Another eminent painter who has been classed with Durer and Cranach as a wood engraver is Hans Burgmair, who was born at Augsburg about 1473. The mark of this artist is to be found on a great number of wood engravings, but beyond this fact there is not the least reason to suppose that he ever engraved a single block. To those who have described Burgmair as a wood engraver from this circumstance only, a most satisfactory answer is afforded by the fact that several of the original blocks of the Triumphs of Maximilian, which contain Burgmair’s mark, have at the back the names of the different engravers by whom they were executed. As we have here positive evidence of cuts with Burgmair’s mark being engraved by other persons, we cannot certainly conclude that any cut, from the mere fact of its containing his mark, was actually engraved by himself. Next to Albert Durer he was one of the best designers on wood of his age; and as one of the early masters of the German school of painting he is generally considered as entitled to rank next to the great painter of Nuremberg. It has indeed been supposed that Burgmair was a pupil of Durer; but for this opinion there seems to be no sufficient ground. It is certain that he made many of the designs for the wood-cuts published under the title of The Triumphs of Maximilian; and it is also probable that he drew nearly all the cuts in the book entitled Der Weiss Kunig--The Wise King, another work illustrative of the learning, wisdom, and adventures of the Emperor Maximilian.[V-60] Before proceeding, however, to give any account of those works, it seems advisable to give two specimens from a different series of wood-cuts of his designing, and to briefly notice two or three of the more remarkable single cuts that bear his mark. [Footnote V-60: Burgmair also made the designs for a series of saints, male and female, of the family of the emperor, which are also engraved on wood. The original blocks, with the names of the engravers written at the back, are still preserved, and are at present in the Imperial Library at Vienna.] The cut on the opposite page is a reduced copy from a series designed by Burgmair. The subject is Samson and Delilah, and is treated according to the old German fashion, without the least regard to propriety of costume. Samson is represented like a grisly old German baron of Burgmair’s own time, with limbs certainly not indicating extraordinary strength; and Delilah seems very deliberately engaged in cutting off his hair. The wine flagon and fowl, to the left, would seem to indicate the danger of yielding to sensual indulgence. The original cut is surrounded by an ornamental border, and is four inches and five-eighths high by three inches and five-eighths wide. Burgmair’s mark H. B. is at the bottom of the cut, to the right. [Illustration]