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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.
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
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 | |||||||||||||||||||||||||||||||||||||
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