But we have yet to speak of 'The Triumphs of Maximilian.' This imperial work, the most important production of the art of wood-engraving the world has ever seen, was executed by command of the Emperor Maximilian to convey to posterity a pictorial representation of the magnificence of his court, the splendour of his victories, and the extent of his dominions. It consists of three distinct sets of designs: (I.) The 'Triumphal Arch,' (II.) the 'Triumphal Car,' both from the hand of Albrecht Dürer, and (III.) the 'Triumphal Procession,' by Hans Burgkmair. The size of the work is immense; if the whole series were laid out side by side it would cover about one hundred and ninety-two feet (64 yards!) The drawings were made on pear-wood and were cut by about eleven different engravers, of whom the most famous was Jerome of Nürnberg. Many of the original blocks are happily preserved in the Imperial Library at Vienna, and on the backs of them are written the names or
initials of the various engravers. It is evident, therefore, that at the beginning of the sixteenth century there was a recognised school of wood-engravers in Germany of considerable importance. One of them, Jobst de Neger, or Dienecker, came from Antwerp; a few lived at Nürnberg, others at Augsburg.
Some idea of the 'Triumphal Arch' is conveyed to our mind when we learn that it was drawn on ninety-two separate blocks of wood, and that when properly joined it is ten and a half feet high and nine and a half feet wide! It was designed 'after the manner of those erected in honour of the Roman Emperors at Rome;' there are three gateways or entrances—that in the centre is called the Gate of Honour and Power, on the right is the Gate of Nobility, on the left the Gate of Fame, a part of which is seen in the illustration. The arch itself is decorated with portraits of the Roman Emperors from the time of Julius Cæsar, shields of arms showing the descent of the Emperor and his alliances, representations of his most famous exploits, including his adventures while chamois-hunting in the Tyrol, with explanatory verses in the German language cut in the wood. Above the central entrance is a grand tower surmounted by a figure of Fortune holding the imperial crown. The whole is a kind of epitome of the history of the German Empire. The 'projector of the design' was Hans Stabius, who calls himself the historiographer and poet of the Emperor. The work was begun in 1515—four years before the Emperor's death—and was not quite finished at the time of the death of the artist in 1528. Although we do not see the greatest excellence of Dürer's peculiar genius in this immense production executed to order, for it is too full of German fantasies and very unlike the classic simplicity of the old Roman arches, it will be found to contain the finest work of the wood-engraver at that period. Some parts of it are of a marvellous delicacy that can hardly be surpassed.
The 'Triumphal Car,' also designed by Dürer at the suggestion of Stabius, is a richly decorated chariot drawn by six pairs of horses. In it the Emperor in his imperial robes is seated under a canopy amid allegorical figures representing Justice, Truth, Clemency, Temperance, and the like, who offer to him triumphal wreaths. Over the canopy is an inscription: quod . in . celis . sol . Hoc . in . terra . Caesar . est. The Car is driven by Reason with Reins of Nobility and Power, and the horses are guided by female figures of Swiftness, Prudence, Boldness, and similar equine virtues. The whole of the design is seven feet four inches in length and about a foot and a half in height.
To modern eyes the car is not prepossessing, the figures of the attendant damsels are by no means elegant, and the horses would not, we fear, meet with the approval of English critics. It brings to us a reminiscence of the funeral car of the Duke of Wellington, which, we remember, was designed by a German artist. Some parts of the decorations are excellent and the whole is well engraved.
The 'Triumphal Procession' is still more important. It consists of a series of one hundred and thirty-five large cuts, which, joined together, would cover in length one hundred and seventy-five feet (upwards of 58 yards!) A herald, mounted on a fantastic, four-footed winged gryphon, leads the procession; next follow two led horses bearing a tablet with these words, doubtless by Stabius: 'This Triumph has been made for the praise and everlasting memory of the noble pleasures and glorious victories of the most serene and illustrious prince and lord, Maximilian, Roman Emperor elect, and head of Christendom, King and Heir of seven Christian kingdoms, Archduke of Austria, Duke of Burgundy and of other grand principalities and provinces of Europe.' More horses follow, then come falconers with hawks on their wrists, hunters of the chamois and the bear, behind them are elks and buffaloes, richly caparisoned stags four abreast, and camels drawing decorated chariots in which ride the musicians.