332 Early German and Flemish Woodcuts.—Part II.

136 (1, 2). THE BUKGUNDIAN MAKRIAGE, OR SMALL TRIUMPHAL
CAR. R. 218.

The team of four horses driven by Yictory is cut on one block, the car
itself on another.

(1.) Yictory, a winged female genius, sitting on a raised seat or box
decorated with pomegranates, holds in her 1. hand a wreath and in her r.
hand a large ring, to which a single rein is fastenecl. The rein is
connected at the other end with the hai’ness of four prancing horses,
moving from 1. to r., which are yoked, again by a single ring, to the car.
Their trappings are ornamented with the emblems of the Golclen Fleece.

[274 X 424, limits of design ; 373 x 433, limits of sheet.] There is no border-line
at the top. A good, early impression, with the watermark of the first edition of the
Triumph, printed in 1526 by order of Ferdinand I, viz., a crowned two-headed eagle
with a sickle on its breast.

(2.) On the upper platform of the car we see the Archduke Maximilian
and Mary of Burgundy holding the Burgundian shield between them,
standing under a canopy supported by four torch-bearing genii who stand
on slender pillars. Between the two front pillars is a two-handled vase
filled with pomegranates. On a lower level stand three women in antique
drapery, crowned with laurel and holding a covered cup, a banner and a
hoop tied with ribands. On the wicle lower platform of the car, imme-
diately over the wheels, stancl two groups of persons drawn on a smaller
scale, viz., a princess with four attendants and five courtiers, two of whom
are crowned with laurel. At the back of these two groups is a curtain
with a pattern of pomegranates which covers the side of the raised portion
of the car. A colossal landsknecht, crowned with laurel, stands on the
ground ancl throws his weight against the car from the back.

[380 X 424.] A fragment of border-line, from which the height is measured, is
visible above the flame of the highest torch. Only at the bottom is there a line
approximately complete, though broken in many places. The block was otherwise well
preserved when this impression was taken. Yatermark as described above.

These two impressions form part of a set of 137 woodcuts of the Triumphal Pro-
cession, purcbased from Messrs. Smith in 1845, of whicli 97 belong to the edition of
1526, 36 to that of 1777, and 4 to that of 1796.1 The series is bound in a volume, with
the text of the 1796 edition at the beginning.

The car with the Burgundian Marriage occurs only in the first edition, for tlie block
had been lost before the xvin century. In the fourth edition, 1883-4, its plac.e is taken
by a reproduction (no. 90) of an old impression in the Hofbibliothek, Yienna. The
otlier block, witli Yictory and the team of horses, is no. 135 in the edition of 1796, and
no. 89 in that of 1883-4. The block is signed at the bacb, “ Jeronimus Andre form
...” Repr. (redured) Hirth, no 611.

The probable date of these blocks is 1518. The programme of the whole procession
was fixed by 1512, the miniatures which served as a pattern to the various designers of
the woodcuts were finislied in 1516, and the dates at which various blocks were
finished and delivered, so far as they are recorded on the bacb of the blocbs, range
from 12 November, 1516, to 25 August, 1518. The portion assigned to Diirer and
his pupil, Springinklee,2 are not dated, but they seem to be later than tlie rest.
They depart more wideiy than any of the other woodcuts from the original programme
and 'from tlie miniatures, and their elaborate ailegoriesbetray the influence of Pirkheimer,

1 On tlie editions, see Schestag in Jahrb. d. kunsthist. Samml. d. allerh. Kaiserhauses,
i, 180 (Wien, 1883).

2 Nos. 89-108 and 130, 131 iu the edition of 1796, 91-110 and 121, 122 in that of
1883-4, are by Springinklee. Thausing attributcd these 24 woodcuts to Diirer himself,
in addition to the car with the Burgundian Marriage. See Mitth. der k. 1;. Central-
commission, etc., xiii, 140-149 (Wien, 1868).