1 8 Horfes. 



The horfe (Plate 40), from the fame eminent .artift, is not much better drawn than, 

 that of Lucas Cranach (Plate 37), although Diirer's horfe is at leaft galloping, while that 

 of the former artift is virtually ftumbling on his fore-legs. 



The white horfe (Plate 41), on the contrary, is an excellent fpecimen of the war-horfe, 

 as it was required in Albert Diirer's time. It is carefully drawn and well proportioned. 

 The ears are fo fhort that they muft have been cut, as it was the cuftom then in Germany. 



From Albert Diirer, the moft eminent German artift of his age, we naturally come 

 down to his colleague, Burgkmair, who delineated fo many horfes in his engravings. The 

 late Mr. W. A. Chatto, in the "Treatife on Wood Engraving," London, 1839, 8vo. 

 plate 355, fays of Burgkmair: — "His horfes are generally ftrong and heavy; and the 

 men on their backs of a ftout and mufcular form. The action of the horfes feems natural, 

 and the indications of the joints, and the drawing of the hoofs, which are moftly low and 

 broad, evidently mow that the artift had paid fome attention to the ftructure of the animal." 



Very heavy, indeed, muft have been the horfes in Plate 42 — one led by a Hungarian 

 magnate, the other by a Trabant. On the leather apron of the firft horfe the artift has 

 engraved his monogram, H. B, The heads of the two horfes are protected by a fteel 

 vifor, and they are crowned with a garland of leaves, for they form part of the feftive 

 cortege of the Emperor Maximilian. 



In Plate 43 the horfes are lighter and of a more homely character. The rider in the 

 upper part of the plate has been thrown from his horfe ; and, as one of his feet is ftill 

 entangled in the ftirrup, the poor horfeman is in a very critical pofition, for he is moft 

 likely to be dragged along by the frightened horfe. The horfe and cart below feem almoft 

 to belong to our own time ; the fpokes of the wheels alone, if not a fancy of the artift, 

 prefent an object, not to be eafily met now-a-days in Germany. 



The clarionet-player (Plate 44), crowned like his horfe with a garland, is mounted on 

 a common palfrey, as behoves a pacific warrior. The cafe of his inftrument is fattened to 

 the bow of the faddle. 



The St. George (Plate 45), engraved in chiaro-obfcuro, is one of the moft beautiful 

 engravings of Burgkmair. The horfe, befides a fteel vifor, has his neck protected by a 

 coat -of- mail. The leather covering is fringed around, and highly ornamented with 

 arabefques. On the left fide of the croup is painted, or embroidered, the image of a pelican. 

 From the helmet of the horfeman, the head, and even the tail of the horfe, a cloud of 

 feathers is waving in the breeze. In Plate 46 we fee how the leather apron of the horfe 

 is faftened to the bow of the faddle by a ftrap and buckle. The two horfemen (Plate 47) 

 are borrowed from the Tewrdannck, fol. 25, of the edition of 15 19. Hans Schaueflein, 

 pupil of Albert Diirer, who engraved moft of the plates in this book, reprefents here 

 Tewrdannck, the perfonification of the Emperor Maximilian, and his faithful efquire, 



