the like; and they represent, in conclusion, his political career by means of obscure allegory. They are similar to the illustrations in Sir Tewrdannckh in general character, and, like them, are inferior to the other works of Maximilian. In the composition of this volume Maximilian is supposed to have had a considerable share; it was not printed entire until 1775.
These five great works, apart from their value as artistic productions and their interest as historic records, have a farther importance because of their influence upon the art, both in the way of encouragement and of instruction. Although there has been much dispute about the matter, it must now be acknowledged that the artists themselves did not ordinarily engrave their designs, but left the actual cutting of the block to the professional workmen; at most they only occasionally corrected the lines after the engraver had cut them. The works of Maximilian employed a number of these engravers, who practised the art only as a craft; the experience these workmen gained in such labor as they were now called upon to do, under the superintendence of artists like Dürer and Burgkmaier, who knew what engraving ought to be, and who held up a high standard of excellence, was most valuable to them, and made itself felt in a general improvement of the technical part of the art everywhere. The standard of the engraver’s craft was permanently raised. The engravers’ names now became known; and sometimes the engraver received hardly less admiration for his skill in technique than the artist for his power of design.
Other distinguished artists united with Dürer and the designers of Maximilian’s works in making this period of
