Another picture of Hans Burgmair, worth especial attention, is dated 1504.  It is, as usual, divided, into three compartments; and the subject is that of St. Ursula and her Virgins.  Although of less solid merit than the preceding, it is infinitely more striking; being most singularly conceived and executed.  The gold ornaments, and gold grounds, are throughout managed with a freedom and minuteness of touch which distinguish many of the most beautiful early missals.  In the first compartment, or division, are a group of women round “Sibila Ancyra Phrygiae.”  The dresses of these women, especially about the breast, are very curious.  Some of their head dresses are not less striking, but more simple; having what may be called a cushion of gold at the back of them.  In the second compartment is the Crucifixion—­in the warmest and richest (says my memorandum, taken on the very spot) glow of colour.  Beneath, there is a singular composition.  Before a church, is a group of pilgrims with staves and hats on; a man, not in the attire of a pilgrim, heads them; he is habited in green, and points backwards towards a woman, who is retreating; a book is in his left hand.  The attitudes of both are very natural.  Further to the right, a man is retreating—­going through an archway—­with a badge (a pair of cross keys) upon his shoulder.  The retreating woman has also the same badge.  To the left, another pilgrim is sitting, apparently to watch; further up, is a house, towards which all the pilgrims seem to be directing their steps to enter.  A man and woman come out of this house to receive them with open arms.  The third division continues the History of St. Ursula.  Her attire, sitting in a vessel by the side of her husband Gutherus, is sumptuous in the extreme.  I would have given four ducats for a copy of it, but Mr. Lewis was otherwise engaged.  A Pope and Cardinal are to the right of St. Ursula:  the whole being in a perfect blaze of splendour.  Below, they are dragging the female Saint and her virgin companions on shore, for the purpose of decapitation.  An attitude of horror, in one of the virgins, is very striking.

There is a small picture by Burgmair of the Virgin and Christ, in the manner of the Italian masters, which is a palpable failure.  The infant is wretchedly drawn, although, in other respects, prettily and tenderly coloured.  Burgmair was out of his element in subjects of dignity, or rather of repose.  Where the workings of the mind were not to be depicted by strong demarcations of countenance, he was generally unsuccessful.  Hence it is, that in a subject of the greatest repose, but at the same time intensity of feeling—­the Crucifixion—­this master, in a picture here, of the date of 1519, has really outdone himself:  and perhaps is not to be excelled by any artist of the same period.  I could not take my eyes from this picture—­of which the figures are about half the size of life.