be the designer of all except the few that are ascribed to Dürer; but, owing to their being engraved by different hands, they vary considerably in merit.

Maximilian also ordered two curious books to be