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Freydal
DeCausa:
[[File:Freydal fol133.jpg|upright=1.2|thumb|right|Freydal jousts with Veit von Wolkenstain. An illustration from ''Freydal'']]
'''''Freydal''''' is an uncompleted prose narrative commissioned by the [[Maximilian I, Holy Roman Emperor|Holy Roman Emperor, Maximilian I]] in the early 16th century. It was intended to be a romantic allegorical account of Maximilian's own participation in a series of [[Tournament (medieval)|jousting tournaments]], the aim of which was to win the hand of a princess. The text was never completed, but 225 [[Miniature art|miniature paintings]] to accompany the text were created by court painters, which are now held at the [[Kunsthistorisches Museum]] in [[Viena]]. These miniatures vividly record the different types of jousts that were popular at the time as well as the [[Masquerade ball|court masquerades]] that took place after the tournaments were completed. It is the most extensive visual record of late medieval tournaments and court masquerades that exists.
==Background==
[[File:Freydal 05.jpg|upright=1.2|thumb|left|Foot combat between Freydal and Claude de Vaudry<ref name=moma120/>]]
[[Maximilian I, Holy Roman Emperor|Maximilian I]], and his father [[Frederick III, Holy Roman Emperor|Frederick III]], were part of what was to become a long line of [[Holy Roman Emperors]] from the [[House of Habsburg]]. Maximilian was elected [[King of the Romans]] in 1486 and succeeded his father on his death in 1493.
During his reign Maximilian commissioned a number of [[Renaissance humanism|humanist]] scholars and artists to assist him complete a series of projects, in different art forms, intended to glorify for posterity his life and deeds and those of his Habsburg ancestors.<ref name=Watanabe-O'Kelly94></ref> He referred to these projects as ''Gedechtnus'' ("memorial"),<ref name="Kleinschmidt162"></ref> and included a series of stylised autobiographical works, of which ''Freydal'' was one, the others being the prose romance'', [[Weisskunig]]'' and the poem, ''[[Theuerdank]]''.<ref name=Watanabe-O'Kelly94/>
''Freydal'' and ''Theuerdank'' are closely linked and together give an allegorical account of the events leading to Maximilian's marriage to [[Mary of Burgundy]] in 1477.<ref name=moma120></ref> In ''Freydal'' the eponymous hero enters tournaments as part of the search for a wife. ''Theuerdank'' is effectively a sequel in which the hero overcomes dangers on the journey to his wedding. <ref name=moma120/> ''Freydal'' has a comedic tone which contrasts with ''Theuerdank'', which has more of the character of a tragedy.<ref name=McLaren/>
==Creation==
[[File:Freydal fol164.jpg|upright=1.2|thumb|right|Post-tournament festivities: grotesque-style dancers or mummers dance the [[moresca]] while Freydal in a mask and holding torches looks on.<ref name=Locke123/>]]
Maximilian appears to have begun planning ''Freydal'' (a name derived from ''Freyd-alb'', meaning "white joyful young man"<ref></ref>) in 1502.<ref name=moma123></ref> In that year, he instructed his court taylor, Martin Trummer, "to have drawn in a book all those costumes as yet seen in mummeries organised by his majesty".<ref name=moma123/> A "mummery" was a late medieval courtly [[Masquerade ball|masquerade]] or costumed dance.<ref name=moma122></ref> This developed into the commissioning of planning sketches for the entire work, created over the next ten years.<ref name=moma123/> A collection of 203 coloured planning sketches for ''Freydal'' are housed in the [[National Gallery of Art]] in [[Washington, D.C.]]<ref></ref> They were drawn in pen on laid paper, using brown and black ink with watercolour over black chalk and leadpoint.<ref name=moma123/> A small number of additional drawings are held at the [[British Museum]] and the [[Vatican Library]].<ref name=moma123/>
Maximilian took a leading part in the creation of the work.<ref name=Clephan87></ref> His instructions on the subjects to be illustrated as well as corrections, in his own hand, of some of the proofs have survived. In 1511, Maximilian dictated some of the text to his secretary, Max Trytssaurwein<ref name=Clephan87/> (or Marx Treitzsauerwein<ref></ref>). In 1512, Maxilian wrote "''Freydal'' Is half conceived, the largest part of which we have made in Cologne".<ref name=moma123/> However, the work was never completed.<ref name=Locke121></ref> Although the text exists only in draft form,<ref name=moma121></ref> 225 high quality miniatures, painted to illustrate the text were created between 1512 and 1515 have survived.<ref name=McLaren></ref> The illustrations were painted in [[gouache]] with gold and silver highlights over pen, pencil and leadpoint<ref name=moma120/> by two dozen anonymous <ref name=McLaren/> court artists under the direction of the imperial master-taylor.<ref name=Locke121/> They are now preserved in the [[Kunsthistorisches Museum]] in [[Vienna]].<ref name=moma120/>
It was intended to print and publish the work with [[woodcut]] illustrations.<ref name=Locke121/> Although, this was never done,<ref name=Locke121/> and the text only remained a draft, five of the illustrations were trial printed.<ref name=moma121/> These were from woodcuts made in about 1516 by [[Albrecht Dürer]], albeit the cutting was somewhat rough; a sixth woodcut has been attributed to [[Lucas Cranach the Elder]].<ref name=Kurth36></ref>
==Content==
[[File:Freydal 02.jpg|upright=1.2|thumb|left|Both knights dismounted in the joust]]
The story is an account of a series of [[Tournament (medieval)|tournaments]] in which Freydal, Maximilian's literary ''[[alter ego]]'', demonstrates his valour in order to gain the favour of a lady.<ref name=Locke121/> It begins with Freydal being asked by three princesses to compete in the tournaments. A description of sixty-four tournaments follows. Each is hosted by one of the finest courts in the land and comprises two different types of jousting on horse and a foot combat, followed by a masquerade ball.<ref name=moma121/> Freydal competes in each tournament and is always the victor.<ref name=Clephan87/> Once all the tournaments are completed, Freydal receives a letter from one of the princesses who, it transpires, is a powerful queen; in the letter, she professes her love for him. The narrative ends with Freydal setting out to search for her and ''Theuerdank'' then takes up the subsequent story.<ref name=moma121/>
The tournaments depicted in the miniatures show every type of [[jousting]] popular at the time<ref name=McLaren/> including jousts known as ''Rennen'' and ''Stechen'' as well as the ''[[Melee (tournament)|mêlée]]''.<ref name=Clephan87/> Freydal's opponent in each combat is an historical figure with whom Maximilian actually jousted.<ref name=McLaren/> Each picture, in the lower margin, identifies the name of the opponent and the other courtiers depicted.<ref name=Locke123></ref> Other tournament books exist, but ''Freydal'' is the largest from the late Middle Ages<ref name=moma120/> and is considered the best executed; additionally, it is the only one to show spectacular falls.<ref name=McLaren/>
After each of the sixty-four tournaments is a scene depicting a [[moresca]] (a pantomime dance) or other post-tournament festivities where the participants dress up to dance in a variety of exotic costumes, particularly as [[Ottoman Turks|Turks]] or [[Moors]], or as animals such as [[apes]].<ref name=Locke121/> Freydal always appears in these post-tournament pictures carrying a torch and wearing a mask.<ref name=Locke121/> The ''Freydal'' illustrations constitute the most extensive pictorial record of these late medieval court masquerades.<ref name=moma122/>
==References==
== Bibliography ==
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January 08, 2020 at 09:24AM
