The Remarkable Story of the Survival and Publication of "Der Weiss Kunig" ("The White
Der Weiss Kunig was written by Marx Treitzsaurwein (Imperial Secretary) 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 Habsburg 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.
Kurzbock's famous publication of the text and woodcuts followed in 1775 - after more than 200 years of the whole work being thought lost.
As noted by Bartsch, at least 99 of the plates shown in the 1775 Edition may be attributed to Hans Burgkmair (1473-1531), two further to Leonard Beck (1480-1542) and one each to Hans Schauffelein (1480-1540) and Hans Springinklee (1490-1540).
Despite the propagandist intent and the romanticized 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 following translation of Bartsch's Introduction to the 1775 Edition of Der Weiss Kunig presents a wonderfully informative overview of the remarkable tale of the production, survival and publication of this seminal work from scholars and artists associated with the Court of Emperor Maximilian I.
Translation of Bartsch's Introduction to Der Weiss Kunig (1775) While it may appear that the association between the illustrations and text within this work are clear, such links have become distorted during the time when both were mysteriously consigned to darkness and the memory of them was lost to the World.
Now they are brought together - images and contemporary heroic tales of Maximilian that show he was unique in his skill at rising above the difficulties of his time and establishing the foundations of society for future generations.
His character differed so significantly from other great Emperors and monarchs - in that his life and reign was a continuum of great enterprises - that it is well justified to bring so memorable a history to the masses.
What patriot would dare not foster an ongoing remembrance of this beloved and industrious Emperor? In Maximilian's youth, the Habsburgs had little knowledge of Germany.
The time came, however, when enemies pushed deep into the heart of the Empire and calls went out to the first German settlers to provide greater support to the Austrian throne and extend the range of its triumphant military influence.
With the return of strength that followed, those who were formerly under a hostile yoke were released and the Emperor created the largest Austrian kingdom - including the Danube, Rhine, Tagus and Po rivers.
In such circumstances, what obstacle could stand in the way of the development of the mythical tale of the founder of the Habsburg throne? To date, repeated efforts towards such a work have been made, only to meet a fruitless end.
Similarly, the actual history of the period remains largely unknown, even among scholars.
Despite this, if the purported facts seem to have sufficient import towards providing a foundation, then history may be rewritten and thus, have an effect on all that has stood before.
As a contemporary document, this work has just such a claim to validly contribute to our historical knowledge.
Indisputably, one knows that the author of this work relied foremost on the Emperor for details, for it was only his spirit that knew the terrible sound of war and the industry of his government.
Maximilian knew no rest, but would dedicate himself to science, was creative with his hands, led with the Scepter, wrote secretly with the Cabinet to undertake works within the realm, composed War histories and improved his understanding and conduct of warfare to the point where peace was brought to his army.
Those efforts are detailed in the history of the White King to the year 1512, with further tales following of the events in subsequent years.
In the year 1514, the work was thought to be complete and the Imperial Secretary, Marx Treitzsauerwein, was ordered by the Emperor to bring the text into order.
That instruction applied to both the Manuscript and the associated illustrations.
It was at that time that it became apparent that a certain disorder and indistinct quality was present in the text arising from the manner in which it had been drafted.
Those difficulties required further effort to finalize the composition of the book.
Various discussions and redrafts were undertaken - based on presumptions and some incorrect interpretations but the Emperor remained distracted by important business and increasing age and was unable to return to the task of finalizing or publishing this work before his death.
It is understandable that in the time that has passed since the reign of Emperor Maximilian, there may be some difficulty in correctly interpreting his incomplete or unpublished works.
To choose to abandon such a task, however, would be to do an inconceivable disservice to our ancestors who have laboured to commit these tales so the World may enjoy them throughout the ages.
In the 17th Century, such an effort arose from the substantial body of work produced by eminent Austrian Philologist, Reichard Strein (Baron to Schwarzenau).
Among his papers was a locos communes that he had prepared for a book about the White King.
Although Strein's work remained unpublished before his death, interest was maintained in the preparation of a great work on the White King.
Those notes that Strein left among his papers are believed to have come into the possession of Father Georg Christoph von Schallenberg a scholarly man whom Strein's appreciative friends entrusted with his work.
Schallenberg had the good luck in 1631 to discover a collection of most illustrations designed to accompany the history of the White King during a stay in Vienna.
That collection consisted, in part, of the woodcut prints, in addition to original designs.
He also found some pieces in the Emperor's own handwriting among those papers.
It could be argued that collection was so significant that, even if it had not been for the text of the White King, those notes may have been used to reconstruct the history illustrated by the artwork of Burgkmair and his contemporaries.
Through assiduous work on this material, he prepared significant notes towards constructing a history of the White King, but even when added to Strein's previous work, Schallenberg considered the material imperfect.
Schallenberg had intended to prepare a complete catalogue of Maximilian's works, but this goal remained unfulfilled at the time of his death.
With further research and collection work to be undertaken, his son was left with his title and the opportunity to pursue the publication of the history of the White King, but it seemed as if that great goal had died with Schallenberg.
One cannot say whether, after Schallenberg's death, another scholar had a similar passion for the White King, but the work was not completely unknown to literature - with some comments about it being made in scholarly reviews and biographies.
In the meantime, however, the Treitzsaurwein Manuscript remained with others at the Imperial Library.
It was little short of a miracle when the woodblocks for the White King were discovered in Gratz (in the Duchy of Steyr).
Held within the large collection of a connoisseur, they were at risk of damage - which had occurred in some cases - and the announcement was made that they would be brought to the Imperial Library.
Now, the conditions were satisfied for the finalization and publication of this major Imperial work.
That the text of this history should have extensive associated notes is of significant import to the historical value of the work.
With such a feature, we may now learn of events that were historical secrets unknown to contemporaneous writers.
Finally, there is sufficient knowledge to write with historical certainty of the life and achievements of Maximilian.
To view the 237 illustrations published in Der Weiss Kunig (1775), visit Der Weiss Kunig - an online display of the illustrations held by the 'Spirit of the Ages' Museum.
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 Habsburg 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.
Kurzbock's famous publication of the text and woodcuts followed in 1775 - after more than 200 years of the whole work being thought lost.
As noted by Bartsch, at least 99 of the plates shown in the 1775 Edition may be attributed to Hans Burgkmair (1473-1531), two further to Leonard Beck (1480-1542) and one each to Hans Schauffelein (1480-1540) and Hans Springinklee (1490-1540).
Despite the propagandist intent and the romanticized 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 following translation of Bartsch's Introduction to the 1775 Edition of Der Weiss Kunig presents a wonderfully informative overview of the remarkable tale of the production, survival and publication of this seminal work from scholars and artists associated with the Court of Emperor Maximilian I.
Translation of Bartsch's Introduction to Der Weiss Kunig (1775) While it may appear that the association between the illustrations and text within this work are clear, such links have become distorted during the time when both were mysteriously consigned to darkness and the memory of them was lost to the World.
Now they are brought together - images and contemporary heroic tales of Maximilian that show he was unique in his skill at rising above the difficulties of his time and establishing the foundations of society for future generations.
His character differed so significantly from other great Emperors and monarchs - in that his life and reign was a continuum of great enterprises - that it is well justified to bring so memorable a history to the masses.
What patriot would dare not foster an ongoing remembrance of this beloved and industrious Emperor? In Maximilian's youth, the Habsburgs had little knowledge of Germany.
The time came, however, when enemies pushed deep into the heart of the Empire and calls went out to the first German settlers to provide greater support to the Austrian throne and extend the range of its triumphant military influence.
With the return of strength that followed, those who were formerly under a hostile yoke were released and the Emperor created the largest Austrian kingdom - including the Danube, Rhine, Tagus and Po rivers.
In such circumstances, what obstacle could stand in the way of the development of the mythical tale of the founder of the Habsburg throne? To date, repeated efforts towards such a work have been made, only to meet a fruitless end.
Similarly, the actual history of the period remains largely unknown, even among scholars.
Despite this, if the purported facts seem to have sufficient import towards providing a foundation, then history may be rewritten and thus, have an effect on all that has stood before.
As a contemporary document, this work has just such a claim to validly contribute to our historical knowledge.
Indisputably, one knows that the author of this work relied foremost on the Emperor for details, for it was only his spirit that knew the terrible sound of war and the industry of his government.
Maximilian knew no rest, but would dedicate himself to science, was creative with his hands, led with the Scepter, wrote secretly with the Cabinet to undertake works within the realm, composed War histories and improved his understanding and conduct of warfare to the point where peace was brought to his army.
Those efforts are detailed in the history of the White King to the year 1512, with further tales following of the events in subsequent years.
In the year 1514, the work was thought to be complete and the Imperial Secretary, Marx Treitzsauerwein, was ordered by the Emperor to bring the text into order.
That instruction applied to both the Manuscript and the associated illustrations.
It was at that time that it became apparent that a certain disorder and indistinct quality was present in the text arising from the manner in which it had been drafted.
Those difficulties required further effort to finalize the composition of the book.
Various discussions and redrafts were undertaken - based on presumptions and some incorrect interpretations but the Emperor remained distracted by important business and increasing age and was unable to return to the task of finalizing or publishing this work before his death.
It is understandable that in the time that has passed since the reign of Emperor Maximilian, there may be some difficulty in correctly interpreting his incomplete or unpublished works.
To choose to abandon such a task, however, would be to do an inconceivable disservice to our ancestors who have laboured to commit these tales so the World may enjoy them throughout the ages.
In the 17th Century, such an effort arose from the substantial body of work produced by eminent Austrian Philologist, Reichard Strein (Baron to Schwarzenau).
Among his papers was a locos communes that he had prepared for a book about the White King.
Although Strein's work remained unpublished before his death, interest was maintained in the preparation of a great work on the White King.
Those notes that Strein left among his papers are believed to have come into the possession of Father Georg Christoph von Schallenberg a scholarly man whom Strein's appreciative friends entrusted with his work.
Schallenberg had the good luck in 1631 to discover a collection of most illustrations designed to accompany the history of the White King during a stay in Vienna.
That collection consisted, in part, of the woodcut prints, in addition to original designs.
He also found some pieces in the Emperor's own handwriting among those papers.
It could be argued that collection was so significant that, even if it had not been for the text of the White King, those notes may have been used to reconstruct the history illustrated by the artwork of Burgkmair and his contemporaries.
Through assiduous work on this material, he prepared significant notes towards constructing a history of the White King, but even when added to Strein's previous work, Schallenberg considered the material imperfect.
Schallenberg had intended to prepare a complete catalogue of Maximilian's works, but this goal remained unfulfilled at the time of his death.
With further research and collection work to be undertaken, his son was left with his title and the opportunity to pursue the publication of the history of the White King, but it seemed as if that great goal had died with Schallenberg.
One cannot say whether, after Schallenberg's death, another scholar had a similar passion for the White King, but the work was not completely unknown to literature - with some comments about it being made in scholarly reviews and biographies.
In the meantime, however, the Treitzsaurwein Manuscript remained with others at the Imperial Library.
It was little short of a miracle when the woodblocks for the White King were discovered in Gratz (in the Duchy of Steyr).
Held within the large collection of a connoisseur, they were at risk of damage - which had occurred in some cases - and the announcement was made that they would be brought to the Imperial Library.
Now, the conditions were satisfied for the finalization and publication of this major Imperial work.
That the text of this history should have extensive associated notes is of significant import to the historical value of the work.
With such a feature, we may now learn of events that were historical secrets unknown to contemporaneous writers.
Finally, there is sufficient knowledge to write with historical certainty of the life and achievements of Maximilian.
To view the 237 illustrations published in Der Weiss Kunig (1775), visit Der Weiss Kunig - an online display of the illustrations held by the 'Spirit of the Ages' Museum.
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