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Der Weiß Kunig

The White King, or, The Life and Reign of Emperor Maximilian I

 

Der Weiß Kunig - literally translated as The White King - was prepared in the 16th Century in an apparent collaboration

between at least four artists: Leonard Beck (1480-1542); Hans Burgkmair (1473-1531); Hans Schäuffelein (1480-1540); and

Hans Springinklee (1490-1540). Jost Dienecker (also known as Jost de Neeker) is among the artisans thought to have worked

as engravers on the work. Also known as The Life and Reign of Emperor Maximilian I, Der Weiß Kunig purports to provide a

chronicle of the life of the Emperor.

 

Der Weiß Kunig was written by Marx Treitzsaurwein following suggestions and dictation provided directly by Emperor

Maximilian I. The allegorical styling of the Emperor as The White King arose from a variety of sources, including the clear

symbolic correlations between 'white' and 'wisdom' and the traditional white harness Emperor Maximilian I carried in

tournaments and battles. Other rulers are also represented allegorically throughout Der Weiß Kunig, including the King

of France (The Blue King), the Duke of Milan (The King of the Worm - a reference drawn from the Milanese coat of arms),

and the King of Hungary (The Green King).

 

The allegorical tale is told in three parts: the first deals with previous Hapsburg rulers; the second with the birth and early life

of Maximilian (through to his marriage to Maria von Burgund); and the third with the rule of Emperor Maximilian I. For the

first two elements, Treitzsaurwein drew on a variety of historical sources, but for the third, relied upon direct comment from

the Emperor. The third portion of Der Weiß Kunig, therefore, has value as a source document for the era.

 

The woodblocks used in Der Weiß Kunig were carved in the first two decades of the 16th Century, but were not published

prior to the Emperor's death. In 1665, the manuscript was rediscovered in Schloss Ambras and a century later, the woodcuts

were rediscovered in Graz. Publication of the text and woodcuts followed - after more than 200 years of the whole work

being thought lost - in Vienna by Kurzböck in 1775.

 

Despite the propagandist intent and the somewhat romanticised imagery within Der Weiß Kunig, the illustrations provide a

valuable and intriguing insight into late-Medieval and early-Renaissance Court life and the costumes, housewares, weaponry

and architecture of the period.

 


 

The Artwork of Der Weiß Kunig
 

We are pleased to be able to offer an extensive selection of original plates from examples of Der Weiß Kunig published by

Kurzböck in 1775.

 

Some of the images are mounted and framed to archival specifications, while others are available as unmounted single

pages. There are examples in the original monotone presentation, in addition to pages that have had beautiful colouring

added at some time in the past.

 

For the convenience of those placing an order, we are able to accept payment through PayPal using the prompts provided.

We also welcome contact from those wishing to discuss what options may be available - we may be contacted at

ThePeople@SpiritoftheAges.com, or by telephone or fax on 61 7 5445 1701.

 

In the meantime, please enjoy browsing this wonderful collection from Der Weiß Kunig.

 

A copy of Der Weiss Kunig published in Vienna by Kurzböck in 1775.

This copy shows a non-contemporary - but antique - binding with gold-stamped leather cover (to the left).

On the right is shown the title page, with stamp indicating this copy to be deaccessioned from V. Rhedigersch Stadt-Bibiliothek Zu Breslau.

Folio 1

(Detail)

 

Artist: Hans Burgkmair (1473-1531)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.5 x 22cm

Size of leaf: 22.5 x 33.5cm

 

A pristine uncoloured woodcut presented on a leaf with original binding notation near the stitched edge

 

A wonderful image depicting the King - holding a scepter - on the Throne (that shows Romanesque

influence) before a tapestry decorated with the Royal

Coat of Arms. Details of the floor tiling are also shown,

as is "H B" - the monogram of Hans Burgkmair - on the

tapestry below the King's feet. Antique armour

enthusiasts will also note the cup-hilt rapier held by the
Noble on the right of the illustration. In addition, of

particular interest to bibliophiles, are the details to

the book being presented to the King.

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

 

Antique Image Price: US$400

 

Code: WK 1

 

 

10 x 8" Reproduction: US$25

The old White King (Frederick III) dispatching

his ambassadors on missions to find him a wife

 

Folio 2

(Detail)

 

Artist: Leonard Beck (1480-1542)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.5 x 22cm

Size of leaf: 22.5 x 33.5cm

 

A pristine uncoloured woodcut presented on a leaf with

original binding notation near the stitched edge

 

This image provides a wonderful insight into the internal

architectural elements of the Court (both hard and soft) through

the depiction of internal columns (of different design to the

external columns that are also shown in the background) and

the use of tapestries in association with external fenestration.

Other details of note include the presentation of the Knight (in

armour that - in part - is styled as a pleated skirt, spurs and a fine,

rapier with swept hilt.

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

 

Antique Image Price: US$400

 

Code: WK 2

 

 

10 x 8" Reproduction: US$25

The Embassy of Frederick III is presented

to the Portuguese Court

 

Folio 3

(Detail)

 

Artist: Leonard Beck (1480-1542)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.5 x 22cm

Size of leaf: 22.5 x 33.5cm

 

A pristine uncoloured woodcut presented on an

unblemished leaf retaining the stitched edge

 

In addition to the Court fashion (including robes, headpieces,

crowns and symbols of State) and architectural details (which

show Romanesque influences - through the column and capital

treatments, in addition to the building design [shown to the

background]) for which Der Weiss Kunig is renowned, this

image also shows interesting details related to knightly

accoutrements. On the retinue being greeted, details of note

include the spurs, sheathed swords and in the background, a

horse harnessed in contemporary style.

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

 

Antique Image Price: US$400

 

Code: WK 3

 

 

10 x 8" Reproduction: US$25

The Embassy of Frederick III is

introduced to Princess Eleanor

 

Folio 4

(Detail)

 

Artist: Hans Burgkmair (1473-1531)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.1 x 21.8cm

Size of leaf: 22.5 x 33.5cm

 

An uncoloured woodcut presented on a leaf retaining

the stitched edge - a small hole is present to the

bottom of the image

 

The monogram "H B" - for Hans Burgkmair - appears on

the tapestry before the King. In addition to the many

spectacular fashion and soft furnishing details that are

noteworthy within this image is the detail of the glass

window to the upper left of the illustration.

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

 

Antique Image Price: US$400

 

Code: WK 4

 

 

10 x 8" Reproduction: US$25

Folio 5

(Detail)

 

Artist: Leonard Beck (1480-1542)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.1 x 21.9cm

Size of leaf: 22.5 x 33.5cm

 

A pristine uncoloured woodcut presented on an

unblemished leaf retaining the stitched edge

 

This image depicts the beginning of a particular historic event

as King Frederick III sets out on a journey to Rome that will

include his marriage to Princess Eleanor of Portugal - a ceremony officiated by Pope Nicholas V - and his crowning as Holy Roman Emperor by the Pope. Both ceremonies occurred in Rome and Frederick III was the last Emperor to experience the coronation ceremony in the Holy City.

 

This illustration provides a highly detailed depiction of armour -

for both horse and knights - of the period. Fluted armour

favoured within the Court of the time is of particular note.

Also of interest are the many pole arms carrying standards and

other ornamental treatments.

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

 

Antique Image Price: US$800

 

Code: WK 5

 

 

10 x 8" Reproduction: US$25

Folio 6

(Detail)

 

Artist: Leonard Beck (1480-1542)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.3 x 21.8cm

Size of leaf: 22.5 x 33.5cm

 

A pristine uncoloured woodcut presented on an

unblemished leaf retaining the stitched edge

 

In a quay-side scene, this illustration shows retinues from two

Royal houses meeting - the historic meeting of King Frederick III

and Princess Eleanor of Portugal (the parents of Maximilian I). The

marriage had been arranged by Aeneas Piccolomini, who at that

time was Poet Laureate to the Court of Frederick III - he later

became Pope Pius II.

 

To the rear, are shown lovely representations of Royal ships

of the period.

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

Antique Image Price: US$800

 

Code: WK 6

 

 

10 x 8" Reproduction: US$25

Folio 7

(Detail)

 

Artist: Leonard Beck (1480-1542)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.3 x 21.9cm

Size of leaf: 22.5 x 33.5cm

 

A pristine uncoloured woodcut presented on an

unblemished leaf retaining the stitched edge

 

This image shows a meeting of temporal and spiritual

authority - between King Frederick III and his betrothed,

Princess Eleanor of Portugal, and Pope Nicolas V.

 

To the left of the image is shown a gathering of what may

be the precursors to the Pontifical Swiss Guard. To the

rear of the image, too, are shown period architectural

details of the Vatican.

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

 

Antique Image Price: US$800

 

Code: WK 7

 

 

10 x 8" Reproduction: US$25

Folio 8

(Detail)

 

Artist: Leonard Beck (1480-1542)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.3 x 21.6cm

Size of leaf: 22.5 x 33.5cm

 

A pristine uncoloured woodcut presented on a leaf

retaining the stitched edge

 

This image depicts the marriage of Frederick III and

Princess Eleanor of Portugal by Pope Nicholas V.

 

The robes of State and liturgical vestments are of particular

interest - as is the detail of Michelangelo's Pietà shown on the

altar to the rear of the illustration, indicating the setting to be

 within St Peter's Capella della Pietà.

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

 

Antique Image Price: US$800

 

Code: WK 8

 

 

10 x 8" Reproduction: US$25

Folio 9

(Detail)

 

Artist: Leonard Beck (1480-1542)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.3 x 21.9cm

Size of leaf: 22.5 x 33.5cm

 

A pristine uncoloured woodcut presented on an

unblemished leaf retaining the stitched edge

 

This illustration is believed to depict the Coronation ceremony in

which Frederick III became Holy Roman Emperor.

 

The depiction of the altar to the rear is of particular significance

as it shows a different altar to that involved in the marriage ceremony. The iconography to the rear of the altar suggests that

the ceremony may well have taken place before the immediate

predecessor to the current Papal Altar (that was consecrated by Clement VIII in 1594 on top of several previous altars).

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

Antique Image Price: US$800

 

Code: WK 9

 

 

10 x 8" Reproduction: US$25

Folio 10

(Detail)

 

Artist: Leonard Beck (1480-1542)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.3 x 21.9cm

Size of leaf: 22.5 x 33.5cm

 

A pristine uncoloured woodcut presented on an

unblemished leaf retaining the stitched edge

 

A wonderful image showing an audience between

the Empress and Pope Nicholas V.

 

One detail of some interest is the depiction of the Papal

Throne - accurately reflecting the elements of the Throne

that has remained in the Vatican to the current time.

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

 

Antique Image Price: US$800

 

Code: WK 10

 

 

10 x 8" Reproduction: US$25

Folio 11

(Detail)

 

Artist: Hans Burgkmair (1473-1531)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.1 x 21.9cm

Size of leaf: 22.5 x 33.5cm

 

A pristine uncoloured woodcut presented on a leaf

retaining the stitched edge

 

This illustration depicts the Papal procession with the Royal family -

including Frederick III and Eleanor - prior to the baptism of their

son, Maximilian I.

 

The monogram "H B" for Hans Burgkmair appears in the roof

details of the building to the bottom-left of the illustration. Other

details of interest include the Romanesque architecture and the

liturgical paraphernalia carried within the procession.

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

 

Antique Image Price: US$800

 

Code: WK 11

 

 

10 x 8" Reproduction: US$25

Folio 12

(Detail)

 

Artist: Hans Burgkmair (1473-1531

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.1 x 21.7cm

Size of leaf: 22.5 x 33.5cm

 

An uncoloured woodcut presented on an unblemished leaf

retaining the stitched edge and showing a small pencil notation

correcting the original printing error that marked this plate

incorrectly as "21" rather than "12" (as per the pencil notation).

 

This illustration depicts the Baptism of Maximilian I.

 

The monogram "H B" for Hans Burgkmair is shown at the base

of the Baptismal Font in the centre of the illustration. Other details of interest include the ornamental details to the Baptismal Font, the

details shown of the stained glass to the rear of the image and the

regal hound shown obediently guarding the scene (shown to the

base of the illustration).

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

Antique Image Price: US$800

 

Code: WK 12

 

 

10 x 8" Reproduction: US$25

 

 

Folio 13

Wie ie kunigin ainen Sun geparß

How the Queen gave birth to a Son

An illustration by Leonard Beck depicting events chronicled in Chapter 14 of Der Weiß Kunig

 

Full Page

Detail

 

Chapter 14 of Der Weiss Kunig, entitled

Wie die kunigin ainen Sun gepar, chronicles an

important event from the year 1459 - the birth

of Maximilian.

 

A translation of the Chapter appears below.

 

How the Queen gave birth to a son

When now the time of the child’s birth drew near, there was seen, but as yet not clearly, a comet in the sky, and it gave rise to many opinions. The old White King, likewise the exiled Prince and all the folk of the entire Kingdom cried aloud to God, with great devotion, asking that through His divine grace all the people might have occasion to rejoice in the Queen’s safe delivery. When any Christian man contemplates the mighty grace which Almighty God conferred upon them both in this world, as for example, the highest spiritual and temporal honour of their coronation at Rome; and when he thinks as well of their piety and humility, that in their love of God they visited and sought to honour all holy places in the City of Rome and elsewhere; then he need not doubt that God heard this prayer out of his benign tenderness, for all good things come from God. And on this day and at the hour of the child’s birth the selfsame comet appeared much larger than before and gave forth a clear and brilliant light. Although comets, for many reasons, usually make melancholy the heart of him who looks upon them, yet this comet with its glow was pleasing to look upon, so that each heart was moved at the sight of the comet, and thereby its special influence was a sign and revelation of the child’s birth. In the midst of this appearance of the comet, the Queen, through the divine grace granted and bestowed upon her, in the city called the Neustadt, bore her child with gentle pains, and was in her delivery greatly rejoiced, because the child was a beautiful son. Then out of joy they began to ring the bells and throughout the whole kingdom were lighted countless fires of rejoicing. How great was the joy of the old White King and all the people of his Kingdom, over this happy birth. Now when this child was born, the comet ceased at once with its glow, whereby it is to be recognized that the same comet was a token of the child’s future rule and of his wondrous deeds. And the exiled Prince recognized that by this comet his counsel was confirmed through the influence of heaven, and he also requested that he might raise the child from the baptismal font, to which office he was called by the old White King, since the Prince himself was born of kingly race. One thing will I make known: that when this child came to his years and to his rule, he was most victorious and most warlike, and to look upon his countenance he was most gracious, which indeed is wonderful to see in one who is warlike and of all most warlike; in this may be recognized the comet’s bold and frank appearance, and its gracious aspect, as a token of the future.

Note, that the King’s countenance is likened to this gracious aspect.

 

Wie die kunigin ainen Sun gepar

(How the Queen gave birth to a Son)

 

Folio 13 - associated with Chapter 14

 

 

Artist: Leonard Beck (1480-1542)

Woodblock prepared: 1509-1520

Publication date: 1775 (Vienna: Kurzböck)

 

Size of image: 19.3 x 22cm

Size of leaf: 22.5 x 33.5cm

 

A pristine uncoloured woodcut presented on a leaf retaining the stitched edge (provided with a reproduction of the associated Chapter)

 

 

Provenance: V. Rhedigersch Stadt-Bibiliothek Zu Breslau

 

Antique Image Price: US$1200

 

Code: WK 11

 

 

10 x 8" Reproduction: US$25

 

 

 

 

How the young White King came tot he young Queen, and how he was received

When the young white king was on his way to visit the aforesaid young queen, then was this announced to the two queens aforesaid. Thereupon they were filled with great joy and wrote at once to all their retainers, and let them now as well of the approach of the young white king. The retainers tarried not, but came without hindrance to the two queens. Then counsel was taken of them as to how the young white king should be received. Thereupon was written to the young white king, he should come into the city named Ghent, and the two queens, with their retainers, would also come thither; and as soon as this letter had been dispatched to the young white king, the two queens, with their retainers, drew into the said city and there awaited the arrival of the young white king, who, after a few days, himself came thither; and on the same day that he entered the city there rode toward him, first, the citizens of the city, most elegantly arrayed, then all the retainers, princes, bishops, prelates, counts, lords, knights and squires, a great multitude; then the whole clergy, with all the sacred relics, in a procession, and all the people of the city, and received the young white king with great honor and high distinction, and with especial joy; and he too rode into the city, with great concourse, in costly array and royal honors, and all who saw him felt an especial pleasure in his beautiful youth and upright bearing, and the common folk said, they had never seen a finer youth, and they were filled with amazement, that the old white king, his father, should have sent his son, in the beauty of his youth, so far into a foreign land; and the young  king was festively entertained at his lodging, which was decorated for him in the richest manner. The two queens had prepared towards evening a grand banquet, and sent to the young king persons of high degree, to invite him to the banquet, where the two queens would receive him in person; and when he would go to the banquet he dressed and adorned himself with elegant clothes and jewels, and went with his princes, nobles and knights, in royal array to the banquet. Then night came on and the throng was great, and there were many torches, for each wished to see the young white king. Meanwhile the two queens were alone together in an apartment, and conversing together said that they would like to see the young king secretly. Thereupon the old queen, the young queen’s mother, disguised herself in strange garments and went secretly and unknown out of the apartment into the hall, where the young white king should come. Now the crowd of people was so great that for a long time the old queen was unable to get past, and was obliged secretly to seek, and when finally she came past the people, at that same moment the young white king entered the hall, and when he was pointed out to her at first she would not believe that it was the young white king, for she thought he was too handsome, and that she had never seen a youth so fine, and she tarried to see which of all really was the young white king. And now she saw that all honor was done to this same handsome youth, and moreover that he was escorted by the mighty archbishops and princes, and that this youth could be no other than the young white king. Thereupon the old queen went in haste to her daughter, the young queen, in her chamber, and said from the depths of her heart: “O daughter, no such beautiful youth have I seen as the young white king, and this young king shall be thy lord and consort, and no other.” From these words it is seen that the king of France and his son came to grief with their secret wooing, which I have mentioned before.

For the young white king was indeed a comely youth, well built in body and bone, and had a sweet and lovely countenance and wonderfully beautiful yellow hair; he was called, on account of his beauty and his fitness, the white king with the gracious countenance. Now when the young white king stood in the middle of the hall, the two queens advanced to him with great elegance and received him with royal honors, with great joy and  friendliness. And as soon as the young queen saw the young white king she was much pleased with his person, and with this same contentment her heart became inflamed with honorable love toward him. In this same hour, with her royal consent, the marriage was confidentially discussed and joyfully determined upon, and thereafter the banquet with great enjoyment carried out. How rich in joy was indeed this banquet, where such a royal marriage, between two persons of the greatest worth and beauty was concluded!

 

 

 

Folio 19

Chapter 17

How the old White King associated his young son with noble youths, in order to pursue entertainments with him

 

While this chapter speaks chiefly about the young White King's gifts for language acquisition and his precocious abilities as a diplomat and future ruler, the illustration by Burgkmair shows a number of military and tournament activities as the proper kind of noble, boyish 'entertainment'. Included among them are toy cannons, archery with bow, archery with crossbow (at birds in a tree; on the other side of the tree the young naturalist offers a crust of bread to those same birds), and tabletop tournament with toy jousters in the armor of the Stechen. In each of these activities, the young White King is clearly identifiable to means of his distinctive tunic and laurel crown, so this illustration offers a king of prophecy about his future talents in the hunt, the tournament, and the battlefield. In fact, it is the young White King whose Stecher in the toy joust has triumphed by squarely hitting and toppling the toy opponent.

 

 

Folio 25 (Burgkmair)

How the young White King learned the black art; and his Opposition against it

In this advancement of the young white king, his father, the old white king, took great satisfaction, and his heart beat so high with joy that a terror seized him when he thought that all joys should have their source in the praise and honor of God; and in this manner his spirit was deeply moved to consider the future upholding of the Christian faith. How great was his emotion! He recalled how in former times, powerful kings in their later years were fallen away from the true belief into a new faith, all of which had come about solely through the seduction of the black art. Much is to be written thereof, but as a proof of what I write, this same art is forbidden in the Christian faith and by the ordinances of imperial law, and exterminated, whereby it must be let alone, for the soul’s salvation and for the increase of our faith. Although this art is damning to the soul and an injury to our faith, yet the human spirit is so weak and diseased in its constancy, in its determination to discover hidden things, that this art, whose false basis and unreality is hidden, is so very dear to man that many come thereby into error and despair. Now the young white king often heard speak of this art, and from time to time he chanced to see the very ablest writings, wherein this art is set forth. In the midst of the joy and the contemplation of the old white king, as related above, the young white king came to him. Then spake the father to the son: “What think you and how do you regard the black art, which is a damnation to the soul, and a crime and seduction to men? Are you not disposed to learn it?” Thus did the father for the purpose of making evident to him the hidden seduction, and to plant future doubts. The son gave him answer: “St. Paul, that most excellent teacher of the Christian faith, writes and commands us that we shall learn all things and experience all things, but avoid the ill and cleave to that which is good.” Thereupon spake the father to the son: “Go hence and take to yourself the most learned man in the black art, and investigate it thoroughly; but bear in mind the first commandment of God: Thou shalt believe in one God; and also St. Paul’s teaching, which you have just indicated to me.” The young white king sought out an especially learned man in the black art, who began to teach him with uncommon industry, with the idea that this same art should be looked upon by the prince as good and useful and held dear. And when the white king had studied it for a time, and satisfied himself of its uselessness, he discovered that the art was contrary to the first commandment of God, which reads: Thou shalt believe in one God; and for the first time he understood St. Paul’s teaching, for he who has not experience of it easily believes, and thereby it often comes about that he is led astray. For a while the learned man disputed with the young king, in order to discover his spirit and his desire, and then he said to him: “This art is an art whereby great lords may increase their power.” Then asked the young white king of him, whether there were more gods than one. Thereupon he answered: “There is but one God.” Upon this answer the young white king said; “You have spoken truly, and thereby is the black art vain, and the learning which I have discovered in the same, the seduction of our faith.” From this speech the learned man easily perceived that he was sufficiently wandered in this lore. With how great wisdom had the old king made the reflection above related, and how prolific of usefulness was it to the Christian faith; for when the young white king came into his years and into his powerful reign, he permitted no unbelief nor heresy to be kindled or spread abroad, which, however, have often obtained the upper hand; and indeed it has happened from time to time that, through the confidence and by permission of inexperienced men, men of evil have been strengthened in their desperate enterprises and have adhered to them, a thing which these kings through their careful experience and their especial wisdom have avoided, to the salvation and happiness of their souls and to the maintenance of the Christian religion.

Folio 30 (Burgkmair)

The young White King in the studio of a painter

(With self-portrait of Hans Burgkmair)

 

 

 

 

Folio 35 (Burgkmair)

How the young White King developed skill in conducting Masquerades

 

 

 

 

Folio 32 (Beck)

How the young White King instructed the Carpenters

 

 

 

Chapter 32

How the young White King learned about music and string playing

 

Once he was thinking about King David, that almighty God had conferred so much grace upon him. And he read the psalter, in which he found, 'Praise God with song and with the harp.' Then he reflected on how very pleasing to God such a thing must be. He also took up King Alexander, who conquered so many kingdoms and lands, and he read his history. Therein was also written: the great King Alexander was often so moved by the lovely singing of people and by the merry string music that he slew his foes. That kindled the heart of the young White King to emulate King David in the praise of God and King Alexander in militancy. He learned with diligent effort the arts of singing and of string play, for he occupied himself with two thing: the praise of God and the conquest of his enemies, which are for a king the two highest virtues. When he came to be a powerful ruler, he first followed King David in the praise of God. He established a Kantorei with lovely singing by human voices, wonderful to hear, and with sweet string plat, to 'harp' new works. He supported it through and through, as befits a great princely court, and he used the Kantorei only for the praise of God in the Christian church. Thereafter he followed King Alexander with the merry string play of militancy and followed Julius Caesar with deeds and surpassed both of them. I will explain clearly: Although the great Alexander compelled wide lands and rejoiced in string music, so did the young White King first utilize the manly-joyous fifes and drum-beats. If he went off to battle, the drums and fifes uplifted not only the hearts of men, but their sound filled the air besides, so that the young King dominated many lands and smote his foes in every respect in battles.

 

 

Folios 37 (bird as target - illustration by Beck) and 38 (target)

Chapter 37

How the young King gained mastery in the art of archery with handbow from horse and foot

 

The old White King had at his court many upright and knightly Husars, who jousted on horseback with handbows, accoring to their custom and who often used it particularly in war. Now the young White King had the capacity, so that he wished to surpass everyone in knightly games. Thus he also learned to ride like the Husars and to shoot with the handbow ...

 

Folios 39 (ground animals as target - illustration by Burgkmair) and 40 (chamois as target)

Chapter 38

How the young King gained mastery in the art of archery with crossbow and steel bolt

 

Chapter 39

 

Innovations in Falconry

 

When asked by a follower why he gives so much time over to this activity, the White King of the title brings his interlocutor out on a hunt with the birds, asking him to guess whether a high-flying heron will be caught by the falcon. Despite the visitor's doubts, the tiny hawk success, and the White King says, "Thus do I concur my enemies." Elaborating on this cryptic observations he adds, "You work against yourself. If I did not ride on the falcon hunt, where any man can come to me, you would not now be next to me, you would not have spoken with me this time, and would seldom speak with me. Someone else, however, someone now lesser than you, him you would have to follow after in great longing." Thus, the falcom hunt, the text concludes, "is a public enjoyment and a hidden wisdom."

 

Folio 42? (Beck)

Chapter 40

How the young White King was enthusiastic for the hunting of stags, chamois, ibex, boar, and bears

 

Hunting for large game is charterised as "princely hunting".

 

"Thus, he left game preserves in all kingdoms and lands for stags, ibex, chamois, boar, marmots, rabbits, and other animals, and no one might shoot or catch game in his forests and preserves. Had the king not preserved the game thus, ibex in particular would have been extinguished ...

 

For when handguns came in, people began to shoot ibex, which happened with the peasants, wherever they came across the preserve, with no moderation, but rather exterimate it accordings to their peasant fashion."

 

Folio 43

How the young White King developed skill and advanced fishing

 

 

 

Chapter 45

How the young White King also fought masterfully in armour

 

When now the young White King had learned how to fight unarmoured and with Pavesen and Tartschen, he considered how particularly needful it would be for him to be able to fight armoured on horse and on foot, for in such combats is a mighty king called upon most. With great earnest seriousness he learned how to fight in armour, at first on foot with the pike and the halberd, afterwards on horseback with the knightly sword and the short dagger, even with the mace and spear ...

 

 

Chapter 46

How the young White King excelled in all knightly context, even in German and Italian Stechen

 

After the young White King had learned fighting on horseback and on foot sufficiently, he began to exert himself in the tournaments with Rennen and Stechen, because one who wished to become famousi n such matters needs practice with deeds and not learning from books ... When he attained maturity and strength, he exerted himself by jousting in full armour and surpassed everyone in it, because he has inserted his lance himself with such skill. He was constantly innovating and showed to many a knightly court episode. When he ever had rest from wars, he had tournaments at his court and was there himself. His court thus became known throughout the world for this, so that princes, counts, lords, and knights came from many lands, but they were always conquered by the King. To this should be noted that he extended his knightly hand as befitted kingly honour.

 

 

Chapter 47

How the young White King became familiar with riding and the characteristics of horses

 

Thus must a mighty lord know all kinds o