The Nuremberg Schembart Carnival 9780231895880

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THE

NUREMBERG

SCHEMBART

NUMBER

COLUMBIA

TWELVE

UNIVERSITY

E D I T E D BY

CARNIVAL

ROBERT NEW

OF

THE

GERMANIC HERNDON

SERIES

STUDIES FLFE

Title Page of MS Nor. K. 444 (Nuremberg, Stadtbibliothek).

THE

NUREMBERG

SCHEMBART

CARNIVAL

BY S A M U E L L. S U M B E R G COLLEGE

OF T H E CITY O F N E W

YORK

With sixty reproductions from a manuscript in the Nuremberg Stadtbibliothek {MS Nor. K.444)

NEW YORK: MORNINGSIDE HEIGHTS

COLUMBIA UNIVERSITY PRESS 1 9 4 1

COPYRIGHT

1941

COLUMBIA UNIVERSITY PRESS, N E W

Foreign Agents: OXFORD UNIVERSITY PRESS, House, London, E.C. 4, England, and B. Bombay, India; MARUZEN COMPANY, Tori-Nichome, Tokyo,

YORK

Humphrey Milford, Amen I. Building, Nicol Road, LTD., 6 Nihonbashi, Japan

MANUFACTURED I N T H E UNITED STATES OF AMERICA

To

Max

Herrmann

in gratitude for his inspiration

PREFACE M Y FIRST studies of the Nuremberg carnival grew out of an interest in the origins of the theatre in Germany. In this connection, Professor M a x Herrmann, of the University of Berlin, suggested that a key to the problem might be found in the Schembartlauf. In a paper presented for membership in the Institut fur Theaterwissenschaft I examined the chronicles of the festival with regard to their importance for the history of the theatre. These beginnings were developed under the supervision of Professor Robert Herndon Fife, who, realizing the possibilities in the subject, stimulated me to publish a preliminary article on the Schembart M S S and to continue further research into their contents. For his clear-sighted criticism, which has been a constant guide in the shaping of this work and in bringing it to a conclusion, I wish to express my sincerest gratitude. I have been greatly aided by the courtesies extended to me on the part of officials of the libraries in which the M S S and related material are available; the libraries are noted in the appended catalogue of M S S . Special acknowledgement is due the directors of the Nuremberg Stadtbibliothek for permission to photograph and reproduce a manuscript in their collection. Particularly Dr. Karl Fischer of the library staff facilitated my work at the Stadtbibliothek. T h e reproductions of miniatures presented here are from photostats of the M S made by Hans Weiherer, of the Nuremberg Hochbauamt. M y indebtedness to scholars whose researches in related fields have lighted my path and revealed new vistas to me will be evident from the frequent references to their works in the notes. T h e more personal assistance of others has helped to give direction to my investigation. The late Theodor Hampe, formerly director of the Germanisches Nationalmuseum, made several valuable suggestions on the basis of data in his files. Professor Fritz Briiggemann, of Kiel University, discussed the character of the Schembart books with me and generously permitted me to examine his un[vii]

viii

PREFACE

published study of them. Dr. Hellmut Lehmann-Haupt, Curator of the Rare Book Room, Columbia University, furnished me with iconographic references and conferred with me concerning the Schembart miniatures; my statements on this point were kindly reviewed by Mr. Abraham H. Bober, of The City College. On the language of the MS I have received scholarly and friendly advice from Professor Carl Selmer, of Hunter College. Thanks are also due to Professsor Edwin C. Roedder, Dr. Herbert R. Liedke, and Dr. John F. Sullivan, of The City College, for pertinent suggestions on many points; the latter especially has aided materially by checking items in German libraries. I have enjoyed the kind advice of Professor Percy Matenko, of Brooklyn College, Mr. Max I. Baym, and Dr. Samuel A. Tannenbaum, of Hunter College. For the painstaking reading of the proofs of this volume I am greatly indebted to Dr. and Mrs. Ralph Rosenberg. Finally, I am deeply grateful to my wife, who has been the helpful and encouraging companion of my travels along an arduous but revelatory road. S. L. S.

CONTENTS I. II.

Problem of the Schembart Carnival

3

Character of the Schembart Mss

8

III.

Origin of the Schembartlauf: Ms Nor. K. 444

23

IV.

The Schembart Chronicle

41

The Dancers

54

The Grotesques

97

V. VI. VII. VIII.

The Pageants

132

Summary

184 APPENDICES

A.

Miniatures of Festivals

189

B.

Catalogue of Schembart Mss

193

C.

Reproductions of Miniatures of Schembart Mss

201

Bibliography

203

Illustrations

211

Index

229

ILLUSTRATIONS Title Page of MS Nor. K . 444 (Nuremberg, Stadtbibliothek) Frontispiece A. Water-mark, MS Nor. K . 444

24

B. Water-mark, MS Nor. K . 444

24

1. Covers of MS Nor. K . 444 (Nuremberg, Stadtbibliothek)

213

2a. Black Letter, MS Nor. K . 444

213

2b. Cursive Hand, MS Nor. K . 444

213

3. 4. 5. 6. 7. 8. 9. 10. 11. 12. 13. 14. 15. 16. 17. 18. 19. 20. 21. 22. 23. 24. 25. 26. 27. 28. 29.

Dance of the Butchers Läufer 1449 Läufer 1467 Läufer 1468 Läufer 1472 Läufer 1491 Läufer 1493 Läufer 1503 Läufer 1506 Läufer 1515 Läufer 1517 Läufer 1521 Läufer 1539 Wild Man Wild Woman Mirror Costume Chestnut Costume Seller of Indulgences Father and Son Knell-ringer Pig-demon Demon Puppeteer Old Woman Puppeteer "Indian" Costume Card Costume Dice Costume Pine-cone Costume

214 215 215 215 215 216 216 216 216 217 217 217 217 218 218 218 218 219 219 219 219 220 220 220 220 221 221

30. 31. 32. 33. 34. 35. 36. 37. 38. 39. 40. 41. 42. 43. 44. 45. 46. 47. 48. 49. 50. 51. 52. 53. 54. 55. 56. M

Doll Costume Peasant and Moor Altvater Hölle 1475 Hölle 1493 Hölle 1495 Hölle 1503 Hölle 1504 Hölle 1506 Hölle 1507 Hölle 1508 Hölle 1510 Hölle 1511 Hölle 1512 Hölle 1513 Hölle 1514 Hölle 1515 Hölle 1516 Hölle 1517 Hölle 1518 Hölle 1520 Hölle 1521 Hölle 1522 Hölle 1523 Hölle 1524 Hölle 1539 Storming of Hölle 1539

221 221 222 222 222

222 223 223 223 223 224 224 224 224 225 225 225 225 226 226 226 226 227 227 227 227 228

T H E NUREMBERG SCHEMBART CARNIVAL

For whan ther any ridyng was in Chepe, Out of the shoppe thider wolde he lepe; Til that he hadde al the sighte y-seyn, And daunced wel, he wolde nat come ageyn. CHAUCER: The Cook's Tale

I PROBLEM OF THE S C H E M B A R T

CARNIVAL

THE Nuremberg Shrovetide carnival, the Schembartlauf, received its first literary elaboration from the pen of Hans Sachs. In a Spruchgedicht entitled " D e r Scheinpart-spruch," 1 written in 1548, nine years after the cessation of the festival, the poet described the carnival and added a long allegorical interpretation. Although Hans Sachs does not mention a source for his poem, it seems clear, as we shall endeavor to show below, that he drew on a manuscript containing an annalistic account of the Schembart race. Extant M S S containing such a history bear dates as early as 1561, and the recorded accounts of the carnival were evidently known to writers of the Sixteenth Century. A seventeenth-century reference to the Schembart items in the chronicles occurs in the work on Nuremberg by the Altdorf scholar, Christoph Wagenseil, De civitate Noribergensi,2 in Caput X X I I , De Hilaritatibus e Ludis Noribergensium:3 Formerly various groups of artisans used to perform their dances in the larger public market-places and streets. Particularly the butchers, on account of their exceptional loyalty to the Council of the city in a struggle against factious citizens, were permitted by a special privilege of Emperor Carl IV to parade in masks and to give others authority in their name to run about in like manner. The chronicle books (MSS) always make careful mention of these revels whenever they were held; they call the festival "das Schenbart lauffen." But the troubles of former times put an end to these festivals. N o t until the end of the Eighteenth Century was any study ' H a n s Sachs, Werke, hrsg. v. A. v. Keller u. E. Goetze (Stuttgart: Bibl. Stuttg. Lit. Ver. C l i f f . , 1870-1908), IV, 200ff.; cited below as "Hans Sachs, W e r k e " ; the poem will be referred to below as "Scheinpart-spruch." 'Christoph Wagenseil, De civitate Noribergensi (Altdorf: J. W . Kohl, 1697). 'Ibid., pp. i6off.; cf. p. 162: "Peragebant etiam quondam varia Opificum genera publicas in foris plateisque majoribus saltationes suas: imprimis vero Laniis, Caroli IV. Imperatoris privilegio, ob fidem Senatui Vrbis adversus seditiosos cives egregie praestitam, id tributum est, ut iis larvatis incedere, aut aliis potestatem suo nomine sic divagandi facere liceret. Chronici libri MSS. istarum bacchantionum peractarum semper sedulam injiciunt mentionem vocantque das Schenbart lauffen. Sed superiorum tempora calamitates, harum rerum cessationes indixerunt." [3l

4

THE SCHEMBART

CARNIVAL

made of the material in the MSS. Again it was an Altdorf scholar, Georg Andreas Will, who, in 1761, published a brief history of the Schembartlauf, Die kleine Geschichte des Nürnbergischen Schönbartlaujens, and in a subsequent edition also reproduced the text and miniatures of a so-called Schembart-book, the miniatures in the form of very small engravings. 4 Will had seen many Schembartbücher? and was moved to write his little history when the president of the Altdorfische Deutsche Gesellschaft was presented with such a MS. 6 Will's enthusiasm and scholarly exactness in the treatment of the texts were ironically commented on b y a contemporary writer in the Briefe, die neueste Litteratur betreffend,1 although the latter evidences some curiosity himself about the word "Schönbart." 8 Nevertheless, interest in the Schembartlauf continued, and the Nineteenth Century brought a two-fold publication of material from Schembart MSS. 9 In 1813 " D a s Schönbart-Laufen zu Nürnberg" appeared among the Curiositäten der physisch-literarischartistisch-historischen Vor- und Mitwelt published by C . A. Vulpius in Weimar. 1 0 Here were reproduced the Schembart texts for several years and the illustrations for these years in color. 11 In 1831 a partial facsimile of a Schembartbuch was edited by M . M . Mayer, in the preparation of which more than thirty M S S were used. 12 Representative texts and colored illustrations to the year 1464 make up this work, the illustrations being considerably re4 G. A. Will, Nürnbergisches Schönbart-Buch und Gesellen-Stechen (Altdorf: n.d., 1 7 6 5 ) ; cited below as "Will." 5 Cf. ibid., p. 15. ' Cf. ibid., p. 5. ' Briefe, die neueste Litteratur betreffend (Berlin: F. Nicolai, 1764), 19. Teil, 288. Brief, p. 63: " D i e Geschichte des Nürnbergischen Schönbartlaufens ist hingegen für Mannspersonen die sich mit wichtigen Dingen, und keinesweges mit Kleinigkeiten beschäftigen wollen, eine sehr erwünschte Erscheinung. Jedermann siehet sehr leicht ein, wie viel der ganzen gelehrten Welt, und insbesondere allen Liebhabern der schönen Wissenschaften daran gelegen sey zu wissen, daß: 1451 Lief der Schönbart und waren Kunz Eschenlörer und Hans Weiß Hauptleute . . . " * Cf. infra, p. 126. '"Schembart M S , " "Schembartbuch," and "Schembart book" will be used interchangeably in this study. 10 C. A. Vulpius, Curiositäten der physisch-literarisch-artistisch-historischen Vorund Mitwelt (Weimar, 1811-23), HI, 233-44; cited below as "Vulpius." 11 Ibid., Tafel VII, opp. p. 286. 11M. M . Mayer, Nürnbergisches Schembartbuch (Nürnberg: Lechner, 1831); cited below as " M a y e r . "

THE SCHEMBART

CARNIVAL

5

duced in size. 13 It was not until the Twentieth Century that a more organized study of the M S S was undertaken. In 1908 K a r l Drescher prepared an edition of a facsimile nature of a Schembart M S . In his work, Das Nürnbergische Schönbartbuch,14 Drescher published the notations relating to the Schembartlauf in Cod. ms. 55b of the Hamburg Staats- und Universitätsbibliothek, and reproduced all the miniatures from this M S is full folio-format and in their original colors. He also reviewed the more obvious facts of the Schembart festival in the preface to his work, 15 but his summary falls far short of completeness. Stimulating suggestions growing out of a thorough familiarity with the background of the Schembartlauf were then brought forward by M a x Herrmann in his Forschungen zur deutschen Theatergeschichte des Mittelalters und der Renaissance,1C The examination of all extant Schembart M S S was now taken up by Fritz Brüggemann, who, in 1917, wrote a detailed study entitled Die Schembartläufer von Nürnberg, based on some fifty M S S . This work has not, however, reached publication. In 1932, during a research trip in Germany in preparation for the present study, the writer was given the privilege of reading Professor Brüggemann's manuscript. Here the general folkloristic concepts behind the celebration of the carnival are applied to the Schembartlauf, the historical elements are clarified, and an attempt is made to arrange the M S S into families according to a rather elaborate system. 17 In 1929 the contents of the Schembartbücher were analyzed summarily by the present writer in an article based on some thirty MSS. 1 8 More light was thrown on the subject the next year in an article by Professor Brüggemann which discussed a seventeenth-century Schembart M S that had " F u r t h e r numbers of this publication were planned but did not appear. H Karl Drescher, Das Nürnbergische Schönbartbuch (Weimar: Gesellschaft der Bibliophilen, 1908); cited below as "Drescher." 15 Ibid., pp. iii-xii. M Max Herrmann, Forschungen zur deutschen Theatergeschichte des Mittelalters und der Renaissance (Berlin: Weidmannsche Buchhandlung, 1914); cited below as "Herrmann (Forschungen)"; cf. pp. 107, n. 2; 113, and n. 1 : 126, and n. 1 ; 131, and n. 1; 136; 495ft. " Reference will be made below to special points in Professor Brüggemann's analysis. There seems to be no likelihood that the study will be published. 18 S. L. Sumberg, "The Nuremberg Schembart Manuscripts," P M L A , X L I V (September, 1929), 863-78. This study grew out of an "Aspirantenarbeit" pre-

6

THE SCHEMBART

CARNIVAL

just been acquired by the Kiel University Library. 19 Again the general facts about the Schembartlauf are stated and the differences in fifty-two Schembart MSS known to the author are also indicated. 20 In 1936 the festival was again described generally by Professor Brüggemann on the basis of the MSS he had seen, in a booklet entitled Vom Schembartlaufen21 containing excellent reproductions in full color of sixteen miniatures from two MSS. No further investigation of the Schembart MSS was presented there, but the emphasis was placed rather on the relation of the Schembartlauf to primitive "Germanic" customs.22 Although the general understanding of the Schembartlauf has been advanced by these studies, no comprehensive treatment has as yet appeared of the MSS which are the source of whatever is known about the Nuremberg carnival. 23 Vague ideas regarding their contents continue to be held and false conclusions drawn from them. The writer hopes to provide in the present work, the researches for which have revealed a total of approximately seventy Schembart books, a definitive analysis of the literary, iconographic, and folkloristic aspects of the Schembart MSS, and thus to illuminate this chapter in German pageantic and theatrical s e n t e d t o P r o f e s s o r M a x H e r r m a n n in 1927 as p a r t i a l fulfillment o f t h e r e q u i r e m e n t s f o r m e m b e r s h i p in t h e I n s t i t u t f ü r T h e a t e r w i s s e n s c h a f t , U n i v e r s i t y o f B e r l i n . A c o n d e n s e d paper on t h e Schembartlauf w a s read b y t h e a u t h o r at t h e m e e t i n g o f t h e M o d e r n L a n g u a g e A s s o c i a t i o n o f A m e r i c a held a t t h e U n i v e r s i t y o f T o r o n t o , D e c e m b e r 1928. " F . B r ü g g e m a n n , " D a s N ü r n b e r g e r S c h e m b a r t b u c h der K i e l e r U n i v e r s i t ä t , " Mitteilungen der wissenschaftlichen Gesellschaft für Literatur und Theater, VIII ( N o v e m b e r , 1930), 1 - 1 5 ; cited below as " B r ü g g e m a n n ( M i t t . ) . " * C f . ibid., pp. 13-15, f o r catalogue of M S S . " F . B r ü g g e m a n n , Vom Schembartlaufen (Leipzig: Bibliographisches Institut, 1936), " M e y e r s B u n t e B ä n d c h e n , " N r . 34; cited b e l o w as " B r ü g g e m a n n ( V o m Sch.)." " C f . t h e divisional c a p t i o n s : p. 15, " W e r w ö l f e , V e r b e r g e g e w a n d u n d S c h e u c h t e u f e l r a s e r e i " ; p. 27, " S o m m e r l i c h e s u n d winterliches G e s i n d e " ; p. 38, " W i l d e L e u t e und F r e s s e r " ; p. 54, " D e r F r u c h t b a r k e i t s z a u b e r . " MBrief articles on t h e Schembartlauf h a v e n o t been discussed h e r e ; c f . , f o r e x a m p l e , K . M e y e r . " F a s t n a c h t s s p i e l und F a s t n a c h t s s c h e r z i m 15. u n d 16. J a h r h u n d e r t , " Zeitschrift fur allgemeine Geschickte, Kultur-, Literatur-, und Kunstgeschichte, 1886, 179-81; W . B r u h n , " K o s t ü m k u n d l i c h interessante H a n d s c h r i f t e n , " Die Kunstauktion, J h g . I I I , N r . 38 ( S e p t . 1929), 6 - 7 ; " M u m m e n s c h a n z a u s a l t e r Z e i t , " Das illustrierte Blatt, N r . 7 ( F r a n k f u r t , 1932), 1 6 2 - 3 ; W . Schultheiss, " A u s der G e s c h i c h t e des N ü r n b e r g e r F a s c h i n g s , " Stadt. Amtsblatt Nürnberg, J h g . 62, N r . 18 ( M ä r z , 1 9 3 5 ) , 91-2-

THE SCHEMBART

CARNIVAL

7

history. T h e M S S have been catalogued and described in Appendix B , and a comparative table made with Professor Brüggemann's catalogue. All references to the M S S in the present study are based on the writer's examination of the Schembart books, unless otherwise indicated. A n evaluation of the M S S leading to the reconstruction of the Schembartlauf requires that the chronicle in the texts and the motifs represented in the miniatures be placed in the frame of their own period, and interpreted in the light of modern examples of similar phenomena. T o achieve this, the ideal method would be to place before the reader parallel contemporary examples of the points studied. This can be done here only through the medium of footnote-reference and the reproduction of selected, pertinent material. A problem inherent in the nature of our investigation, and indeed, in all studies of cultural material, is the extent to which one may safely use analogy and conjecture for purposes of interpretation. A n attempt has been made to present debatable points as such and to avoid exaggeration in this respect. Some motifs, on the other hand, have resisted analysis except in their superficial aspects, despite probing with every available means. These deficiencies, it is hoped, will be rectified in future studies. In analyzing the M S S we shall first survey the form and content of the Schembart books extant, and then proceed to a detailed study of the most representative M S , Norica Kupfer 444, in the Nuremberg Stadtbibliothek, at the same time making constant comparison with parallel forms in the other MSS. Throughout this study the folio sequence of our M S will be indicated, but, for the purpose of concentration, the important elements of the Schembartlauf will be treated in individual chapters. Our examination falls naturally into the following divisions: the origin of the carnival in the dance of the butchers; the annals of the festival that make up the text of the M S S ; the activities of the Läufer and the grotesque figures accompanying them; and finally the Höllen or pageant-sleighs, pulled along in the race. This procedure will enable us to make a critical review of the Schembart records, estimate the historical and cultural importance of the MSS, and arrive at an appreciation of the nature of the Schembart carnival.

II C H A R A C T E R O F T H E S C H E M B A R T MSS THE CHRONICLE of life in late medieval Germany is recorded in a great variety of textual and iconographie monuments. The texts range from the simple items of the council minutes to verse travesties as comprehensive as the Narrenschiff. The illustrations, from primitive line-drawing to the creations of Dürer, form a vivid pictographic record representing the contemporary scene in closest detail. The prevailing spirit of inquiry in the epoch of transition results in a characteristic itemization of all aspects of life. Attention is focused on securing a clear and isolated image of each particular type. In literature every familiar theme is treated exhaustively with all possible variations in a series of short realistic pieces, similar to the earlier Spruchdichtung. It is in this form that the bold and trenchant genius of such masters as Brant, Geiler, Murner, and Sachs finds its most adequate expression. The iconographie counterpart of their satiric, allegoric, or didactic writings is the colored drawing and the woodcut, both media eminently suitable for the illustration of a broad subject. Furthermore, so great is the appeal made by the pictorial in this age that the text is at times reduced to a minimum, often indeed to mere captions, while the pictures assume first importance. 1 A never-ending source of inspiration to illustrators and commentators was the individual ranks and professions of society. The searching light cast by the literature of folly on the earthly life brought them into relief ; hardly a work of this time that does not contain some representation of the Stände. The woodcuts of 1 Special studies of this field are contained in the Studien zur deutschen Kunstgeschichte (Strassburg: J. H. E. Heitz). The printed illustrations have been gathered and reproduced in A. Schramm, Der Bilderschmuck der Frühdrucke (Leipzig: Deutsches Museum für Buch und Schrift, 1920-23; K . W . Hiersemann, 1924-35), cited below as "Schramm"; M. Geisberg, Die deutsche Buchillustration in der ersten Hälfte des XVI. Jahrhunderts (München: H. Schmidt, 1930-32), cited below as "Geisberg (Buchillustration)"; M. Geisberg, Der deutsche Einblattholzschnitt in der ersten Hälfte des sechzehnten Jahrhunderts (München: H. Schmidt, 1923-30), cited below as "Geisberg (Holzschnitt)."

[8]

C H A R A C T E R OF S C H E M B A R T

MSS

9

the Weisskunig, for example, show Maximilian among the craftsmen, learning their trades. 2 Often the burghers are depicted at their daily occupations according to particular groups and crafts. T h e most extensive treatment of this theme is Jost Amman's Stände und Handwerker mit Versen von Hans Sachs (1568). 3 Often, on the other hand, it is the dance of death which provides a framework for the delineation of types. 4 T h e conventional form developed for such picture-books consists of an illustrative woodcut set below an explanatory caption or between two rimes of characterization. A n important contribution to the record is contained in manuscripts in which intimate accounts of personal or official history are combined with illustrative miniatures whose motifs are filled with the very spirit of the age. In the Sixteenth Century, when new approaches to man and his history were being discovered, and the expansion of printing was hastening the abandonment of outworn forms, manuscripts became a unique and luxurious medium for the preservation of the older culture. T h e y embrace in their interests the daily and the festive activities of all classes; their miniatures depict the knight at his court and the burgher at his craft, the coats of arms and the symbols of the guilds, the grandeur of the tournament and the carnival spirit of the folkfestival. ' C f . M a x i m i l i a n I, Der Weisskunig, hrsg. v. A . Schultz, " J a h r b u c h der kunsthistorischen S a m m l u n g e n des Allerhöchsten Kaiserhauses," V I (Wien, 1 8 8 8 ) ; cited below as " W e i s s k u n i g . " 3 C f . Jost A m m a n , Stände und Handwerker, " L i e b h a b e r - B i b l i o t h e k A l t e r Illustratoren in F a c s i m i l e - R e p r o d u c t i o n , " V I I ( M ü n c h e n : G. Hirth, 1884). C f . also E. M u m m e n h o f f , Der Handwerker in der deutschen Vergangenheit, "Monographien zur deutschen Kunstgeschichte," V I I I (Leipzig, 1 9 0 1 ) , A b b . 5-32, 3S-45, and Beilage 3, cited below as " M u m m e n h o f f " ; F . B o c k , Deutsches Handwerk im Mittelalter, Bilder aus dem Nürnberger Stiftungsbuch, " I n s e l - B ü c h e r e i , " N r . 477 ( L e i p z i g : Insel, 1 9 3 5 ) ; F. Z o e p f l , Deutsche Kulturgeschichte (Freiburg i / B : Herder, 1 9 : 8 - 3 0 ) , I, Bild 208-209, cited below as " Z o e p f l " ; 0 . H e n n e am R h y n , Kulturgeschichte des deutschen Volkes ( B e r l i n : G . G r o t e , 1886), I , 2SSff., 369, cited below as " H e n n e am R h y n " ; further Jost A m m a n ' s Kartenspielbuch, Charta Lusoria, 1588, " L i e b h a b e r - B i b l i o t h e k A l t e r Illustratoren in F a c s i m i l e - R e p r o d u k t i o n , " I I ( M ü n c h e n : G . H i r t h , 1880), containing 62 plates of the trades, w i t h L a t i n and German verses. * N i k l a s Manuel's Totentanz ( 1 5 1 5 - 2 0 ) consists of a series of d r a w i n g s and verses on the Stände w h e n t h e y are o v e r t a k e n b y death, and each is ornamented w i t h t w o coats of arms, cf. Niklas Manuels Todtentanz (Berne: Haag, 1829-31).

10

C H A R A C T E R OF S C H E M B A R T

MSS

For the recording of contemporary events the basic form is the kistoria, the chronicle in prose and later in verse, which usually presents an annalistic compilation of quasi-historical items drawn from legends, family narratives, decrees, minutes of the councils, and other documents. For the most part the chronicles are concerned with the affairs of some leading city; 5 they were written by historians, monks, and city scribes and were often furnished with illustrations. T h e very large compilation published in Nuremberg in 1493 by Hartmann Schedel, the so-called Liber chronicarum, has been called a "picture-book" because of its profuse prints, almost 2000 in number. 6 Nuremberg's story is told in countless chronica,1 most of which derive their items on the city's revolts, wars, plagues, and orders-in-council from the Histori written about 1488 by the monk Sigmund Meisterlin. 8 T h e most magnificent of all Nuremberg chronicles is that by the Ratschreiber Johannes Müllner: Annales der Löbl. weitberühmbten Reichsves9 ten und Statt Nürnberg ( 1 6 0 0 ) ; here, too, the predominant pictorial interest is to be observed, for Müllner's M S followed the trend of the time and was ornamented with many excellent miniatures. 10 T h e Nuremberg Schembart M S S belong, in both form and content, to this tradition of illustrated chronicle. It is a dance of life which the M S S present, having its origin in the annual spring festival of the butchers of Nuremberg. T h e report of this carnival ' The most important are published in Die Chroniken der deutschen Städte vom 14. bis ins 16. Jahrhundert (Leipzig: S. Hirzel, 1862-1931); cited below as "Chroniken." * C f . H. Bullen, The Nuremberg Chronicle (San Francisco: J. H. Nash, 1930), pp. iv, xv. 1 Their number was estimated by the historian, E. Reicke, in a letter to me in 1932, at around a thousand; a great many were "manufactured" for collectors far into the Seventeenth Century and have little cultural or artistic interest, cf. Chroniken, I, xxxvi. " F o r an account of Meisterlin cf. Chroniken, III, S- The text of his chronicle is reproduced in Chroniken, III, 32-178; that relating to the Schembartlauf appears on pp. 141, 147-8, 151ft. * Selections from these annals have been published in J. C. Siebenkees, Materialien zur Nürnbergischen Geschichte (Nürnberg: Schneider, 1792-5), II, 712-29, cited below as "Siebenkees"; and in G. W. K. Lochner, Nuemberger Jahrbücher (Nürnberg: Riegel & Wiessner, 1833-5). 10 A copy containing miniatures of the Schembartlauf is included among our M S S , cf. App. B, M S No. 27.

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n

celebration, as held from 1449 to 1539, was probably included among the annalistic details of an early chronicle, which then was the source of the items appearing in the later chronicle compilations, in most of which the Schembart account is to be found. Thus the seventeenth-century chronicle of Nuremberg in the Columbia University collection11 has the following comment on the first Schembartlauf and the dance of the butchers: 12 In diesem 1 4 4 9 J a h r ist der E r s t e Schenbarth mit 2 4 Mänlein nemblich 1 2 von den E r b e r n u n d

12

von der Gemein Gelauffen, in W e l c h e m

C o n r a d t Eschenloher H a u p t m a n n gewesen, a l d a haben die M e t z g e r b i ß f u r das Spitler T h o r gedanzt, d a sie der F e i n d t so f u r den W a l d umrannten wohl sehen können.

A brief note like the above is given for the succeeding years until 1539, 1 3 whenever the festival was held, and each time a marginal caption draws attention to the event. For this text a group of illustrations of the costumes worn by the Schembartläufer and of their activities were furnished by artists, and later these miniatures were incorporated in some of the large chronicles.1* The relation between the miniatures in the Schembart MSS and those appearing in contemporary illustrated MSS is close. Some Schembart books 15 are similar to the Geschlechterbücher in which the scions of noble and patrician families found portrayal, and contain many miniatures of knights and their coats of arms (MS No. 61 has 469 Wappen\ye or a complete Turnierbuch, with illus" Columbia University Library, Rare Book Room. This chronicle is dated 1686 and runs from 16 B.C. to 1686 A . D . ; it contains no miniatures. u Ibid., f. ssv. In this study quotations from the M S S will be modernized with respect to punctuation and in the treatment of r and s symbols. u Ibid., f. 97V. " Cf. M S No. 26: "Nümbergische Cronica sambt denen gemahlten Schönparten etc." (1200-1549). Reproductions of the Schembart miniatures are listed in App. C. u Cf. M S S Nos. 2, 28, 42, 45, 48, 61. " For descriptions of Geschlechterbücher cf. H. Bosch, "Das Nürnberger Geschlechterbuch von 1563," Mitteilungen des germanischen Nationalmuseums, 1898, pp. 6gff.; further Katalog der Frhrl. v. Lipperheide'schen Kostümbibliothek (Berlin, 1896-1901), I I , No. 773 (cited below as "Lipperheide"), for a description of the Geschlecht Buch deß Heiligen Reichs Stat Nürnberg ( 1 6 1 0 ; illustration of Die Tucher opp. p. 354). The Katalog der Holzschnitte im Germ. Museum (Nürnberg, 1892), I, 63-89, contains a very complete and illustrated description of a Nuremberg Geschlechterbuch of I6IO(?). The New Y o r k Public Library possesses an unfinished Geschlechtbuch of Nuremberg (Genealogy Room). These genealogical chronicles usually have a text borrowed from Meisterlin's His tori, together with

12

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trations of the popular Gesellenstechen and other festivals. 17 T h e Schembartlauf, by its very nature, forms a fitting subject for costume plates like those of the Trachtenbücher, costume books of the Sixteenth Century which were devoted to what M a x Herrmann has called "die echt renaissancemässige Selbstverherrlichung." 18 In the Schembart M S S the costume worn in each celebration of the carnival is described in the text and the Läujer is figured at full length in this costume. T h e costume book surpassing all others is the grandly conceived M S compiled by a scribe of Nuremberg, Sigmundt Heidt, between 1560 and 158o. 19 While the text is merely a "Vorrede" with a moralizing comment on the exaggeration of dress, there are no less than 867 miniatures, in which all groups are represented in their characteristic costumes: lists of names and other documentary material. T h e coats of arms themselves f o r m the subject of armorials, Wappenbücher, which often contain hundreds of emblems in full color with some related text. Jost A m m a n ' s Wapen vnd Stammbuch (Frankf o r t am M a y n / in Verlegung Sigmundt Feyrabends, 1589), shows some sixty figures, each w i t h his heraldic arms and a conventional quatrain. " F o r miniatures of tournaments cf. M S S Nos. 14, 44, 47, 4g, 51. T h e Turnierbücher also present a chronicle and miniatures of t h e Geschlechter and their emblems, but are more definitely concerned with t h e annals of wars, duels, and tournaments. C f . G . Leidinger, Miniaturen aus Handschriften der Kgl. Hof- und Staatsbibliothek in München ( M ü n c h e n : Riehn & Tietze, 1912-28), H e f t 3, f o r a description of the Turnierbuch of D u k e William I V of B a v a r i a ( 1 5 4 1 ) ; further L i p p e r heide, Nos. 2881-7. T h e most sumptuous M S of this t y p e is the Freydal (1502?), one of the cycle of w o r k s executed f o r the versatile Maximilian I, describing and picturing his o w n exploits under the headings of " R e n n e n , Stechen, K a m p f , M u m merei," cf. Quirin v. Leitner, Kaiser Maximilians I Turniere und Mummereien ( W i e n : A . Holzhausen, 1880-2), cited below as " F r e y d a l . " u C f . M a x Herrmann, " B i l d e r aus dem Kinderleben des 16. Jahrhunderts," Mitteilungen der Gesellschaft für deutsche Erziehungs- und Schulgeschichte, X X (1910), 1 2 7 ; Herrmann (Forschungen), pp. 104-13. Herrmann suggests (ibid., p. 106) that these costume books originated in the v e r y practical business of keeping an illustrated record of accounts f o r costumes w o r n at court. Herrmann's reference (ibid., pp. 108-10) to a Trachtenbuch b y Christoph Weiditz bore fruit in the publication of a M S by T h . H a m p e , Das Trachtenbuch des Christoph Weiditz, von seinen Reisen nach Spanien (152g) und den Niederlanden (1531-2) ( B e r l i n : W a l t e r de G r u y t e r , 1927), cited below as " H a m p e ( W e i d i t z ) . " A copy of this w o r k , w h i c h w a s written in 1534, is in the N e w Y o r k Public L i b r a r y , Spencer C o l l e c t i o n ; cf. also Lipperheide, I, No. 7, w i t h one illustration (p. 1 2 ) : " D i e Wilden L e u t h aus Brasilien." Jost A m m a n encompassed the world in the 220 engravings and quatrains of his Trachtenbuch (1577, copy in N e w Y o r k Public L i b r a r y , Spencer C o l l e c t i o n ) ; while his Gynaeceum or Frawenzimmer (1586) consists of 122 plates of t h e w o m e n of all ranks and nations, w i t h descriptive quatrains, cf. Jost A m m a n , Im frawenzimmer ivirt vermeldt von allerley schönen kleidungen vnnd trachten der weiber, etc. ( M ü n c h e n : G . Hirth, 1880, facsimile reprint).

" C f . Herrmann (Forschungen), pp. 1 1 1 - 1 3 .

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13

the religious orders, the ranks of nobility, the burghers and the peasants. 20 T h e impressive content of this M S makes it outstanding among illustrated books of the Sixteenth Century; its example was followed in the M S S that form our particular concern here. 21 For our present purpose only those M S S or fragments of M S S are of importance in which the Schembartlauf is given specific attention. 22 The number of these Schembartbücher remains undetermined, since it is probable that not all extant M S S have been discovered as yet. A s noted above, the present work embraces in its analysis some seventy MSS. With few exceptions the books are of a piece, that is, the text was inscribed in them at the same time as the drawings were made, for which room was left by the scribe. The artist sometimes framed his miniature in the lines of the text; 2 3 in some M S S , however, the miniatures came first, and the scribe would have to use whatever space was left for his text. 24 T h e majority, if not all, of the Schembart M S S seem to be copies, and the Urbild, if there was one, does not appear to be extant. In an interview with the present writer, the late Theodor Hampe suggested that the designs drawn by artists for the costumes and other equipment of the Schembartlauf may have been originally preserved in a paper roll. Such material, as M a x Herrmann has pointed out, 25 would probably be kept with the Pfänder, the Nuremberg official in charge of the guilds. 20 On the other hand, the costume designs might have been created, like the plates for a Trachtenbuch, at the behest of patrician families whose " Cf. Lipperheide, I, No. 4, for full description and ibid., p. 6, for reproduction of f. 102. For further reproductions cf. Herrmann (Forschungen), Abb. 6-14. 21 M S No. 47 contains an extract from a Trachtenbuch (f. 23). 22 M S S containing mentions of the Schembart or some fragment of text regarding it will not be considered here. In some chronicles the Schembart text has been added by a later hand wherever room is found for it, sometimes in the margin. Cf. a chronicle in the Bayerisches Staatsarchiv (Nürnberg), Nr. 121, f. 147, f. 222, etc. In others only a note on the custom occurs, cf. a chronicle in the same archive, Nr.

107,

ff.

223V-224V.

M S No. 3 8 , f. 4 or ( 1 4 9 3 ) . 24 Cf. Fig. ss ( M S No. 1, f. 68r, 1539). 21 Herrmann (Forschungen), p. 107, n. 2. 26 On the Pfänder cf. Mummenhoff, pp. 42-6; further Th. Hampe, Nürnberg, ''Berühmte Kunststätten," Nr. 82 (Nürnberg, 1936), p. 48; cited below as "Hampe (Nürnberg)." 2 3 Cf.

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members had been leaders in the festival; their names and crests would then be given due prominence in the chronicle accompanying the drawings. 27 A further possibility suggests itself when we consider the typical arrangement of the M S S : a sequence of texts with illustrative miniatures. It was a common practice in the Sixteenth Century to publish pamphlets consisting of a f e w leaves of text with an illustrative woodcut. Not only the Flugblatt but even the works of the poets appeared in this form, for example, the writings of Hans Sachs and the Psalms of Luther. 28 Perhaps this form was imitated in the first representations of the Schembartlauf. The question of the authorship and dating of the Schembart M S S is a difficult one. N o contemporary pictorial presentation of the Schembartlauf seems to have been preserved, nor any notices regarding the scribes and illuminators of the books, which might shed some light on their origin. This is, however, not surprising in view of the attitude of the authorities toward masking in the carnival as a dangerous pastime. As we shall see, certain drawings of the Schembartlauf made even long after it had ceased, were destroyed by order of the Nuremberg Council. T h e scenes of the Fastnacht spiele have also been preserved in very few illustrations and the authorship of many of the plays is b y no means a settled question. 29 T h e Schembart M S S are particularly reticent on the subject of their authors, in most cases giving no clue at all. Some M S S show a patchwork-construction by several hands, the leaves having been pasted or bound together. 30 Initials occur in some M S S but nothing is revealed by these meagre symbols. 3 1 In " In some M S S portraits of representatives of these families have been pasted in; cf. M S S No. 44: a miniature of a member of the Kress family; No. 4 5 : a triptych of the Pfinzing family; No. 58: an engraving of Conrad Waldstromer, dated 1666. a Cf. K. Schottenloher, Flugblatt und Zeitung (Berlin, 1922), p. 135. ™ Cf. Th. Hampe, Die Entwicklung des Theaterwesens in Nürnberg von der zweiten Hälfte des 15. Jahrhunderts bis 1806 (Nürnberg: J . L. Schräg, 1900), pp. 3off.; cited below as ''Hampe (Theaterwesen)." *°Cf. M S S Nos. 2 and 18; M S No. 11 is a M S that has been pasted into M S S Nos. 8 and 10; some pasting occurs also in M S S Nos. s> 16, 17, 38, 44, and 56, while M S No. 59 is entirely the work of a collector or librarian, with the text showing through openings cut in the new leaves on to which it has been pasted. " Cf. M S No. 3, f. 1 3 7 : 'H W H A " and " L e o n h : R " ; M S No. 6, f. i 8 v : " W G W , f. 4 S v : " G M S " ; M S No. 38, " W / T " on cover; M S No. 5 1 , " M S T " on back; M S No. 60, " W C W " on Läufer for 1469.

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15

three M S S , however, the name of the author is included in the title-page. As already noted, M S No. 27 bears the name of Johannes Müllner, the Ratschreiber of Nuremberg (1565-1634), who compiled the "Annales" which make up the M S and which include the Schembart text and miniatures, no doubt copied from a model. T h e dedication on f. 1 of M S No. 34, a chronicle without illustrations, is signed by the author of the chronicle, "Hanns Schedtner." The title-page of a third M S , No. 41, an eighteenthcentury M S ( 1 7 7 3 - 4 ) , gives the name of the scribe-miniaturist as "Johann Caspar Staudacher." I have been unable to discover whom these names represent. A more interesting personal element is present in the text of some M S S , on the basis of which conjectures may be made regarding the authorship of the original Schembartbuch. T h e scribes speak in the first person on the title-pages of M S S Nos. 14, 16, and 56, but without using any specific name. 32 T h e "ich"-form is also used by the scribe of M S N o . 1; the text for 1507 (f. s i r ) contains the following comment: "findt Jch doch Jn einer Alten Glaubwürdigen Cronica, das jnn disem Jar die Schempart einen Scharmutzl gehalten, mit den Welschen Khauffleuthen auff den Marckh . . . . Von disem hab ich Zu endt diß Buch, ein außfürliche beschreibung, von ainem so selbst zu gegen gewest, auff der Schemparts seidten . . ." The account of this skirmish or "Scharmutzl" is also kept in the personal vein, e.g., f. i04r: "mir wardt auch ein gueter Buff, auff mein Achssel . . . Ich wardt müht, nam allso mein haimweg . . ," 33 These first-hand observations recur in other MSS, 3 4 but do not remain anonymous in all. A name, and it is one of some importance, is attached to the account of the fight with the foreign merchants in M S N o . 3, " M S N o . 14, f. 1 (t. p . ) : "souil ich erfaren hab mögen"; M S No. 16, t. p . : "Dieweill Jch aber. . . . In keinem Schrifftem [sic/] nicht einem Bericht finden können"; M S No. 56, f. 3 (t. p . ) : ''Sunderlich was ich bey zeittenn 1487 Jar, als etc." (The "1487" has been inserted by a later hand, in a space left before "Jar.") The word "persönlich" occurs in M S No. 5 on f. 8: "Persönliche Schemparts Kleidung A 1349." It is probably used here, however, with reference to the presentation of the whole costume, i.e., "die ganze Person darstellend." 33 Drescher, xi, interpreted the text of his M S (No. 58), f. n 6 r : "Jch, waßmeuth, nam also meinem Wege heim . . ." to indicate that "Wassmueth" was the name of the author of the chronicle! M C f . M S S Nos. 19 ( f . 4 9 ) , 21 (f. 403), 39 (f. 13), 46 (f. 104).

i6

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where the text for 1507 (f. 195V) contains the note: " J n n diesem Schömbarth bin Jch Panngratz Bernhaupt auch geloffen, doch niemandts bekandt." The name of "Pankraz B e r n h a u p t " occurs, with variations in spelling, in several other MSS. 35 M S No. 60 adds a further notation of the name in the remarks regarding the participation in the skirmish: "Mir Pancratzen Bernhaubt alls der auch in diesem Schembart, doch unbekandter weiß gelauffen, wurdt auch ein guter Puff auf meine Achsel." 36 H a m p e suggested that "Pankraz Bernhaupt" was identical with Pankraz Bernhaupt Schwenter, 37 a chronicler of the Sixteenth Century and a friend of Peter Vischer the younger; this suggestion seems well borne out by the facts of his life. 38 Schwenter ( 1 4 8 1 - 1 5 5 5 ) was the official "Lader" for the Nuremberg Rat, or master of ceremonies; from 1522(F) to 1539 he officiated particularly at the dances, weddings, and funerals of the patricians, and made his own notes of these affairs. 39 After 1539 he came into even closer contact with the Rat, as their " H a u s w i r t " at the Rathaus. After he was dismissed in 1547 he devoted most of his time until his death to poetry and historical studies, the latter consisting of the writing and compilation of chronicles. 40 In these his chief interest, as one would expect, was in cultural events rather than political, e.g., a shooting match held in Nuremberg in 1522.41 Most of this material he copied or had copied by scribes, often inserting marginal notes of his own and furnishing the text with illustrations. Whether the miniatures in the chronicles were by his own hand cannot be determined, 42 although Johann Neudörfer in his Nachrichten von Nürnberger 33

Cf. MSS Nos. 29 (Pt. Ill, f. 24), 35, 45 (f. 423), 61 (f. 565); in the latter the name is given as "Pancraz Bernhardt." 36 Cf. Brüggemann (Mitt.) p. 8. 37 Cf. ibid., p. 738 1 follow the article by Alfred Bauch: "Pankraz Schwenter, der Freund Peter Vischers des Jüngeren," Mitteilungen des Vereins für Geschichte der Stadt Nürnberg, i8gg, Heft 13, 276-285. Schwenter's portrait, made in 1542, was discovered by Hampe, cf. ibid, p. 277; it bears the following signature: "Der gestalt und rustung pin ich Pangratz Bernhaubt, Schwenter benant." "These notes he entered in his "Hochzeitbüchlein der Erbaren in Nürnberg" (1462-1554), now MS 512, Staatsarchiv Nürnberg, cf. ibid., p. 278. M Cf. Chroniken, II, 115; III, 26; X, n o f . 41 Cf. Bauch, op. cit., p. 283. "Ibid., p. 285.

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Künstlern und Werkleuten aus dem Jahre 1547 remarks, in connection with Peter Vischer the younger: "Dieser Peter . . . hatte seine Lust an Historien und Poeten zu lesen, daraus er dann mit Hilf Pangrazen Schwenters viel schöner Poeterei aufriss und mit Farben absetzt." 43 T h e name "Pangratz Schwender" occurs in the Schembart M S S among the devil-maskers in "Holtz Klaidtern" in 1 5 3 9 . " Having thus participated in the Schembartlauf himself over a period of many years, and with his keen interest in chronicling such festivals, Schwenter may well have been the creator of a group of Schembart M S S . That he was not the originator of the Schembartbuch, however, seems indicated by the references to previous models, in those M S S where the name of Pankraz Bernhaupt occurs, for example, M S No. 3, f. 195V: "wie andere Schömbarts Bücher setzen." T h e artists who painted the miniatures in the M S S also remain anonymous, with the one exception already mentioned of J. C. Staudacher, who, according to the title-page, painted the miniatures of M S No. 41. N o other information is supplied us regarding the miniaturists, 45 who doubtless were members of the guild of illuminators called Briefmaler.*6 They created the illustrations for the many series of picture-books, broadsides, and pamphlets described above. 47 First-rate artists, like Jost Amman, Hans Weigel, and Jörg Glockendon, are numbered among the Briefmaler,48 and it may well be that the finer miniatures for the Schembart books were created by famed craftsmen or their schools. A large miniature has been preserved which shows us such an artist at work on his sketches. Standing among the onlookers, he observes with keen eye a dance of the patricians of "Ibid., p. 276. 44 C f . M S N o . i, f. I l r . " T h e s y m b o l " A , " used frequently enough b y printers in Diirer's time, occurs in the M S S on the Läufer for 1469; this is probably merely an ornamentation of t h e costume. " O t h e r names for them are Kartenmaler and Illuministen. ** Hans Sachs, in Jost A m m a n ' s Stände und Handwerker, describes " D e r Brieffm a l e r " as f o l l o w s : " E i n Brieffmaler bin aber ich/ Mit dem Pensei so nehr ich m i c h / Anstreich die bildwerck so da stehnd/ Auff P a p y r oder P e r g a m e n t / M i t f ä r b e n / v n d verhochs mit g o l d / D e n Patronen bin ich nit h o l d / D a r m i t man schlechte arbeit m a c h t / D a r v o n auch gringen lohn e m p f a c h t . " " C f . Schottenloher, op. cit., pp. 130-133, 1 4 3 - 1 5 1 ; F. Jacobi, Die deutsche Buchmalerei ( M ü n c h e n : F . B r u c k m a n n , 1923), pp. 82ft.

i8

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Augsburg about the year 1520." Into the open pad in the hands of the artist go his outlines and notes, later to be worked into miniatures like those of the Schembart books. Evidence exists that paintings and woodcuts of the carnival were made in the Sixteenth and Seventeenth centuries, in some cases to be sold on the market-place. In 1571 the Council of Nuremberg ordered a painting of the 1539 Schembartlauf by Hieronymus Beheim to be destroyed: "Jheronimusen Beheim, dem maler, sol man Meiner Herrn ernstlich misfallen anzeigen, das er den letzeren schempert mit der hell Osiander gemahlt und öffentlich am marckt fail gehabt, und warnen, auch das gemehl zerschneiden und im nit wider geben." 50 The displeasure of the Rat reflects the strictness of the ban that had been placed on the Schembartlauf thirty-two years earlier, in 1539, as a result of the satire on the preacher Dr. Osiander by the Läufer. The private use of representations of the Schembartlauf was, however, permitted. In 1591 a woodcut of three Läufer was included in F. J. Brechtel's Büchsenmeisterei, along with an account of the so-called "Schönpart Rörlein," a fireworks gun used by the dancers. 51 The attitude of the Council, objection to the exhibition of such paintings in public because they might cause resentment in certain circles, is made clear by an item in the minutes of June 1, 1605: "Hansen Wandereisen, maler, welcher begert, ime, ettliche gemäld, die vor jähren gebreuchliche schönpartsgesellschafften und ettliche gesellengestech alhie betreffent, öffentlich fail zu haben, zu erlauben, soll man solch sein begern ablainen, weil viel wappen dabey gemalet und derwegen nitt ein yeder gern sehen möcht, solche öffentlich fail zu haben. Mann soll im aber sagen, er könne " Cf. Henne am Rhyn, II, Frontispiece, representing eight figures moving through the stately steps of the "schreitender Tanz" of sixteenth-century society; also the illustrations opposite pp. 68 and 82, depicting the commoners ( " B O F L F O L C K " ) watching the dance, the musicians, and a group of entertainers with their trained bear. Below the artist himself is a tablet with the inscription " O P U S N R . " " Cf. T . Hampe, Nürnberger Ratsverlässe über Kunst und Künstler im Zeitalter der Spätgotik und Renaissance (Wien: K. Graeser, 1904), II, 4, Nr. 31 (19. Juli 1571). Hieronymus Beheim's name appears among a list of painters, cf. Mitteilungen aus dem germanischen Nationalmuseum, II, 70, but nothing more is known about him. " F o r the reference to the woodcut cf. Siebenkees, IV, 674.

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solch gemal wol sonst verkauffen." 52 Here we have another possible source for the miniatures in our MSS: these paintings of the Sckembartlaufer, with their coats of arms beside them, though forbidden for public sale, were very likely imitated by the Briejmaler in the chronicles of the festival which they made for the patricians. Attempts to date the MSS can at present be hardly more successful than the naming of the authors, as whatever internal evidence the MSS offer, such as details on the covers, title-page, or in the text,53 must remain doubtful in face of the fact that we are not sure whether the MS is an original or a later copy. Some certainty is possible, however, with a few of the Schembart books. MS No. 41 is dated on the title-page: "Anno. 1773 im Herbst/ bis A : 1 7 7 4 : . / " Some of the paper of MS No. 31 was used originally in 1561 for accounts (cf. f. 4v), while that of MS No. 52 shows bookkeeping accounts on ff. 1 9 V and 3 0 V , dated 1 7 5 3 / 4 , so that the book was certainly made after that date. MS No. 37 must be dated before 1635, since the note inside the cover on the acquisition of the MS by the "Rathsbibliothek" in Munich bears this date. T o these may be added MS No. 27 as an authentic copy of Milliner's "Annales" made in the year 1618. Complete accuracy in dating all the MSS would be assured only after a study of their paleography, water-marks, miniatures, language, and so forth. This would no doubt also solve the question of the oldest MS and the original model. The suggestion was made by Max Herrmann54 that the earliest date for the creation of the Schembartbuch is 1525 to 1539; this seems to have been based on the fact that the chronicle of some of the MSS ends with the year 1524, a later hand adding the account for 1 5 3 9 . 5 5 On this question the MSS themselves are not very helpful, although, as we have seen, a reference to previous "Schombarts Biicher" " C f . Hampe, op. cit., p. 355, Nr. 2017. Again there is no further information regarding the painting referred to here. " T h e s e data have been compiled in Appendix B, together with the datings given in various lists, and in catalogues of libraries and booksellers. " H e r r m a n n (Forschungen), p. 107. " C f . M S No. 56.

20

C H A R A C T E R OF S C H E M B A R T

MSS

occurs in the Bernhaupt chronicles. In M S N o . 3 Pankraz Bernhaupt refers to a book he has made (f. 199O : " D i e Schriften hab ich alle vom 48 Jahr inn mein Schombart Buch also eingeschrieben." 56 T h e paleographic examination already made of a number of MSS 5 7 permits the safe conclusion that the Schembartbuch first appeared about the time or soon after the last Schembartlauf was held in 1539. Hans Sachs' "Scheinpartspruch," as we shall see, seems also to bear this out. T h e motive force behind the creation of so great a number of reproductions of the earliest Sckembart books was doubtless the desire to imitate Sigmundt Heldt's costume book, after its appearance in 1560. 58 T h e M S S are for the most part folios 59 and are generally wellpreserved, with the script clear and the colors of the miniatures bright. 60 A variety of bindings has been used, either after acquisition by the collector or library or when the M S S were made; 6 1 the covers are boards, linen, vellum, or leather, some of the latter bearing the earmarks of the Renaissance or imitations of Renaissance style in the tooling and inscriptions. T h e vellum has usually been used before for music or a Latin text and still shows the red or black script. T h e M S S possess a certain primitive splendor in their ornamentation, the covers of some having been furnished with ribbons or clasps and bosses, and the leaves framed in ornamental borders of Renaissance design. 02 In others the borders are simple red or black lines. T h e y are all paper M S S , the paper for the most part foxed and in some cases used previously. 63 In " T h i s seems to tally with the events of Schwenter's life, since in 1547 he was retired from public service and thereafter worked at his chronicles. " T h e dates indicated by librarians (cf. App. B) are probably based on paleographic data. " Cf. Herrmann (Forschungen), p. 113. " T h e r e is, of course, variation in the format; M S No. 27, for example, is a very large atlas folio, while M S No. 16 is not folio but a small quarto. Mutilation has, however, occurred in some cases, as where leaves from one M S have been pasted into another (cf. supra, n. 30); or leaves have been removed (cf. M S No. 4, a M S which has also been attacked by w o r m s ) ; or leaves have been torn or are fragmentary (cf. M S No. 4, ff. 58, 62); or where leaves have been cut away in binding the M S (cf. M S S Nos. 10, 13). Some M S S show the scribbling of children (cf. M S No. 63). *l For details see App. B. 10 Cf. M S S Nos. 8, 9, 10. " C f . M S S Nos. 31, 52.

C H A R A C T E R OF S C H E M B A R T

MSS

21

almost every M S the paper is water-marked," in some uniform throughout, in others with several marks, as a variety of paper was used.65 T h e text of the chronicles is written in black ink, 66 usually with more than one script and hand, particularly for marginalia, corrections, etc. T h e most frequent scripts are a small, neat, cursive hand and the Gothic black letter. 67 T h e pagination is often the work of a later hand, probably a librarian's; in some instances the order of the folios has been confused during the binding of the MS. 6 8 There is an essential similarity among all the Schembart books in the details of text and illustration, yet no two are absolutely the same. 69 This dissimilarity makes it very difficult, if not impossible, to divide the M S S according to families. Briiggemann attempted to establish fourteen families in the fifty-two M S S he had examined; 7 0 he called these A, B , C, D , E , F , G, H , J, K , L, M , N , and W , and the criteria were the following: the number of Schembartlaufer mentioned for each year, the names of their captains, the places they visited on their run through the city, the color of their costumes, the brilliance of the colors in the miniatures, the account given of 1503 or 1507, and the details shown by the miniatures of the Hollen. A certain clarity is achieved by this arrangement, though the discrepancies are too great to permit complete agreement in one family. Perhaps a more natural though by no means perfect classification would be according to the various types of Schembart books represented in their contents. 71 In the first place there are the fragments, single leaves ( M S S Nos. 39a, 62), and fragmentary ** Exceptions are M S S N o s . 17, 52. 85 T h e w a t e r - m a r k s , w i t h a p p r o x i m a t e references to C. M . B r i q u e t , Les Filigranes (Paris: A. Picard, 1 9 0 7 ) , cited b e l o w as " B r i q u e t , " h a v e been noted in A p p . B . M Red ink occurs sometimes f o r captions, etc., cf. M S N o . 44. S o m e pencil occurs also. " M S N o . 3 s h o w s a v e r y small hand, while v e r y large ornate lettering is used in M S S N o s . 20, 40. " F o r the details of pagination cf. A p p . B . C B M S S Nos. 8, 9, 10, and 43 are most nearly alike, in paper, colored frames, chronicle, and the treatment of subject in the miniatures, cf. A p p . B . 10 C f . Briiggemann ( M i t t . ) , pp. 13-15. " In the present s t u d y the classification is limited to those e x a m i n e d ; excluded would be M S S N o s . 23, 32, 33, 48, 48a, 53, 54, 55, 64, 65, 66. H o w e v e r , catalogue notes, etc., permit the classification of some of these M S S .

22

C H A R A C T E R OF S C H E M B A R T MSS

volumes (MSS Nos. 2, 17, 22, 40, 47a, 51b, 59), some of the latter falling into other classes as well.72 A second group embraces MSS containing only the Schembart text (MSS Nos. 5, 20; in MS No. s space has been left for the miniatures), and those with this text and some annalistic notes interpolated or added (MSS Nos. 19, 30, 5 1 ) . The third division is formed by the full Nuremberg chronicles, which also include the Schembart text and miniatures (MSS Nos. 3, 21, 25, 26, 27, 28, 29, 34, 36, 45, 56; in MSS Nos. 25 and 34 there are no miniatures, in MS No. 56 no Hollen). Finally the largest family of MSS would be those in which the Schembart text and miniatures form the most important element in the MS, even though in some cases the Schembartbuch may have been bound with other material, such as a Turnierbuch. In this group there are thirty-six MSS (MSS Nos. 1, 4, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 18, 18a, 24, 3 1 , 37, 38, 39, 41, 42, 43, 44, 46, 47, 49, 50, 5!a, 5 2 , 57, 5», 60, 61, 63, 67). While these are not uniform, they nevertheless serve to establish a norm for the original Schembartbuch. What this norm is we shall see in the special study to follow of MS No. 1. " M S No. 35 would belong here, too, as the chronicle contains an account of the Schembartlauf for i53g only.

III O R I G I N O F T H E S C H E M B A R T L A U F : MS NOR. K . 444 OUR MS, No. I of our list,1 bears the signature Nor. K. 444 in the Nuremberg Stadtbibliothek, where it has been since 1912 as part of the collection left to the library by the antiquarian Max Pickert. This is one of the best preserved and most beautiful of the Schetnbartbücher, devoted completely to the Schembartlauf, the contents being arranged in a simple pattern: the miniature for the year on the verso of one folio and the text facing it on the recto of the next. The MS is unique in form, except for certain similarities it bears to MS No. 60, e.g., the title-page. The binding, reproduced in Fig. 1, is calf-skin over bevelled boards, with fine Renaissance stampings, and was previously provided with green ribbons. The MS is unusual in format, being a quarto volume, 8Ys by i i y 2 inches. The pagination is in pencil, from f. 2 to f. 105, with the title-page unnumbered; but two flyleaves have been inserted2 and another blank folio repeats the pagination 105. In addition, seven large miniatures of festivals, numbered I to VII, have been introduced at various points, so that in all our MS contains 108 single folios and seven double or triple folios. We can only conjecture who the scribe and miniaturist were, as no mention is made of them in the MS. Nevertheless it may be placed with the other Schembart MSS showing the influence of "Pankraz Bernhaupt," as the text contains the personal references mentioned above. We have seen, however, by the account for 15073 that the scribe of our MS did not take part in the famous "Scharmutzl," so that we can not identify him with Pankraz 'Brüggemann numbers it " 6 " among the " A " MSS, cf. Brüggemann (Mitt.), p. 13; further p. 6 : " A 6 . . . die bei weitem die schönste und wertvollste Handschrift ist." Cf. also Brüggemann (Vom Sch.), p. 14. In a letter to the writer, Dr. Fischer of the Nuremberg Stadtbibliothek said: "Zu einer Faksimileausgabe wird sich am besten das Schembartbuch mit Signatur Nor. K. 444 eignen. Es ist das älteste unserer Bücher und das am besten ausgeführte." ' O n one of these leaves a librarian has written an index. * Supra: "... von einem so selbst zu gegen gewest. . . " [23J

O R I G I N OF T H E

SCHEMBARTLAUF

Bernhaupt Schwenter, though he may have worked under his supervision. T h e date of our M S must be based on the M S itself: binding, paper, calligraphy, and illustration seem to belong to the latter half of the Sixteenth Century.* The two water-marks of the M S

Fic;. A

FIG. B

are especially helpful here. The first occurs only on the flyleaves; the mark represents a double tower with the letters " H M " below (Fig. A ) . T h e design of a castle was popular as a water-mark in southern Germany from 1550 to 1600, and was no doubt patterned after the arms of the cities. 5 Although a few leaves of our M S have no water-mark, or it is so hidden it cannot be seen, the majority show an " R " in a circle (Fig. B ) . A mark very similar to Fig. B, an encircled " R " of the same size and design is listed in Briquet11 as "No. 8975: Prague 1573. Statthaltereiarch: Copialbuch, n° 89." 7 While the paper Briquet refers to was probably made earlier than the year 1573, it may also have been used at any subsequent time and does not necessarily prove a sixteenthcentury origin for our M S . However, the examination of details 4 Dr. Fischer catalogued the M S as " 1 6 . Jh., M i t t e " ; Briiggemann ( M i t t . ) , p. 13, h i t s it as " N a c h 1539." 5 C f . Briquet, X o s . 13,914-15,962. ' B r i q u e t , I I I , 479. 7 Briquet, I I I , 476, a d d s : " L a lettre R inscrite dans un cercle est plutot rare . . . L'origine des 8974 et 8973 est incertaine."

O R I G I N OF T H E S C H E M B A R T L A U F

25

of script and miniature below will serve to fix the last quarter of the Sixteenth Century as the period of its creation. A striking title-page introduces us to the subject of our M S : the simple words "Schempart Buech," in black letter, are surrounded by an exuberant Renaissance design in bright watercolors.8 Only one other Schembart M S is graced with a miniature on the title-page, M S No. 60, the Schembartbuch in Kiel, and the design is similar to that of ours:9 a decorative enframement imitating massive architectural forms with interrupted curves, on which four graceful male figures are super-imposed, two seated above on the elliptical arch and two smaller figures below resting on the curves of the design. By their masks and staves and the sheaf of leaves in the hand of one, by their gay costumes and ornaments of bells, but above all by their free, unconventional attitudes we recognize these figures to be Schembartläufer, heralds to the reader of the chronicle of the carnival which follows.10 As in many of the earliest printed title-pages we have here simply the title with an illustration related to the contents of the book.11 The lettering employed by the scribe is similar to the black letter found in M S S or printed works from the middle of the Sixteenth Century. A rhymed chronicle of seventy-four rough-hewn Knittelverse follows the title-page, occupying ff. iv, 2r, 2v. 12 The poem, in 8

Cf. reproduction in frontispiece. Unfortunately the particular charm of the colors, green, red, and yellow, with black lines, and considerable gilding, is lost in our reproduction. The Library's signature, " N o r . K u p f e r 444," is inscribed in pencil at the top of the folio; the seal of the "Nürnberger Stadtbibliothek," with the city's coat of arms, is stamped below the design. ' T h e colors are more brilliant in the Kiel M S and the whole miniature is smaller; the title is more explicit and there are other minor differences. 10 All four figures wear black hats with white feathers, and black shoes. The costumes are variegated in color and design: the costume of the Läufer on the upper left is red and white with a pattern of red and gold flames; the Läufer on the upper right wears black and yellow with a design of gold flames; the costumes below are orange and purple with gold stars, and red and black with gold flames. The masks are all flesh-color. 11 Cf. M . Sondheim, " D a s Titelblatt," 5. Kleiner Druck der Gutenberg-Gesellschaft, Mainz (Oktober, 1927), pp. pff. In Schembart books with title-pages ornamental lettering is usual, and often the contents are described in detail; cf. M S No. 6, f. 1 : "Eigentliche und Waare/ Abbildung aller und/ Jeder Haubtleithe der/ Schömbarts Gesell-/ safft wie sie in Kleidun/ gen und andern von/ Anno 1449 bis 1539 in/ Nürnberg gelauffen/ ordentl. mit ihren N a / men und Wappen/ benannet und ver/ zeichnet." " Several Schembart books also have introductory miniatures in grandiose style

26

O R I G I N OF T H E

SCHEMBARTLAUF

form like the popular Historie of the time,13 serves as a kind of expanded title to indicate the contents of the "Buech." We are to see the Läufer and Höllen in the festival of the Schembart, and we are told how the celebration originated in a privilege granted in 1348 to the butchers of Nuremberg for their loyalty to the patrician council when it was attacked by a mutinous group of artisans. It was the Emperor Carl IV who suppressed this early artisan revolt, and the Council, though they had no confidence in him, were placated by the many privileges he granted the city. 14 According to our Reimchronik, the Council bestowed on the faithful butchers the right of a "free Shrovetide dance." Earlier chronicles, however, as we shall see, ascribe the granting of this privilege to Carl. The poem follows. f. iv

Alls man Zält Dreyzehenhundter Jar vnd Acht vnd Viertzig Jar fürwahr Als Kayser Carllus der Viert Das Heilig Römisch Reich Regiert Da machten Jn Nürmberg der Statt, Die Zunfft ein Bundtnuß widern Rath. Vnd die Geißperdt in der SchmidtZunfft Fingen das an wider vernunfft Am Dritten Pfingstag vberfallen woltens den Rath erschlagen allen

5

10

of Carl IV in his imperial robes, of Nuremberg's first coat of arms of the year 1140, and of the Angel of Justice; cf. M S S Nos. 8, 9, 10, 18 (here also a miniature of a "Kayser-Both"), 67 ("König Carelus"). These miniatures have been reproduced in Mayer, pp. 1 sff. Additional material also occurs where the M S contains a chronicle or Tumierbuch. u Cf. Chroniken, IV, 333ft., and X I I , 22ft., for examples of the Reimchronik. The poem also shows a similarity to the historical folk-songs, cf. R. v. Liliencron, Die historischen Volkslieder der Deutschen vom 13. bis 16. Jh. (Leipzig: F. C. W. Vogel, 1865), Nr. 52, 69; P. M . Kömer, Historische Volkslieder aus dem sechzehnten und siebzehnten Jahrhundert (Stuttgart: Ebner & Seubert, 1840), p. 227, Nr. 26. 11 Cf. E. Reicke, Geschickte der Reichsstadt Nürnberg (Nürnberg: J. P. Raw, 1896), p. 202f.; cited below as "Reicke." f. iv: 1. 7. Geißperdt: the name is here used in accordance with the custom of referring to the rebels, particularly the smiths, as "Geisbärte," after the name of one of their leaders, Rudel Geisbart, cf. Chroniken, III, 321. (The interregnum is called "Geispartz gezeiten" in a document, cf. Chroniken, III, 335.) Geisbart's real name was Haubenschmidt, cf. prose account infra, p. 2g; the nickname no doubt refers to his pointed beard, and the password of the rebels was a touch of the beard, cf. Reicke, p. 208.

ORIGIN OF T H E

f. 2r

SCHEMBARTLAUF

Nun an den Heyligen Pfingstag D a hördt ein Münig den Einschlag Von Zwayn Zunfftmaister vngefehr Als hinder einer Thür stundt er Von stundtan Er gewarnet hat, Vor der Auffrur eine Erbam Rath, Das ieder sich auß seinen Hauß Wie er möcht bringen B i ß hinauß, In Thruen Feszem vnd Jn Secken, Wie sich ein yeder möcht verstecken Kamen all zu Haidteckh zusamen. Nach dem die Zunfft die Statt einnamen, Vnd Setzten einen Neuen Rath, Von der Gemainen auß der Statt Sonderlich auß der Schmidt Zunfft, Die Herrschten mit kleiner vernunfft Mit vill vngebürlichen sachen Wolten die Statt auch weutter machen. Anfingen ettlich T h u m vnd Maurn Also blib die Alt Statt in Traum, Zu Haidteck auff anderthalb Jar B i ß auff S: Michaelis dar, Von Prag Kayser Carl Kam,

27

20

25

30

Gehn Nürmberg vnd gfencklich nam All Vrsacher der Auffruhr, A u ß Inmainicher enthaubt wuhr, 12. Münig: "(Bettel)Mönch," the "Collector München" of the prose account. The plotters are supposed to have gathered in a Dominican monastery, cf. Reicke, p. 207. The phrase "hinder einer T h ü r " is probably not used literally here but in the idiomatic sense of verborgen, "hidden"; cf. Grimm Wb., X I , I. Abt., I. Teil, 459-460. 21. Heidteckh: The castle of Konrad v. Heideck, near Weissenberg to the south of Nuremberg. T h e knight had been sent by Carl to the city to make peace, but faUed (he had previously executed some burghers for an attack on his servants, cf. Chroniken, III, 322t.); by secret communications he continued his efforts to restore the old order, cf. Reicke, p. 214. 24. Cemainen: commoners, Handwerker, in contrast to the Ehrbare. The documents, however, show that the new council also contained Ehrbare, in fact, eleven of the twenty-two burgomasters during the interregnum were of this class, cf. Chroniken, III, 321. 28. weutter: "weiter." 30. die Alt Statt: the old Council. 32. S:Michaelis: September 29. Carl entered the city on October 1, 1349, cf. Reicke, p. 218. /. 2r: 1. 36. Inmainichen: "ihnen mancher." According to the records, although 133 of the rebels were exiled for a time, only one execution took place, probably for disobeying the ban, cf. Chroniken, III, 326t.; Reicke, p. 220.

O R I G I N OF T H E

2v

SCHEMBARTLAUF

Auffm Weinmarckh vorm Rathhauß, So Reuttet Er die Auffruhr auß, Brach ab des Neuen Raths gebeu, Vnd thet ab all Ihr Ordnung Neu, Vnd Alle Zunfft Jn der Gemein, Setzt den Alten Rath wider ein Jn Jr Herrschung vnd Regimendt, Damit nam die auffruhr ein endt, Die Metzger aber mit verlangen, Dem Alten Rath warn angehangen Treylich Jn dieser auffruhr hie, Derhalb ein Rath begäbet sie Mit einem Freyen Faßnacht Dantz, Mit den Statt pfeiffern Zirlich gantz, Vnd mit eim Faßnacht Spil bekandt, Weichs der Schempart ist genandt, Dis spil hettens bey iren Hanndten, Jerlich habens von Jhn bestanndten Burger und von Erbarn Gschlechten, Vmb das Gelt das sy mit Rechten Den Schempart selbt möchten verwalten, Also kams auff vns von den Alten, Jhr Kleidtung Erstlich Leinen war, Darauff Schlechtlich gemahlet gar, Vber Lanng Trugens Barchandt, Hernach von guetten Wüllen gewändt, Endlich Luff er auch Jn Attlaß, vnd Je Lennger Köstlicher waß. Das drundter Loffen alle Jar, Vil Holtz Leuth vnd der Rauen wahr, Mainicher Art mit Abentheur Auch Wurffens vil fliegender Feuer, Verprentten auch allmal ein Höell, Mit groser Kurtzweil vnd geschöell, Solchs Als Jn disem SchenpartBuech, Nachuolgent Ordentlichen such, Sambt den Haubtleuthen Alle Jar

40

45

50

55

60

65

70

1. 41. Zunßt: cf. Chroniken, III, 321, on the establishment of guilds during this period. 1. 54. bestanndten: The privilege was bought from the butchers each year by groups of Läufer wishing to take part in the carnival. 1. 61. Barchandt: The Schembart costumes became more and more extravagant; they were first made of linen, later of fustian, then of wool, and finally of satin ("Attlaß").

O R I G I N OF T H E S C H E M B A R T L A U F Was Färb ein jeder Schempart war Souil Jhr alhie seindt geloffen Macht dir diß Buech Clar vnd Offen.

29 75

Finis Not all the Schembart books contain these introductory verses; 1 5 especially the fuller chronicles include instead an account in prose. In the prose version the Schembartlauf itself is described less elaborately, but more details are given on the revolt, and the leaders are mentioned by name. 16 W e may further compare our poem with the complete accounts of the revolt and the butchers' dance in two of the outstanding fifteenth-century chroni1 5 T h e number of lines varies; some M S S have seventy-eight verses, instead of seventy-six as above. " T h e prose account in M S No. 56, as quoted by Drescher, p. 3, is as follows:

Vrsprung Der Metzger-Tantz Vnnd Schempart lauffen in der Faßnacht/ Im 1349. Jar, Da war ein grosser auflaff zu Nürnberg, der geschähe am Mitwochen vor Pfingsten, da die Zunffte beschlossen hetten ainen Rath zuerschlagen vnd einen Newen zuerwehlen, Aber durch ainen Collector München wurd Inen solchs angezeigt, vnd gewarnet, welcher hinder ainer Thür gestanden war, vnd solchen anschlag von Zwaien Zunfftmaistem gehört, vnd einem Rath angezeigt ist worden, Allso daz ihr etliche in sckhen, Truhen, auch in V ä ß e m , darvon geflohen, vnd endrunen sind, vnnd kamen geen Haideckh zu demselbigen Hern vnd enthielten sich daselbst, bis der Kayser geen Prag kam, vnd darnach geen Nürnberg, das hat sye der Kayser aller wider eingesetzt, Aber zwischen diser Zeit haben die Gemaine ein newen Rath erwehlet, Nemblich den Ackerman, vnnd Herman Scharpf vnd Regierten von Pfingsten bis wider auf Pfingsten, vnd auf Michaelis, vnd als der Kayser gen Nürnberg kam, da sezet er den alten Rath wiederumb ein, vnnd ließ den newen Rath auf dem Weinmarckht vor dem Rathhauß köpfen, vnd sind die hemachbeschriben Regent oder Rathsherrn gewesen, derselbigen Zeit, Herman Haubenschmidt, Virich sein Bruder, N. Rex. Heckenberg, Herman von Awrach, Herll sannicht, Niclaus Nagler vnd sein bruder, Weigell Sannicht, Friz Herman Haubenschmidt, Manng Pfannenschmidt, Manng Pfannenschmidt [ J I C . ' ] , Rautenbach, Troschel Brelanorten, Eschenloher, Conrat Bair, Hannß der allt, Weinhanß, Adelhart der Offenwischer. Er lies auch abprechen alle Maurn vnd T h u m , waz der Newe Rath gebawt hette, dan sye hetten anngefangen zu bawen, das daz Schloß miten in der Statt sollt ligen, vom Spitler Thor geen Boppenreuth zw, vnd von Ziegelstain gegen dem Lauffer Thor zw, Allso thet der Kayser die Zunfft zu Nürnberg alle ab, dan sye hetten so wol regiert, daz man in anderhalbhundert Jarn darnach jre schuldt nit alle bezallen hat kunnen. Vnnd Inn diser aufruhr seind die Meczger bei dem Alten Rath bliben, vnd Inen beigestanden, darumb hat sye der Kayser zu ewigen Zeiten mit einem Vasßnacht spil, vnnd einem Tanz Geehrt, Daselbst hero hat der Schempart seinen Vrsprung, so zu faßnacht alle Jar thuet laffen, vnd den Schempart mus man noch auf den heutigen tag, die Freyheit von den Mezgem kauffen, Diß ist geschehen zu den Zeiten Kayser Carls des Vierten, der auch ain König in Bebaim ware.

30

O R I G I N OF T H E

SCHEMBARTLAUF

des. Sigmund Meisterlin, Nuremberg's official historian, devotes the last part of his Histori (1488) to this event, recounting essentially the same incidents; in several passages he refers to the loyalty of the "flaischhacker" and the "special plays" they perform. 17 The Deutsche Weltchronik (1493), Hartmann Schedel's compilation, tells the story of the rebellion substantially as we have read it in the verse chronicle and mentions the special privileges obtained by the butchers.18 Characteristic of all the accounts is the condemnation of the rebels and the praise of the patriots. In his Scheinpart-spruch (1548) Hans Sachs tells of the origin of the Schembartlauf in the revolt and draws the moral for his generation: the danger of rebellion and the necessity for civic order and discipline. The Spruch is the literary counterpart of the verses in our MS and a work of such importance in our study that it must be kept constantly in mind.19 It has been suggested by Will,20 with whom Drescher agrees, 21 that this poem may have been the model for the Historie in our MS. However, when we consider Hans Sachs' method of reproducing in his own way whatever literary or historical material he came upon, and when we compare the points he discusses in his Spruch with the text of the Schembart book, it seems justifiable to conclude that the poet had seen a Schembart MS and used it as a basis for his moralizing. Thus he compares the "horrible masks" worn in the carnival to the paintings of devils; 22 he refers to silk and velvet used in both long hose and doublet in 1539, a fact usually carefully noted in the MSS; 2 3 he " Cf. Chroniken, III, 126B. On the privilege cf. ibid., p. 153: "Es gab auch Carolus auf die zeit etlich freiheit und besunder Schönheit den frumen metzlem, die sie noch haben und vor fasnacht in besundern spilen erzaigen, dardurch sie gepreist werden als getrewe fridsame man gegen einem rate." M Cf. Chroniken, III, 275, 276: "aber das hantwerck der flaischacker von kunig Karin dorumb, das sie nit abgetretten noch solchem furnemen nit anhengig waren, mit sunderen freyheyten begabt und begnadt wurden, als das sie etlich tag vor und nach vasnacht golt, sielber, perlin und anders, was sie wolten, ungefrevelt aller gepott tragen, auch ir freude und kurtzweil mit rayen und tantzen an der vasnacht durch die stat haben mochten, welchs von in noch jerlich auf! denselben tag der vaßnacht von in geübt wirt." " Hans Sachs, Werke, IV, 200S. Significant lines from the poem will be quoted throughout our study. "Will, p. 16. n Drescher, p. vi. " 1. 33: "Wie man die teuffel malt." "11. 44-5: "Inn atlaß unnd s a m e t / Hoßn unnd wammas (versteht!)."

O R I G I N OF T H E S C H E M B A R T L A U F

31

speaks of sixty-four celebrations of the Schembartlauf,2i although there were only sixty-three, his error probably being due to the repetition of the year 1485 in the M S S , under which date a description of another group of maskers in the carnival is also given. 25 T o the moralist Hans Sachs, who was almost certainly an eye-witness of the last Schembartlauf in 1539, and probably also of earlier celebrations of the carnival, the festival is a "mirror of a bygone revolt, to remind the common people never to participate in such rebellious madness." 26 For all that, the poet takes a real pleasure in embellishing his picture of the Schembartlauf and brings the festival vividly before our eyes. A much milder view of the revolt is taken by historians; they reject the attitude of the somewhat legendary accounts written by scribes and chroniclers with a definite bias towards the interests of their masters, the all-powerful patrician class. 27 T h e few documents extant, fragments of an Achtbuch for the years 13081358, and the documents of settlement, pardon, etc., 28 show that even some of the patricians were sympathetic with the demands of the artisans for relief from the existing tyranny. 2 9 T h e revolt of 1348 in Nuremberg was simply part of the general movement which occurred in all the growing cities toward more democratic government. Nuremberg, in contrast with other communities, proved to be a stumbling block in the w a y of this natural development; here very little influence in the Council was ever granted the crafts, and a rigid policy always prevailed against the liberty of the guilds. 30 Hartmann Schedel, in his "Liber chronicarum," remarks cynically: "plebs . . . suis rebus studet et de publicis minime curiosa est." 31 It was this ignorance of political affairs that really broke the power of the new guild regime, which found it difficult to collect taxes and to prevent the licentious acts in14 1.

173 : "Vier unnd sechtzig frey offen." * Cf. infra, p. 123. M l l . 300-04: "Ein verborgener Spiegel,/ Der gmain zu eynem sigel/ Fürsichtig sich zu hüten/ Vor auffrürischem wüten/." " Cf. Reicke, p. 204. 3 Cf. Chroniken, III, 320-336. w For the names of those belonging to the Geschlechter and Ehrbare, cf. Reicke, p. 213, and Chroniken, III, 320-1. " O n the guilds in Nuremberg cf. Mummenhoff, pp. 42-46. n Cf. Chroniken, I, xxvi.

32

O R I G I N OF T H E

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dulged in by murderous bands in the city and by the knights of the vicinity. 32 Before long confusion was rampant, a condition which the adversaries of the rebels exploited to the full. Carl, who for a while seems to have entertained thoughts of alliance with the rebels,33 as did the Burggrajen too,34 finally made a bargain with the latter and with Margrave Ludwig of Bavaria. The whole arrangement revolved essentially around the confiscation of the money of the Jews. In this respect the rebels had begun to encroach on what had been the sole right of the Burggrajen, and Carl agreed to retrieve whatever money they had already taken. In June, 1349, he issued orders branding as enemies all those not in union with his friends—"fur unser veind, und sullen ouch in unsern ungenaden verbleiben." 35 Another document, dated July 13, 1349, 36 abolished the new regime and pardoned some of its leaders. Then, on October 1, 1349 the Emperor, with his army and the old council, entered the city, where he was acclaimed and given a present of no less than 20,000-30,000 Pjund Heller.31 The rebellion passed into history without much blood being spilt, though many were exiled.38 A new council was chosen at once,39 and it is interesting that two of the rebel council were included among its members.40 The artisans had gained but little from the revolt, since the newly-won freedom of the guilds was abolished immediately and an official bureau, the Rugsamt, which included 33

Cf. Reicke, p. 214. " Cf. Chroniken, III, 323. 54 Since the city paid the emperor and the Burggrajen for the protection they provided, they supported whichever party could pay. 33 Chroniken, III, 329. M C f . ibid., 325. r Idem. 38 Cf. Reicke, pp. 2:9-20. The anger and greed of all parties concerned was vented on the J e w s ; those of the latter who could not escape were burned on December 5, 1349, after their houses had been destroyed and their treasures robbed. This was despite the protection they were supposed to receive from the Burggrajen. The whole pogrom was probably planned by the now reinstated council of patricians (cf. Reicke, p. 230), as the city desired to obtain the section inhabited by the Jews. Later, squares were laid out here, and the Frauenkirche was built where the synagogue had stood. " F o r the document in which Carl declared the acts of the rebels null and void (October 2, 1349), cf. Chroniken, III, 332. 40 Cf. Reicke, p. 218.

O R I G I N OF T H E the Pfänder, activities. 41

SCHEMBARTLAUF

33

was established to control and suppress all guild

Throughout the rebellion the old council received the protection and support of the butchers, who refused to join with the Geisbärte and even provided shelter in their homes for some of the fugitive councillors. 42 W e have seen above how all the accounts of the revolt agree that in return for this loyalty they were granted the special privilege of holding a dance each Shrovetide; but none of the Nuremberg official documents makes mention of this dispensation by Carl. W h a t seems to be the first mention of the dance extant, antedating all that we have seen thus far, occurs in the minutes of the Council for the year 1397: 4 3 "Primo ded. 4 lb hllr den flaischhackern ze liebung, do sie an der vasnacht tantzten, und het in auch gesagt, daz man in furbaz nichts mer ze stewr geben wolt; jussu consilij." This item may be taken to indicate that the dance enjoyed some official support at an early date, and was considered a customary event. 44 A century later the butchers' festival was not merely a custom taken for granted, but one demanded by the law on pain of punishment, as the orders of the Council show. 4 " Here again we find no word regarding the privilege, nor is there any mention of it in the M S S , aside from that 41 C f . M u m m e n h o f f , pp. 42ft. T h e rebellion w a s no d o u b t an i m p o r t a n t factor in securing t o w a r d the end of the century representation for the guilds through eight delegates to the council of f o r t y - t w o . 42 C f . Reicke, p. 2 1 1 . " C f . C h r o n i k e n , I I I , 320, 321, A n m . 8. T h e item is cited f r o m the "Jahresreg. I z. 7. M ä r z ( f e r 4. a n t e Gregorii) 1397." 44 According to the chronicles the dance w a s at first held every seven years and later at greater intervals; cf. Reicke, p. 255. " C f . the Ratsverlässe quoted b y H a m p e ( T h e a t e r w e s e n ) , p. 12, n. 2: "4. Febr., 1 4 7 5 : I t e m dem pfenter zusagen und zubevelhen, den fleischackem zusagen, iren schimpf und g e w o n h e i t in der vasenacht heur als ferent zuhalten und der rüge nachzukomen . . . " ; "29. Dez., 1492: Item den fleischhackern ze sagen, daz sie sich darnach schicken, d a z si heur zu vasnacht iren tanz halten, wie v o n alter her k o m m e n ist . . . " A sixteenth-century request to the Council b y "die chorales des neuen spitals" also includes a reference t o the dance of the butchers as an old c u t o m ; cf. L . Lier, Studien zur Geschichte des Nürnberger Fastnachtspiels ( N ü r n b e r g : BielingDietz, 1889), p. 1 0 : "Fürsichtigen, e r b e m und weisen gonstigen lieben herrn. U n s langt ane, wie e. f. w . zu dieser freidenreichen zeit nach alter loblichen gewonhait und herkomen dieser stat N u r m b e r g zu ainer besundern freude und ergetzlichkait gemeiner stat den fleischhakem zu danzen und im schenpart zu laufen, auch andern, freidenreiche spill z u treiben erlaubt und vergont haben . . ."

O R I G I N OF T H E

SCHEMBARTLAUF

in the introductory poem,46 and we may assume that it is not historical, but rather an invention, in keeping with the traditions of the guilds but sanctioned by the attitude of the Council. A perusal of the Ratsverlässe leads to the conclusion that permission had to be obtained by the burghers for even the slightest activity. Certainly public processions and all performances of a theatrical nature required official approval. 47 There would be less danger of refusal where the function had in its pedigree a royal privilege. In Germany, popular festivals were apt to be graced by a pseudohistorical legend, 48 dating from some momentous event such as a war or a feud or a plague; and the butchers in every community have always claimed a signal honor to their craft as the motive for their festivals. 49 It is doubtful whether proof can be found for the truth of these "historical" beginnings; the origin of the butchers' dance in Nuremberg is more likely hidden deep in the shrouded past of folk traditions. Our M S shows us the Metzgertanz in a double-folio miniature (f. I, cf. Fig. 3) following the introductory verses. 50 T h e dancers are represented against a gray background, and each holds to a brown leather ring 51 as they are led through the simple steps of the Reigen, the popular round-dance of the medieval period, M An absurd explanation of the privilege is suggested in M S No. 2 1 (1600), f. 145V, cf. Hampe (Theaterwesen), p. 12: "Hetten wol mit besseren freiheiten können begabt werden, so sie es begehret, aber damit ihnen nicht zugemessen wurde, als hetten sie aus anderer leut schaden ihren nutz gesucht, haben sie villeicht ein solch schimpflich ding begehrt." " C f . Hampe (Theaterwesen) for many instances, e.g., p. 16, n. 4, 6; p. 44, Nos. 5, 7. This control by the authorities was, of course, not limited to Nuremberg; cf., for example, L. Petit de Julleville, Les Comédiens en France au moyen âge (Paris: L. Cerf, 1 8 8 5 ) , p. 2 4 8 , for a privilege granted to Les Connards to hold a procession in 1541; cited below as "Petit de Julleville (Les Comédiens)." ** For a summary of festivals and their privileges, cf. K . Reuschel, Deutsche Volkskunde, "Aus Natur und Geisteswelt," Nr. 6 4 5 (Leipzig, 1 9 2 3 ) , pp. 6 2 - 3 ; further F. M . Böhme, Geschichte des Tanzes in Deutschland (Leipzig: Breitkopf & Härtel, 1886) pp. 62, 66, 67; cited below as "Böhme." ** Cf. W. Krebs, Alte Handwerksbräuche, 'Schriften der Schweizerischen Gesellschaft für Volkskunde," X X I I I , 1933, pp. 196, 257, 271, 280; cited below as "Krebs" " A similar miniature is contained in the following M S S : Nos. 8, 10, 14, 24, 28, 29,

36, 37,

38, 42, 44,

47,

48,

S°,

5*.

54,

58, 60,

64.

Some commentators have followed Will, p. 9, in comparing these rings to liver sausages; cf. Böhme, p. 67, Drescher, p. xi. 51

O R I G I N OF T H E S C H E M B A R T L A U F

35

performed in skips and leaps." This is the oldest form of the folkdance, still preserved in children's games, and, because of its circular movement, held by some writers to be the relic of a primitive sun charm. 53 T h e dancers greet the spring with a joyous welcome to the returning sun; the light is reflected from small round mirrors hung on a bare tree, which the miniaturist has painted in the top left corner of the scene, with a figure in peasant costume holding it upright. 54 N o doubt the dance originally went around the tree, which is also a symbol of the life-force stirring in nature, a symbolic element that adorns every folk-festival the year round. 55 It is one of those customs that suggest the primitive worship of the fertilization spirit in vegetation, a conception that depends upon the "notion of sympathetic magic." 56 Beside the tree stand a trio of the "Statt pfeiffer," the town pipers, wearing the knee-length mantle, the Schaube, in the colors of the City, blue and white. They blow lustily on their instruments, a trombone and two recorders. T h e position of the musicians here and the general arrangement of the dancers are conventional, to judge by other illustrations of German peasant and urban festivities. 57 T h e Reigen of the butchers is led by two dancers, one at either end of the chain, who, like the Vortänzer of the folk-dances, bear a mace in one hand as the sign of their dignity. 58 T h e staff ends in a " F o r earlier forms of the "springender T a n z , " cf. Böhme, p. 11. The butchers' dance has also been called a "Zamertanz," cf. Will, p. 9. Drescher, p. xii, follows Will and considers "Zamer" to be "Ziemer . . . ausgetrennter Rücken des Hirsches und Rehes, zumal der hintere Teil" (Schmeller, Bayr. Wb., II, 1121). u Cf. Böhme, pp. 292ft. E. K . Chambers, The Mediaeval Stage (Oxford: Univ. Press, 1903), I, 129, presents an unprejudiced view on the subject of circumnambulatory rites, such rites "in which stress is laid on the necessity for the motion to be . . . in accordance with the course of the sun . . . perhaps . . . may be legitimately considered as of magical origin."; cited below as "Chambers (Med. Stage)." " In the miniature in M S No. 35 there are two trees, cf. reproduction in A. Schultz, Deutsches Leben im vierzehnten und fünfzehnten Jahrhundert (Wien: F. Tempsky, 1892), Fig. 479; cited below as ' Schultz." " C f . J. Grimm, Deutsche Mythologie (Berlin: F. Dümmler, 1875-8), I, 52. " C f . Chambers (Med. Stage), I, 117. " Cf. Schultz, Figs. 208, 209, 212. M Cf. Neidhard (quoted in O. Erich and R. Beitl, Wörterbuch der deutschen Volkskunde (Leipzig: A. Kröner, 1936), p. 7 9 1 : "Sit die törper under einander sint/ so vragents: wer sol leiten für den danz diu kint?/ Peter wolte Uetelgozen han erslagen/ do er den leitestap vor in sach tragen."

36

O R I G I N OF T H E

SCHEMBARTLAUF

cup-like oranament, on which is fixed a small figure emblematic of the butchers guild, the one in the centre of the miniature a bull, and the other at the lower right a ram.59 T h e thirty celebrants in the dance are clad in costumes of varying single colors, with a design in the material of one or two. This is a costume of the latter half of the Fifteenth Century. T h e pointed shoes were a particular fashion of that time ; they became popular after the middle of the century. 60 The hats trimmed with a peacock feather and the slashed doublets are also characteristic of this period. Toward the end of the century the doublet was separated from the headpiece, the "gugelkappe," as it is here, and was cut in front to permit the introduction of a designed breast-piece. 01 In one respect, however, the doublets worn by the dancers differ from the mode of the day: they show no skirt below the waist-line, an exaggeration of style strongly condemned in the police-orders of the time.62 This liberty was doubtless taken by the Metzger to allow greater freedom in their leaps; they have also doffed the short capes which were otherwise a regular feature of contemporary dress. In the corners of the miniature three more fanciful costumes are represented on auxiliary figures dressed as hobby-horses, a grotesque mask characteristic of the folk-festival. 63 Only one of the hobbies, that in the lower right corner, really represents a 19 In some M S S one staff is surmounted w i t h a goat. Another example of a painted ox carried b y the butchers of Nuremberg in a festival in 1615 is cited b y F. L . Frhr. v. Soden, Kriegs- und Sittengeschichte der Reichstadt Nürnberg (Erlangen : Biasing, i860), pp. 407-8. In 159g a great stone ox was placed over t h e entrance to the house of the butchers' guild in Nuremberg, cf. Reicke, p. 603 (ill.). These figures m a y be a relic of an earlier sacrifice, like the cake borne about impaled on a s w o r d in some morris-dances; cf. Chambers ( M e d . Stage), I, 198, n. 1. " C f . Schultz, p. 3 2 1 : " D o m o l l e n (1462) hub man ahn kurze w a m e s . . . zu dragen . . . und schuch mit langen spitzen." " C f . Schultz, p. 3 3 7 : " A n n o 1495 . . . hat mir wass Clar ein brostuoch gestickt mit golt und ein guldin wolkicht schnor daruf geschenkt." " C f . Schultz, pp. 328, 329, f o r edicts issued against "schamliche kurze kleider," e.g., in i486 (Berne) w h e n an order w a s directed particularly against m a s k e r s : " I t e m den schnoeden kurzen kleidern ein maess und s p f u n d buoss ufgelegt, item die butzenantlitz . . . heißen leisten." M Cf. K . Weinhold, "Fasching," Zeitschrift für Volkskunde, V I I I , 441. M . E . D u Méril, Histoire de la Comédie (Paris: Didier, 1864), I , 79, 421, s h o w s t h e p o p u l a r i t y of the cheval-fol or Schimmel throughout Europe. C f . further F. D o u c e , Illustrations of Shakspeare and of Ancient Manners ( L o n d o n : T h . T e g g , 1839), p. 595. and Chambers ( M e d . S t a g e ) , I, 196, n. 2, for a discussion of the h o b b y horse in the English morris-dance; and on the presence of the h o b b y - a n i m a l s in

O R I G I N OF T H E S C H E M B A R T L A U F

37

horse, the other two maskers are "riding" a ram (in the upper right corner) and an unicorn (in the lower left). 64 The Ratsprotokolle for 1477 makes mention of the "vasnachttier" of the butchers in connection with a police-order to the artists to paint the carnival-animal for the Metzgertanz or give the reason for their refusal.65 The miniature shows the hobbies as very well made, probably of a light wooden or wicker framework covered by painted canvas, and held up by means of a wide belt around the neck of the "rider." 66 The maskers themselves are dressed appropriately: the ram is being "driven" by a man of peasant cast, the horse by a cavalier in a costume of the same striped material as the horse's cloth, and the unicorn, age-old symbol of chastity, "carries" a girl on its back, dressed in a bodiced gown and feathered hat. This last character, with its folkloristic implications, reminds us of the apparently ritualistic origin of the hobbyhorse : the earliest form, the skin-clad worshipper, may have been a mode of approach to the god. The wearing of animal masks was frequent in primitive dances and farces,67 the custom continued into the Fifth and Sixth Centuries, as the denunciations of the so-called portenta by ecclesiastics as a sacrificium daetnonum show.68 The appreciation of the significance of the hobby was entirely lost with the centuries. However, the inclusion of the hobbies in our Metzgertanz seems to indicate a primitive origin for the festival. The miniature of the butchers' dance does not illustrate the "FaBnacht S p i l . . . der Schempart" referred to in our introductory chronicle. As we shall see, the records of the Fifteenth Century the mummers play cf. the many references in E. K. Chambers, The English FolkPlay (Oxford: Clarendon Press, 1933); cited below as "Chambers (Folk-Play)." Chambers (Med. Stage), I, 406, quotes an item of "13 hobby-horses" in the stable of the Lord of Misrule in London in 1551. " M S No. 3s (cf. Schultz, Fig. 479) shows a hobby without a rider, a wolf with a goose in its mouth. " C f . Th. Hampe, Nürnberger Ratsverlässe über Kunst und Künstler (op. cit.), p. 9, Jan. 29, 1477: "oder vrsach sagen warumb sie daz nit thun wellen." " Cf. Douce, op. cit., Plate V , for a parallel figure in England. Illustrations of the construction of the hobby-animal may be seen in A. Janson, Die lettischen Maskenzüge (Riga: Selbstverlag, 1930), Abb. 8, 15, 19-21; cited below as "Janson." " Cf. A. Nicoll, Masks Mimes and Miracles (London: G. G. Harrap, 1931), p. 3of.; cited below as "Nicoll (Masks)." " C f . Chambers (Med. Stage), I, 258-9.

38

O R I G I N OF T H E

SCHEMBARTLAUF

indicate that the Schembartlauf was considered an adjunct of the butchers' dance. T h e r e were no doubt also older traditions of miming and mumming that contributed to the carnival of the Läufer; however, these are hidden in the maze of early medieval culture. It is perhaps impossible to trace clearly the development of processions and festivals in Germany, certainly beyond the Christian era, no matter how obvious parallels m a y seem either with the customs of other nations in the primitive period or with modern examples. 69 Despite our imperfect knowledge, however, there can be no doubt of what Creizenach has called "the ancient fondness of the folk for guising and festive processions"; 7 0 and though the Schembartlauf is a civic festival, we may expect to find incorporated in it, perhaps unconsciously so far as the participants were concerned, some features of earlier, more elemental folk festivals, the essential characteristics of which were running and masking. These customs of the folk seem to be survivals of lustration rites in the fields, ceremonial processions in theriomorphic and phytomorphic masks that identify the celebrants with the demon of fertility; 7 1 the mimetic magic they practice brings the spring to the village. 72 A n external representation of the spirit is introduced into the dance of the cult procession in the form of a winter giant to be " J . de Vries, Altgermaniscke Religionsgeschichte ( B e r l i n : W . de G r u y t e r , 1935), I, 304 (cited below as " d e V r i e s " ) , has warned against the too ready assumption of a heathen origin for the customs w e k n o w , as most of them have c o m e d o w n to us f r o m Christian times: ' W i r sollen nicht in jeder Strohfigur einen Vegetationsd ä m o n wittern, nicht jeden A u f z u g als alten heidnischen K u l t a k t betrachten, nicht jedes Gebildbrot als Ersatzopfer deuten." , 0 W . Criezenach, Geschichte des neueren Dramas, 2nd ed. ( H a l l e : M a x N i e m e y e r , 1 9 1 8 - 2 3 ) , I, 170; cited below as "Creizenach." " C f . C h a m b e r s ( M e d . Stage), I, 104, 258-9; further R . Stumpf!, Schauspielmasken des Mittelalters und der Renaissancezeit und ihr Fortbestehen im Volksschauspiel, " N e u e s Archiv für Theatergeschichte," hrsg. v . M a x Herrmann (Berlin, 1930), I I , 21 f . ; cited below as " S t u m p f t ( M a s k e n ) . " K . M e u l i in Handwörterbuch des deutschen Aberglaubens, V , 1733ft., " M a s k e , Maskereien,'' reviews the history of m a s k s in G e r m a n y ; he believes the demons represent the souls of the dead ( T o t e n masken, Seelenmasken); cited below as " M e u l i . " " O n the fertilization motive cf. J . G . Frazer, The Golden Bough, 3d ed. ( L o n d o n : M a c m i l l a n , i g n - 1 9 2 3 ) , V I I I , 325-335; cited below as " F r a z e r . " T h e apotropaic purpose of the rites is stressed b y E . Fehrle, Deutsche Feste und Volksbräuche, 2d ed. L e i p z i g : Teubner, 1920), pp. 8, IT, etc., cited below as " F e h r l e " ; cf. f u r t h e r A . Spamer, "Sitte und B r a u c h , " in Handbuch der deutschen Volkskunde (Potsdam. A k a d e m i s c h e Verlagsgesellschaft Athenaion, n. d ), I I , 39ft., for the combination of b o t h aspects; cited below as " S p a m e r ( H a n d b u c h ) . "

ORIGIN

OF

T H E

d e s t r o y e d 7 3 o r of a n a n i m a l be carried through the

S C H E M B A R T L A U F

figure.74

fields,75

39

A n i m a g e of t h e d e i t y

o r t h e e f f i g y e n c a s e d in a

might shrine,

a s in t h e s h i p - c a r t of t h e N e r t h u s c u l t , 7 6 a t y p e of p a g e a n t i c

re-

l i g i o u s p r o c e s s i o n t h a t is r e p o r t e d a s l a t e a s t h e T w e l f t h C e n t u r y . 7 7 Pagan

traditions

were

absorbed

by

the

Church,

and

the

C h r i s t i a n festivals, such as the costumed C o r p u s Christi

new

proces-

s i o n s w i t h t h e i r t a b l e a u x 7 8 o r t h e a m b u l a t o r y m a s q u e of t h e P a s sion,78 continued the old folk-customs. B u t w i t h the w a n i n g of the M i d d l e A g e s t h e b u r g h e r s of t h e c i t i e s w e r e t r e a t e d t o t h e s p e c tacle cent

of

the

royal

pageantry

entries.

81

At

of the

the

tournament80

court

of

and

Maximilian

the I

magnifi-

the

revels

" Cf. de Vries, I, 125; F. v. d. Leyen, Die Götter der Germanen (München: Beck, 1938), Tafel V, Abb. 13. M o d e m winter giants are pictured in Spamer ( H a n d b u c h ) , Abb. 89 (Der gefesselte Winter . . . beim Festzug des Sommergewinns, Eisenach, 1931); A. Spamer, Die deutsche Volkskunde (Leipzig: Bibliographisches Institut, 1935), p. 100, Abb. 1 (Der P u m p h u t , Riesenpuppe im Zug der Kinderf a s t n a c h t ) ; cited below as "Spamer (Volkskunde)." " Cf. W. M a n n h a r d t , Wald- und Feldkulte, 2d ed. (Berlin: Gebr. Bornträger, 1904-05), I I , 183 (Getreidedämon im F e s t z u g ) ; cited below as " M a n n h a r d t . " " Cf. R. Stumpfl, Kultspiele der Germanen als Ursprung des mittelalterlichen Dramas. (Berlin: J u n k e r und D ü n n h a u p t , 1936), p. 97f., on a Flurumgang in the year 939; cited below as "Stumpfl (Kultspiele)." ™ F o r a review of ship-processions and Nerthus cf. M. J . Rudwin, The Origin of the German Carnival Comedy (New Y o r k : G. E. Stechert, 1920), pp. 4-12 (cited below as " R u d w i n " ) ; f u r t h e r cf. de Vries, I, i82ff., F. v. d. Leyen, op. cit., pp. 102Ü. " T h e report by the monk R u d o l f u s of the ship-procession in 1133 is summarized in R u d w i n , p. 10 ( G r i m m , Deutsche Mythologie, pp. 214-17). ™ Cf. Creizenach, I, 56, i7off. (Prozessionsspiele zur Fronleichnamsfeier); Spamer ( H a n d b u c h ) , p. 95, considers the Schembartlauf a secular analog of t h e Corpus Christi processions. T h e masking and pageantry of these processions is fully described by Naogeorgus, cf. The Popish Kingdome (Englyshed by Barnabe Googe, 1570), ed. b y R. C. H o p e ( L o n d o n : Whittingham, 1880), p. 53b; cited below as "The Popish Kingdome." ™ H . H . Borcherdt, Das europäische Theater im Mittelalter und in der Renaissance (Leipzig: J . J . Weber, 1935), p. 12, points to the race between J o h n a n d Peter, introduced into t h e German version of the Passion play, as a characteristic scene of quick m o v e m e n t ; cited below as "Borcherdt." F o r masks w o m in t h e churches we have evidence f r o m the T w e l f t h Century in the decrees against the monstra larvarum, particularly in the festa stultorum of the clerics; Stumpfl ( M a s k e n ) , pp. 36ff., cites t h e orders of the church councils f r o m 1199 to 1565. Cf. f u r t h e r Chambers (Med. Stage), I, 318-319, for a twelfth-century comment in H e r r a d von Landsberg's Hortus Deliciarum on the buffoonery of the priests. 80 T h e tradition of t h e tournament in Nuremberg dates back perhaps t o the T w e l f t h Century, cf. R. Withington, English Pageantry (Cambridge: H a r v a r d Univ. Press, 1918-1920), I, 87; cited below as "Withington." F o r masques held in the tournaments cf. Schultz, pp. 481-2. " On the pageantry of the royal entries in Nuremberg cf. Chroniken, I I I , 342 (1414). 343 ( 1 4 1 4 ) ; I X , 513 (1471), S22ff. (1485), 722 (1489). T h e entry of Maximilian as projected by his secretary, Marc Treitzsaurwein, and illustrated b y

40

O R I G I N OF T H E

SCHEMBARTLAUF

included many a masque, and the emperor himself took part in costume; 82 in his banquets Maximilian brought into play the pageantic motifs he had observed at the courts of Italy and Portugal.83 Not only the court revels but all the seasonal pleasures of fifteenth- and sixteenth-century city folk bear the mark of popular masking customs.84 The peak of these pastimes is the period from Epiphany to Shrovetide, when, as the author of The Popish Kingdome puts it, "olde and young are both as mad, as ghestes of Bacchus feast," and masked runnings are the rule.85 The Rotten are about, roving bands of mummers86 go from house to house, where one by one they step forth to say their pieces in the Fastnachtspiel." In the carnival of the Schembartläujer all these currents of demoniacal runnings and pageantic processions flow together to produce a brilliant Renaissance masquerade.88 Hans Burgkmair (composed 1516-19) included guisers; cf. Triumph des Kaisers Maximilian I, hrsg. von F. Schestag, Jahrbuch der kunsthistorischen Sammlungen des allerhöchsten Kaiserhauses (Wien: A . Holzhausen, 1883-4), II, Tafel 28-32. T w o elaborate pageantic entries of the Sixteenth Century (1540, 1541) are described by Hans Sachs, cf. Werke, X V I , 427ft.; II, 381«. " Cf. Chroniken, X I , 732: "1491 . . . Item so ließ die kunigliche majestat derselben nacht ein tantz auf dem rathaus halten und mancherlei tentz auf welsche und niderlendische art üben und spil treiben, darin auch der kunig persönlich in einem schempart was." " A comprehensive picture of the emperor's entertainments is presented in his works. The Frey dal (1502?), already referred to above as a Turnierbuch, also contains a series of sixty-four folio miniatures under the heading of Mummerei, showing the great variety of "kurtzweil" in the court mummings. For a reproduction in color from this work cf. G. F. Hartlaub, "Fastnacht und Kunst," Velhagen und Klasings Monatshefte, X L I , Bd. I, 1926/7, 641. In the Weisskunig (1513), 82, w e find more proof of Maximilian's keen interest in masking: "Wie der jung w e y ß kunig mit pangeten unnd mumereyen über ander kunig was." Such a scene of mumming was illustrated by Dürer in his Ehrenpforte des Kaisers Maximilian 1 (1515), cf. Jahrb. d. kunsth. Sammlgn. d. allerh. Kaiserhauses, 1885-86, Beigabe 3, Tafel 24. " A summary of the festivities of the period may be found in Schultz, chap, iv, and in The Popish Kingdome, Bk. IV. Some interesting processional customs are described in B. Sastrow's Memoirs (1595-97), translated by A . D . Vandam, Social Germany in Luther's Time (Westminster: A. Constable, 1902), pp. 34-5, 210, 273-6. " Cf. also Sebastian Brant, Narrenschiff, n o b : "Von fasnachtnarren." " C f . Hampe (Theaterwesen), p. 11. ™ On the carnival play as a masked procession with rimes cf. Creizenach, I, 4 i i f f . ; Hampe (Theaterwesen), pp. iof. Examples are Fastnachtsspiele aus dem 75. Jahrhundert, hrsg. X X V I I I - X X X , X L V I v. A. v. Keller (Tübingen: Stuttg. Lit. Ver., 1853-58), Nr. 9, 11, 16, 23, 25, 28, etc.; cited below as "Fastnachtsspiele." " T h e Schembartlauf is referred to as a "mascarate" in the eighteenth-century M S No. 52 (f. 25r).

IV THE SCHEMBART

CHRONICLE

THE CHRONICLE of our M S begins with the text on f. 4r for the year 1449, and accounts for sixty-three Schembart festivals in the ninety-one years up to and including 1539, the text for this year appearing on f. 68r. T h e Schembart carnival was run in the following years, according to the M S S : 1449, 1451, 1453, 1456 to 1482, 1484, 1485, 1488 to 1491, 1493, 1495 to 1499, i 5 ° 3 to 1518, 1520 to 1524, 1539. 1 T h e omission of the carnival, in 1450, 1452, 1454, 1455, 1483, i486, 1487, 1492, 1494, 1500 to 1502, 1519, was due to wars, plagues, or some political stress, 2 and the long hiatus between 1524 and 1539 (and perhaps some earlier lapses) seems to have been the result of a general censorship of the festival, a ban that became completely effective after 1539. Characteristic selections from the chronicle, which is an itemized record of the Schembartlauf, will be given below and the contents of the parts omitted summarized, a procedure that is justified because of the similarity of the texts for the various years. Significant references to points discussed in later chapters will be quoted in their appropriate place. Despite the differences in all the MSS, the text of ours, Nor. K . 444, contains enough of the essential elements to permit it to be considered representative of the text of the Schembart books. ' I n some MSS the first Schembartlauf is dated a century earlier; cf. MSS Nos. 8, g, io, 43, 67, with the first date 1350 or 1351. MSS Nos. 52, 54, begin with 1450, M S No. 63 with 1453. The final date in MSS beginning with 1350 is in most cases 1439. The chronicle of some MSS runs on to later dates; cf. MS No. 28 to 1564, M S No. 29 to 1600, M S N o . 30 to 1653, etc. According to Brüggemann (Mitt.), p. 13, MSS Nos. 3 and 48 report a Schembartlauj for 1600. ' H a n s Sachs notes (Scheinpart-spruch, 11. 164-169): "Welcher denn ist geloffen/ Alle faßnacht frey offen,/ Außgnummen wenn die stat/ Krieg oder unfal h a t / Oder ein sterb anhub,/ Den scheinpart man auff-schub." Cf. also Chroniken, X I , 687 (Heinrich Deichslers Chronik): "Item da ma zalt 1500 und 5 jar da verput hie ein rat alle vasnaht und auch die flaischhackertantz und vasnahtspil. item es was auch kain gesellntantz." The reason for the ban is explained in the minutes of the Council, cf. ibid., n. 3 : (Jan. 4, 1505) "Von wegen der kriegsleufft und sterbens ytzo voraugen ist ertailt hewr den schemppart und tantzen der flaischhacker in rwe ze stellen. E. Geuder."

[41]

42

THE S C H E M B A R T CHRONICLE

It would be of interest to examine more closely the forms of the dialect in our M S , but irrelevant to the present study. T h e language of the text has all the earmarks of late M H G and of N H G , especially in orthography; thus, for instance, capitals are extended to many parts of speech (e.g., Järlich, Loßen, der Rechte Arm)', two dots are written over y (e.g., bey, Weysen); there is a lack of distinction between i and } (e.g., Jn, Im, jnrt, in) and v and u (particularly in vnd)\ doubling of consonants occurs, especially of n and / (e.g., vnnd, Gessellschafft); an inorganic h is frequently added to t (e.g., theil, Haubtleuth) and to ck (e.g., Laubwerckh, Obßmarckh). In the field of diphthongs there is a lack of clear differentiation between ai(ay) and ei(ey) (e.g., gemain, weil, allerley). T h e ¿-sound is rendered by various spellings, ch is also used (e.g., Chleplettlein, Bachojen). W e find a variation of b and p initially (e.g., Praun or Braun, Plauen, Pareth, Pradtwürst) and d is used initially for t (e.g., Daschen, Daffeln, Druch)? T h e scribe employs the typical punctuation of the Fifteenth and Sixteenth centuries: the period within the sentence for emphasis, and with numbers (e.g., f. 7r: "Anno. 1456. was Hannß Elwanger Haubtmann Jm Schempert."); the virgule to mark off phrases and clauses or sentences (e.g., f. 104V: "Vnnd sich ein ieder zu erkhennen zu geben, wer er were/ Der wurdt auff geschrieben"; f. 55r: " D i e Höel wardt. ein L i n d w u r m / . " ) ; and the colon in abbreviations (e.g., f. 4 i r : "Ein E : R a t h " ; f. 68r: " M a r t h i n V o n Plauen d: Jünger."; f. i o o v : " N : Petter Vischer Diener"). 4 A black letter script is used almost exclusively throught our M S (Fig. 2a). B y way of exception, several lists of names (ff. 68v69V, I l r , 99V-100V, i o i v ,

i 0 2 r ) a n d the a c c o u n t of a q u a r r e l

between the Läufer and a rival group of mummers (ff. 102V-104V) were written by the scribe in a Gothic cursive hand (Fig. 2b). 5 T h e black letter is the script which was imitated at Nuremberg in the type of early printed books, to give them the appearance of manuscripts. 6 Similar Gothic scripts appear in works written in "On these points cf. V. Moser, "Frühneuhochdeutsche Grammatik (Heidelberg: C. Winter, 1929), I (Lautlehre), pp. 23ft. 1 Cf. ibid., pp. 6ff. " Most of the MSS show only a cursive script. " Cf. H. Degering, Lettering (London: E. Benn, 1929), p. xviii, and PI. 137, 146,

THE SCHEMBART

CHRONICLE

43

the copy offices of the Sixteenth Century. A close parallel to both scripts of our M S is to be seen in a copy of Sigmundt Meisterlin's Historie von Augsburg, written in the year 1563.' Our M S also contains brief additions in a second Gothic hand; they are usually notes taken from other M S S . Except for these comments, the text text was written b y one scribe. T h e brief texts of our M S are placed at the top of the folios, leaving the rest blank. 8 In a few cases the scribe indents the lines, e.g., ff. 7, 1 1 , 15, 16, etc., but never enough to make a design. 9 Where the miniature is v e r y large the text has been fitted into the space left free, as in the text for 1539, cf. Fig. 55. T h e chronicle opens with the following items: f.

f.

4r Anno, 1449, war Cuntz Eschenloher Haubtman Im Schempart, vnnd Loffen auß Jn des Christen weysen Hauß bey der Lanngen Prucken vnd waren der Mener .24. von den Erbarn .12. die andern auß der gemain./. Dann weil Jn den abgewichenen Jahren, allerley vnordnungen bey den Schöbart Gesellschafften furgeloffen, hatt der Rath vmb beßerer Ordnung willen, einen haubtman geordnet, welchs nachfolgend järlich geschehen, Jn massen Jn disem Buch, wer dieselbe, vnd wie Sie geklaidet gewest, ordentlich Zu finden. 5r Anno, 1451, war Endres Wagner Haubtman Im Schempart, der

162, 164, 17g. Cf. also R. Kautzsch, Die Entstehung der Frakturschrift (Mainz: Beilage zum 20. Jahresbericht der Gutenberg-Gesellschaft, 1922), pp. 27-8. ' Cf. E. Crous u. J. Kirchner, Die gotischen Schriftarten (Leipzig: Klinkhardt, 1928), Tafel 30, Abb. 55 (Deutsch, Kanzleischrift und Kurrentschrift. 16. Jh. geschrieben durch Hans Schwab in Esslingen); cf. also Abb. 54 (Deutsch. Kurrentschrift, 16. Jh.; Andreas Zainer: Chronik des Hauses Bayern), Abb. 56 (16. Jh., Kurrent). Cf. further G. Metz, Handschriften der Reformationszeit (Bonn: A. Marcus u. E. Weber, 1912), Tafel 11, 43, 45a, b, 48a (Kanzleihände d. 16. Jh.); P. Jessen, Meister der Schreibkunst aus drei Jahrhunderten (Stuttgart: J. Hoffman, 1923), Abb. 2-3. On the development of the Gothic script cf. S. A. Tannenbaum, The Handwriting of the Renaissance (New Y o r k : Columbia University Press, 1930), pp. iof. "The same text is made to cover the whole folio in MS No. 40, the lettering is so large. In the MSS with full chronicles the Schembart text is either just an item among the many others, or each time it is given a special place together with the miniatures. In M S No. 28 the Schembart text is put at the bottom of the folio, below the miniatures. "In MSS Nos. 22, 67 the text is inscribed in a formal, indented pattern. f. 4r: 1. 2. Christen weysen: MS No. 58 (Drescher, p. 4) has "Cunz Weissen." 1. 3. Prucken: "Brücke." 1. 4. Dann weil etc.: The second hand has added this note. I. 5. Schöbart: a misspelling for Schönbart.

5

THE

44

6r Anno. 1453. war Anthoni Tallner Haubtman im Schempärt. warn der Menner .24. vnd Luffen auß Zum Weysen, samleten auch Fisch./.

f.

Jm 1454. Luff Kein Schempärt/. .1455. Luff Kein Schempert./.

10 f.

7r Anno. 1456. was. Hannß Elwanger Haubt man Jm Schempert. 24, Jn Plauen Schetter, einen Rodten Huedt vnd Ermel beklaidtet, Luffen bey dem Alten Weysen auß, auff der Stuben, samleten auch Fische.

f-

8r Anno, 1457, ward Fritz. Holfeldter Haubtman Jm Schembärt. Jr 24. Luffen auß beym Weisen, hetten Buchsen anhangen, samleten Gelt, vnd Kein Fisch mehr./.

f.

gr Anno, 1458, war Häinrich Rummel Haubtman Im Schempert. warn der Menner. 24. samleten gelt in die Füchsen, von den Juden, und von dem Frauen Wirdt, auch an andern Ordten, damit sy Zu Drincken hetten. Diszmal haben Sich ettliche Junge Gesellen von Erbar Geschlechten vnter die Schönbart Gesellschafft gemischett, diser kurtzweil beyzuwohnen.

20

25

CHRONICLE

der Mener .24. Luffen auß Zum Weysen, die Flaischhacker musten sie Klaidten, vnd belohnen, einem iedem Fünf Groschen, samleten am Aschermittwog Fisch, Aßen die selben dar nach mit ein ander./. Jm 1452. Jar Luff Kein Schempart.

5

iS

SCHEMBART

f. ior Anno, 1459 war N : Zenner Haubtman Jm Schempert, warn der Menner .21. samleten gelt ein/. f. n r Anno, 1460, wardt Hannß Grabner Haubtman Jm Schempert, 24. in Rodt und W e y ß abgethailt mit Rodt vnd Weysen Flemlein, hetten Kein Trumel sondern einen Sackpfeiffer, Jn gleiche färb geklaidet, der war ein Altreuß, der Fürst genandt.

For each of the years 1461 to 1467, ff. i2r-i8r, the brief text /.

/. /. /.

7r: 1. 12. Schetter: cf. Schmeller, Bayr. W b . II, 482: "Schattet, Schetter, Steifschetter, lockere, undichte Leinwand, wie die, welche durch Überziehen mit Leim oder Kleister steif gemacht wird." gr: 1. 21. Diszmal etc., added by second hand. ior: 1. 24. N: the abbreviation for "Niclas" (cf. M S No. 58, Drescher, p. 5). nr: 1. 28. Jn gleiche farb etc., added by second hand. 1. 29. Altreuß: Schmeller, Bayr. W b . II, 144: "Der Alt-Reis (Franken) Altflicker, Schuhflicker"; here also the form "altreuß" from Hans Sachs, and a reference to "Der Altreißenmarkt hinter der Barfüßerkirche in Nürnberg."

THE SCHEMBART

CHRONICLE

45

mentions the captain of the Schembartlauf, the number participating, and the costume they wore. A new element is introduced on f. i9r for 1468 in a fee paid to the butchers guild; the expression for this is usually "gaben den Metzgern" or "bestanden von den Metzgern." T h e fee is not noted for each year. f. i9r Anno, 1468, wurden Zwu Schempärts Rot erlaubt, der ainen wahr. N:Höffler, JHaubtman deßen Gesellen waren 2.4. In Rodt beklaidtet, ain Seidten mit gelben Rößlein. die ander mit weysen Flemlein, gaben den Metzgern, ain gulten, das sie Jhn den Zu Lisen. vnd wardten auff sie./. Der andern Rott Haubtman war Hannß Kreß dem 42 In Grau beklaidtet, die eine seidten mit weisem gewilck vnd gelben Flammen, die ander mit viln weyßen .3. Zirt/. Lüffen auß bey dem Hannß Kreßen, in der Predtiger gassen, warn Lauder Erbare Gesellen/. On ff. 2or-25r the texts describe the Schembart runs for the years 1469 to 1474. A new development occurs in 1475, f. 2Ör, in the mention of a carnival float, the so-called Hölle. f. 2ör Anno. 1475, warn Hannß vnd Benedict die Freyn Haubtleuth der Schempart, hetten jn Jrer Gesellschaft .46. waren bekleidtet, Jn Praun und Grün, Jn den Praun warn gelb, und im grünen weiß Aichl Blettlein, gemalet/ Lüffn auß bey dem Hegner am Roßmarck, gaben den Metzgern 4 f. sie hetten auch ein Höel war ein großer Trach auff einer Schlaiffen/. W e may pass over ff. 2 7r-4or, as the texts on these folios, for the Schembart festivals held in the years 1476 to 1491, follow the regular pattern, with no innovations except for variation in the costume. For 1485 an additional text is given on f. ßör, describing other groups of dancers, dressed as " M o r n " and " B a u r n " ; and the text for 1492 on f. 4 i r (a year in which the Schembartlauf was not run) refers to a group in the costume of an " A l t u a t t e r " ; these dancers will be described below. In 1493 the second Hölle occurs. The text for this year is as follows: /.

j.

jgr:

1. 2. SHaubtman: in the margin. 1. 4. das sie Jhn den Zu Lisen: ''daß sie sie also zuließen." 1. 7. gewilck: "Gewölck," a cloud pattern. 1. 8. 3. Zirt: The pattern on the costume is a large figure "3." "geziert." 2ör: 1. 15. Trach: "Drache." Some M S S write Lindwurm. 1. 15. Schlaißen: "Schlitten."

Zirt:

46

THE

SCHEMBART

CHRONICLE

f. 42r Anno, 1493, warn des Schempart Haubtleuth, Wolff Haller Göerg Kötzel, Steffan Baumgartner, vnd Sebalt Teuchsler. 72. Person bekleidtet Jnn Schwartz vnd Weiß, der leng nach Strichweiß abthailt hetten gelb Goller an, Liiffen auß bey dem Derrer an der Fleisch Brucken, vnd diß ist der Erste Schempärt gewest, so in Wühln Thuch beklaidt gewest, dann sie Zuuorn nur Leinwath, vnd Plahn angedragen. sie gaben den Metzgern .16. f. Vnd hetten ein Höel das war ein groß Schloß, mit vier Erckern, das wurdt hernach für dem Rathauß, von Jhnen gestürmet, und Letzlich verprennet/ Anno. 1494,

Lüff Kein Schempärt/.

Similar texts follow on ff. 43r-46r, for the years 1 4 9 5 t ° 1 5 2 3 , containing itemized accounts of the Schembartlauj.

A brief de-

scription of the Hölle occurs each time, except for the years when none was included in the procession: 1496, 1 4 9 7 , 1 4 9 8 , 1 4 9 9 ,

an

d

1 5 0 9 ; for the latter year the omission is noted in the text: " v n d hatten kein Höel." Through some peculiar error the text for " A n n o 1 5 1 7 " (f. 6or) precedes that for " A n n o 1 5 1 6 " (f. 6 i r ) ; this error is not due to binding, as the Läufer

for 1 5 1 7 is on the

verso of the text for 1 5 1 5 (f. 5 9 r ) . The text for 1 5 2 4 announces a lapse of fifteen years before the next Schembartlauj,

and this one, in 1 5 3 9 , is the last recorded

in the M S . f. 67r Anno, 1524, war Paullus Grundtherr/, vnd Hanß Riether JEndres Focker Haubtleuth, warn .40. Personen beklaidtet auff einer seidten Gelb, die ander Rodt vnd Weiß, hetten Gelbe Pareth auff mit weisen Federn, Luffen auff der der Herrn Drinckstuben auß. Hetten ein Höel, das war ein Höelfant, druch ein Schloß, von der Zeit an ist Kein Schempart mer geloffen/ böß auff das 1539 J a r wie hernach folget/, f. 68r Anno, 1539, ist ein Faßnacht erlaubt wordten. Die Haubtleuth J m Schempart warn. Jacob Muffel, Marthin von Plauen vnd Jo/.

f.

4zr:

1. 4. Goller : cf. Schmeller, B a y r . Wb., I, 8 9 3 : " D a s Goller . . . Bekleidung des Halses und auch wohl des oberen Theiles vom R u m p f e . " 1. 6. Wühln: "wollen." 1. 6. Zuuorn: "zuvor." 1. 7. Leinwath: "Leinwand." 1. 7. Plahn: cf. Schmeller, ibid., I, 3 2 6 : "Blähen . . . grobes Leintuch." 67t: 1. 1 3 . SHaubtleuth: in the margin, "SEndres Focker." M S No. 58 (Drescher, p. 18) adds: " v n d Bestanden von E E R , daß machet die Herschafft, so hier waß, Legt ein Jeder s'A f "

THE SCHEMBART

CHRONICLE

47

chaim Tetzel, Luffen von der Drinckstuben auß, warn .150. Jnn Weiß Attlass beklaidtet, mit gelb vnd Praunen Schnitten auch allso gepremet, die Holl was ein groß Schiff darin ein Pfaff ein Doctor, Narr und Teuffei, Dasselbe ist nach malß von Jnen auff dem Marckt, gestürmet worden/. T h e chronicle of the Schembartlauf ends here. Our M S , in common with other Schembart books, also contains lists of names arranged in double columns: on f. 68v 141 names of the Läufer in 1539; 1 0 on f. 69V nineteen names captioned "Diese Hernach geschribene/ Personen sint Ins Teuffels/ Klaidern gelauffen"; on f. I l r thirty-one names captioned "Diese Hernach Geschribne Personen seint Jn Holtz/ Klaidtern gelauffen."; on ff. 99V and ioor ninety-three names under the caption: "Hernach Folgen die Namen, dern so Jm 1503. Jar/ Jnn der Schemparts Geselschafft gelauffen deren/ sein gewest, Caspar Baumgarttner, Görg Kötzel er-/ wolte Haubtleut/."; on ff. i o i v and io2r eighty-five names for 1518 captioned thus: "Hernach Folgen die Personen, welche Jn dem 1 5 1 8 . / Jar vnter der Schemparts Gesellschafft gewest sein/."; on f. io2r twenty-one names of maskers in 1518 under the caption: "Nachuoligendte Personen sein in Rauhen Klaidern/ mit vnd vnder disem Schempart geloffen/." Additional textual matter occurs in our M S on ff. 7 1 V - 9 7 V in the form of a series of texts captioning or describing the supplementary miniatures of auxiliary masks worn in the Schembartlauf in various years. These will be examined below along with the costumes. T h e final folios of our chronicle, ff. 102V, i03r, 103V, i04r, 104V, are filled with an account of the so-called "Schembartkrieg" in the scribe's cursive hand. It will be best to study this history, which is concerned with the presentation of the Schembart privilege, together with the activities of the Läufer. The text follows here. (f. i02v) Schemparts Scharmützel—1503 . . beschehen Es haben sich alle mahl Die so im Schempart geloffen, Vermumet, Das auch Redtlich bewisen, das Nimandt Jnn der Statt, sich mit einem Schempart, Ohne erlaubnuß eins Erban Raths, hette Dörffen Vermumen, /.

68r: I. 3. gepremet: "trimmed" (verbrämt). Some M S S list more names, cf. M S No. 58 (Drescher, pp. 1 8 - i g ) with 145. The orthography varies to some extent in each M S , and often an entirely different name occurs, or one or the other part may be different. T h e order may also v a r y . 10

4«

5

10

15

20

25

30

THE SCHEMBART

CHRONICLE

Allain Die Haubtleuth, Vnnd Jhre Zugehöringen, Dann wo einer auserhalb Jhren, bey T a g oder nacht betretten, wurden Jhnen Die Schempartt abgerissen, Vnnd darzu Jbel gehalten, Nun warn Dazumal Vil Junger Kauffleuth, Vnnd Reiche Wallonen hier weliche sich Vnter Die Geschlechter, Jnn Schempart mit mengeten, gaben für, wann sie mit Jhnen Jnn Erbare Heuser Khemen, theten sich alle mahl Die Geschlechter auffzuerkhenen müsten sie allß Vnbekhanndte hinder der Thüer Stehen, Jn Summa si Richteten Jnen, Ein sondere Herrliche Faßnaht zu, Doch alles Haimlich, Vnnd war dises einem Grosen Türckischen Kayser, Jnn seiner Forme Vnnd Habit, Von Golt, Sammet Vnnd Seidten, auff guet Türckhisch wolbeklaidtet, Der Hette seine aigne Reuthent Diener, warn biß Jnn Die .60. Türckhen, alle Jnn Cremisin seiden, ettlich Jnn ganntz Gülten Stuckh, Vnnd Köstlichen Vergulten Saiblen, Vnnd Lanngen Spiesen, mit fennlein, Auch wurden hinden hinnach geführet, ettliche Pferdt, deren Fannen gleich zugerichtet, Die Drugen Köstliche Thruhen, Darinen Ring, Cleinoth, Von Golt, Edlem gestainen Vnnd Perlein, ettlich Taussent gulten werdt, Jtem (f. i03r) Von Gultenen, Sammet, Damaßck, Altlaß, Vnnd andern seiden gezeig Stuckhen, Jnn Summa Die Khauffleuth Vnd Walonen, hatten alle Jhre Khauffman Schatz zusammen gedragen, Dann es warn die fürnemesten mainstes thail darunder Vermumet, Auch warn zu gegen allerhanndt Posaunen, Trumein, Vnnd andern Geschell, gleich als wenn ein Khünig, Fürst, Oder groser Pottendtat ein geritten Kheme, Der gleichen Jnn Nürnberg nicht gesehen wordten, Samleten sich für der Statt, Vnnd zogen zum Spittler Thor, Jber den Marckh, für das Rathauß, da Ein Erbarer Rath, ein ganntz Stundt Jhrer zuGunßt fleißig besichtigten. D a hilt der Türckisch Kayser, mit seinen Lauffenten, Vnnd Reuttenden Dienern, Vor der Loßung Stuben, Da Khamen die dragenden Pferdt, ein guette Summa, mit iren Schönen Truhen, Vnnd Köstlichen Güettern, das wurdt alles auff lanngen Daffeln, mit Köstlicher Tapezerey, Jberdegt, darauff außgelegt Darmit sie dem Türckischen Kayser Verehrten Das alles mit groser Reuerentz, Neigung, Vnnd Buckhung eines Erbarn Raths, so damalß ein wenig bey seidts nahet bey dem Rath Hauß, stundten, alß es nun schier zum Enndt lannget, Vnnd sie Jhrn Köstlichen Geschmuckh seiner Statt zur gehörig ein gelegt, Da hetten Des Schempartts Haubtmener, mit andern Jhren außphem/, dann der Schempart war Versamlett ein gelauffen, Jnns Steffans Baumgarttners behaußung am Marckh, Vnnd yber sahen, (f. 103V) denn ganntzen einzug diser f. i02v:

I. 5. gaben für: "pretended," cf. Grimm, Wb., I V , 732. 1. 7. hinder der Thüer: "hidden, unnoticed," cf. Grimm, W b . X I , 459. /. z o j r : 1. 28. Loßung Stuben : cf. Reicke, p. 621: the financial office of the Council. 1. 30. Jberdegt: "covered" ("überdeckt). 1. 36. außphern: "spies" ("Ausspähern).

THE SCHEMBART

CHRONICLE

49

Hanndtlß Leuth/. Darumb schickhten sie ainen, Soldtner zu Jhnen zuerfragen, wohero sie gewald hetten, solches am Faßnaht tag Einzurichten, Die weiln Jnen Allain, der Schempart, Von einem Erbarn Rath erlaubt, Von den Flaischhackem Vmb Jhr Gelt bestandten, auß Hochmuth gaben die Stoltzen Kremer für, Vnnd zur Anttwordt, wem sie Rechenschafft Darumb zu thun schuldtig wem/ Da stundte Sigmundt Pfintzing, Vnd Pertolt Strobl des Schemparts (Haubtleuth)* auff der Wardt, Lieben gesellen, Dieweil Diese, Vnns Vnsern Schempart, Die wir Teuer bestanden, Vnnd Vmb unser Gelt, Darein bekleidtet Vemichtigen, allain auß Jber muth, auch ohne Wisen Vnnd willen, eines Erbarn Raths, seit alle frisch, wir wollen sie Butzen Vnnd Stecht sie Waidtlich Von den Pferdten, wolten sie uns zu Starckh sein, Vnnd sich gegen uns wehren, so laufft unsrer Stuben zu, Darinen wollen wir unns wol beschützen, Vnnd Jhr in Rauen Klaidern, Laufft zuuor maht räum Vnder Dem Volckh, beharrt biß sie alle zusammen Khummen, Allß Dann hauet Vnnd Stechtet sie Von den Pferdten wie ir möcht, es sindt Vil Wallen Vnder inen, Die haben Kein Hertz, Die Rauen Klaider Loffen Vor, der Schempart bey ein ander Schnell auff sie, Von solchen Rauen Klaidern Pfeiffen Trummein, Vnnd geschell, gab es einen Krausamen Hall, Da wurdten Von den Strattisten, ein solches zu sammen flühen, mit irem Pferdten Vnnd anderm, eins (f. i04r) thails Raumbten zusamen, dz nichts zu schaden Kheme, es warn irer bey .10. Jnns Wolfis Hallers Hauß, Vielen Von dem Pferden, Lüffen der Stiegen zu, andere an andern Ordten, aber Die Herrn einß E. Raths wurdten, Erzürnet Jber die Schempart, Jnn sonnderhait Herr Endres Tuecher Lüff Vnter die Schempart, Riß Vnnd Stiß, einen da, den andern Dort, mir wardt auch ein gueter Buff, auff mein Achßel, Jnn dem Khumbt ein Schempart zu mir, ergreyfft mich bey meiner handt, es Stundten noch .5. Türckische Reüter an diese setzten wir, Die zwen Raumbten die Settel, bald Loffen der Apodecken zu, bey dem Predigern, Die andern Drey entritten Vnns auff den Milligmarckh, mir eulten Jhnen nach, Vnnd Jaugten, sie zum Thiergärttner Thor hinauß, Darnach Loffen wir den Milligmarckh herab der Drinckhstuben zu, da fundten wir die andern bey ein ander. Zaigten ein ander Jhr Handtlung an, Jch wardt müht, nam allso mein Haimweg, Luff Vnden durch die Waggaßen, Dann sie Vil gerottet hetten, bey den Schönen Brunen, hette sich ein Böß Rott Versamlet, schrien zu mir hiesen die Schempart Vnnütze Lotter, hetten denn gueten Leuthen Vnreht gethan, Jch Schwanng mein spieß gab Kein Anttwordt, maht wol Lauffns., Drollet mich haim, Zwu stundt /.

IOJV:

(1. 8.) The word "Haubtleuth" is put in the margin and starred. 1. 20. Strattisten: "Stratioten," Greek riders, employed as mercenaries in the Fifteenth and Sixteenth Centuries, cf. Brockhaus Lexikon, X V I I I ; here the reference is to the "Türks."

5

10

15

20

25

30

35

THE SCHEMBART

50

CHRONICLE

nach meinem ab gehen Kam auff die Drinckh Stuben, der Jungst Burgermaister, Der Pfender, Marx sein Diener, mit ettlichen, Statt Khnechten, auch ein Canntzlist, auß der Canntzley, beschloßen die (f. 104V) Stuben, foderten baide Haubtleuth, gebotten Jhnen, Vnd allen so da zumal auff der Drinckhstuben waren, Die Schempart ab zu thun, Vnnd sich ein ieder zu erkhennen zu geben, wer er were/ Der wurdt auff geschrieben, auff den dritten tag hernach, wurdten alle so da zu mahl, Jhm Schempart geloffen, Durch Den Jüngern Burgermaister der da zu mal Jhm Ambt ware, angeschriben worden, er fordert für ein E. Rath, Denen Wurdt, ein Scharpffe Redt gethann, Vnnd auß Gnaden, wurde irer Aller, Drey tag auff den Thum Vergeßen, Doch Des genossen, Das Die andern Jn Türcksche Ristung Jhr Mummerey, Ohne Vorwissant eines E: Raths hetten gehanndlet/. Folios io5r,v are blank and are followed by f. I I I (miniature of "Gesellenstechen"). The next folio is also numbered 105, the recto being blank and the verso showing a text dated "Anno 1 6 5 0 " in a later hand. Lastly come four long miniatures of festivals, ff. IV, V, VI, VII. These folios will be described and analyzed in Appendix A . The contents of our M S are thus as follows (m.: miniature; t.: text; L : Läufer; H : Hölle): f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f.

ir: title-page 2r 2v: verse chonicle 3 r : blank I (double f.): m. Metzgertanz 3 v : m. L 1449 4 r : t. 1449 4 v : m. L 1 4 5 1 5 r : t. 1 4 5 1 , 1 4 5 2 5 v : m. L 1 4 5 3 6r: t. 1 4 5 3 , 1454, 1455 6v: m. L 1 4 5 6 7 r : t. 1 4 5 6 7 v : m. L 1 4 5 7 8r: t- 1457 8 v : m. L 1 4 5 8 9 r : t 1458 9v: m. L 1 4 5 9 IV,

f . 104t:

f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f.

ior: t. 1459 iov: m. L 1 4 6 0 n r : t. 1 4 6 0 I I V : m. L 1 4 6 1 i2r: t. 1 4 6 1 i2v: m. L 1 4 6 2 i 3 r : t. 1 4 6 2 1 3 V : m. L 1 4 6 3 i4r: t. 1 4 6 3 14V: m. L 1 4 6 4 i5r: t. 1 4 6 4 i5v: m. L 1 4 6 5 i6r: t. 1 4 6 5 16v: m. L 1 4 6 6 17r: t. 1 4 6 6 1 7 V : m. L 1 4 6 7 i 8 r : t. 1 4 6 7

1. i. der Jungst Burgermaister: the younger member of the Council who was in charge of affairs during this period, cf. Reicke, pp. 96, 103, 260 ff.

THE SCHEMBART i8v: i9r: igv: 2or: 20v: 2 ir: 2iv: 22r: 22v: 2

3r:

23V:

24r:

24V:

2

5r:

25V:

26r: 26V:

27r:

27V:

28r: 28v:

29r: 29V:

3or: 30V:

m. L 1468 t. 1468 m. L 1469 t. 1469 m. L 1470 t. 1 4 7 0 m. L 1 4 7 1 t. 1 4 7 1 m. L 1 4 7 2 t. 1472 m. L 1 4 7 3 t. 1 4 7 3 m. L 1 4 7 4 t. 1474 m. L 1 4 7 5 t. 1475; m - H 1475 m. L 1 4 7 6 t. 1 4 7 6 m. L 1 4 7 7 t. 1477 m. L 1 4 7 8 t. 1 4 7 8 m. L 1 4 7 9 t. 1479 m. L 1 4 8 0

ir: 1 4 8 0 3 i v : m. L 1 4 8 1 3 2 r : t. 1 4 8 1 3 2 V : m. L 1 4 8 2 3

3 3 r : t. 1 4 8 2 , 1 4 8 3 3 3 V : m. L 1 4 8 4 34 r : t. 1 4 8 4 34V: m. L 1 4 8 5 3S r : t. 1 4 8 5

35V: m. "Bauer

und

Mohr,"

1485

3ör: t. 1485 ("Bauer Mohr"), i 4 8 6 , 1 4 8 7 3 6 V : m. L 1 4 8 8 3 7 r : t. 1 4 8 8 3 7 V : m. L 1 4 8 9 3 8 r : t. 1 4 8 9 38V: m. L 1 4 9 0 3 9 r : t. 1 4 9 0

und

CHRONICLE 39V: 4or: 40V: 4ir: 4iv: 42r: 42V: 43 r : 43V: 44r: 44V: 45 r : 45V: 4Ör: 46V: 47 r : 47V: 48r: 48V: 49 r: 49V: 5or: 5ov: Sir: 5iv: 52r: 52V: 53 r : 53V: S4r: 54v: S5 r : 55v: 56r: 56v: 57 r : 57v: 58r: 58V: 59 r : S9 v : 6or: 6ov: 6ir:

m. L 1491 t. 1491 m. "Altvater," 1492 t. 1492 ("Altvater") m. L 1493 t. 1493, 1494; m- H 1493 m. L 1495 t. 1495; m. H 149s m. L 1496 t. 1496 m. L 1497 t. 1497 m. L 1498 t. 1498 m. L 1499 t. 1499, 1500, 1501, 1502 m. L 1503 t. 1503; m. H 1503 m. L 1504 t. 1504, 1505; m. H 1504 m. L 1506 t. 1506; m. H 1506 m. L 1507 t. 1507; m. H 1507 m. L 1508 t. 1508; m. H 1508 m. L 1509 t. 1509 m. L 1510 t. 1510; m. H 1510 m. L 1 5 1 1 t. 1 5 1 1 ; m. H 1 5 1 1 m. L 1512 t. 1512; m. H 1512 m. L 1513 t. 1513; m. H 1 5 1 3 m. L 1514 t. 1514; m. H 1514 m. L 1515 t. 1515; m. H 1 5 1 5 m L 1 1 5 7 t. 1517; m. H 1517 m. L 1516 t. 1516; m. H 1516

52 f. f. f. f. f. f. f. f. f. f. f. f. f. f. ff.

THE

SCHEMBART

6 i v : m. L 1 5 1 8 6 2 r : t. 1518, 1 5 1 9 ; m. H 1518 6 2 V : m. L 1520 6 3 1 - : t. 1 5 2 0 ; m. H 1 5 2 0 6 3 V : m. L 1 5 2 1 6 4 1 - : t. 1 5 2 1 ; m. H 1 5 2 1 6 4 V : m. L 1 5 2 2 65r: t. 1 5 2 2 ; m. H 1 5 2 2 6 5 V : m. L 1 5 2 3 6 6 r : t. 1 5 2 3 ; m. H 1 5 2 3 6 6 v : m. L 1 5 2 4 6 7 1 - : t. 1524; m. H 1524 6 7 V : m. L 1539 68r: t. 1 5 3 9 ; m. H 1 5 3 9 68v, 6gr, 6gv, I l r : list of names, 1539

f. I I (double f . ) : m. storming of H 1539 I I v : blank (lined in columns) 7or: m. L 1 5 3 9 70V: blank 7 i r : m. L 1 5 3 9 71V: rime for "Wilder M a n n " 72r: m. "Wilder M a n n " 72V: rime for "Wilde F r a u " 73r: m. "Wilde F r a u " 73V: rime for "Spiegelmann" 74r: m. "Spiegelmann" 74v: rime for " K o s t e n m a n n " 75r: m. " K o s t e n m a n n " 7Sv: rime for " A b l a ß k r ä m e r " 76r: m. " A b l a ß k r ä m e r " 76V: rime for " V a t e r und Sohn" 77r: m. "Vater und Sohn" 77V: rime for "Grabläuter" 78r: m. "Grabläuter" 78V: rime for pig-demon 79r: m. pig-demon 79V: blank 8or: caption for 1518 8ov: t. " H a n n ß Lochhausers Geselschafft" f. 8 i r : m. L with rocket headdress

f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f. f.

CHRONICLE 8 i v : t. demon puppeteer 82r: m. demon puppeteer 82V: t. "HanniJ T o p i Goerg Hoffman" 83r: m. costume of "flidtseide" 83V: t. "Sebaldt Geuder Lienhart Hirschuogel" 84r: m. Indian costume 84V: t. "Georg Hoffman Michael Schweicker" 8 s r : m. "parrot" costume 8 s v : t. "HanniJ T u e c h e r Vlrich Haller" 86r: m. card-box costume 86v: t. old woman puppeteer 87r: m. old woman puppeteer 87V: t. "Sebastian Hoffmann Caspar Gannser" 88r: m. star costume 88v: t. "Caspar GannlJer N : Zeiinlein" 89r: m. costume of pennies 89V: t. "Castell Fucker Goerg Hoffman" 9or: m. red velvet fringe costume 90V: t. "Castell F u g g e r " and others; m. brass disc costume 91 r: m. dice costume 91 v : t. 1539 supernumerary L 92r: m. L in red, white and blue 92V: t. "Anthoni Zolner Goerg Tuecher" 93r: m. pine-cone and a c o m costume 93V: t. "Sebalt Geuger Georg Schenckh" 94r: m. doll costume 94v: t. "Sebastian Hainolt L a u x Dennger" 9Sr: m. peacock feather costume 9 5 v : t. "Caspar Pusch Christoff Juncker"

THE SCHEMBART f. 9Ór: m. costume green silk strips f. 96V: t. "Maister Paullus Behaim Jn der Peim" etc. f. 97r: m. blue wool costume f. 97V: t. "Lorentz Spenngler" etc. f. 98r: m. lion-head costume f. 98V, 99r: blank ff. 99V, ioor: list of names, 1503 f. ioov: t. 1 5 1 8 ("Teuffels Klaidter") f. i o i r : blank ff. i o i v , i o 2 r : list of names, 1 5 1 8 ff. i 0 2 v , i03r, 1 0 3 V , i04r, 1 0 4 V :

CHRONICLE

S3

t. "Schemparts Scharmützel" ff. i05r, 105V: blank f. I I I (double f.): m. "Gesellenstechen" f. i05r: blank f. 1 0 5 V : t. 1 6 5 0 f. io6r: blank f. IV (double f.): m. "Schwerttanz" f. V (long f.) : m. "Tuchknappentanz" f. VI (long f.) : m. "Schwerttanz" f. VII (long f.): m. "Schreinertanz"

V THE

DANCERS

" K E I N SPILL one N a r r e n " s a y s an old proverb, and the

Schem-

bart festival is no exception. Although the traditional fools, with "kappen und kolben," as Sebastian Brant describes them, appear in our MS only as auxiliary figures, they are figured more prominently in other Schembart books. 1 The fools occupy the center of the stage in three introductory miniatures representing what was apparently a regular feature of the Schembartlauf: an advance crew of clowns who made way among the crowd of spectators for the procession of dancers following. 2 Of this Vorlauf we see three scenes in the miniatures, the first of which is introduced by the following text: 3 Es ist auch zu wissen, daß allemahl in der Fastnacht, wann der Schembart gelaufen ist, vorhero etliche Personen in Narrenkleidern gelaufen seyn, auf mancherlei Art, so vorhero Raum gemacht haben, wie dann derselben Etliche nach einander gemalet seyn, wie in nachfolgender Figur zu sehen ist.

The miniature shows two maskers in fool's attire with typical eared hoods,4 leading the rout and beating two boys with their 1 In M S No. 2, for example, the ubiquitous medieval fools are figured in an introductory Turnierbuch -, the names of carnival dancers dressed as "Narren" are listed in M S No. s, ff. 104V, iosr, v, grouped according to type: "1. Vier Narrisch Narrn," "2. Vier halb Narrn," etc. " T h e following MSS show these miniatures: M S S Nos. 8, 9, io, 17, 29, 43, 48a, 67; they are reproduced in Mayer, pp. 18, 20, 22. 'Quoted from Mayer, p. 17. ' T h e carnival play, Ein spil von narren (Fastnachtsspiele, Nr. 32, p. 358), refers to the "eselsoren . . . gauchsfedem und die narrenkappen," and the characteristic fool's cap with its long ears is to be seen on the representation of the fool in Sigmund Heldt's costume book (f. 168), cf. Herrmann (Forschungen), Abb. 14. The history of this symbolic costume and the relation of the fool to the ancient mime are discussed by Nicoll (Masks), pp. 160-164; cf. also E. Welsford, The Fool (New Y o r k : Farrar & Rinehart, 1935), pp. 122-4; cited below as "Welsford (The Fool)." Chambers (Med. Stage), I, 385 suggests that "it is not . . . unfair to assume that it [the eared hood] was originally a sophistication of a more primitive headdress, namely the actual head of the sacrificial animal worn by the worshipper at the New Year festival." The asses' ears seem obvious, the resemblance to the cock's

[S4l

THE

DANCERS

55

long fool's clubs; this manhandling from the popular clowns is apparently being returned b y the boys with the derisive c r y of " F o o l ! " 5 T h e second miniature is also preceded b y a short note: 8 Wann also der Schembart in der Fastnacht gelaufen ist, so ist auch bisweilen Einer vorher geritten oder gelaufen, der hett einen Sack mit Nüssen gehabt, und solche unter die Buben Preiß geworfen, darmit sich dann die Buben darum gerauft haben, und ein groß Geschrei gemacht, alsdann die Leut an die Fenster gelaufen, und haben solchen Schembart sehen vorüberziehen, welches dann immer ein Jahr anders dann als das ander ist gehalten worden, und ist in dieser nachfolgenden Figur die Art und Gestalt gemalt zu sehen. T h e miniature pictures this gaily-dressed herald of the bartlauj

Schetn-

on his donkey, with a bag strapped to his horse's side;

the fool is throwing nuts into the air while five boys around him gleefully fill their hats. 7 T h e third scene of this prologue depicts the presentation of another gift to the citizens, this time to the ladies, as the introductory note indicates: 8 Item. Es ist auch unterweilen in der Fastnacht, wann der Schembart galaufen ist, Einer auf einem Pferd vorher geritten oder gelaufen, der hat ein Körblein mit Eiern, so mit Rosenwasser gefüllet gewesen gecomb has been pointed out (cf. Chambers, op. cit.; Nicoll (Masks), op. cit.; H. Reich, Der Mimus, Berlin: Weidmann, 1903, p. 832; cited below as " R e i c h " ) ; calfskins, sheepskins, and a fox-tail also belong in this connection, cf. Chambers (Med. Stage), I, p. 387. T h e horned mask used at times for the fool in the Middle Ages seems to Stumpfl (Kultspiele), pp. 391-2, to prove the theriomorphic character of the type, which he relates to the ecstatic cult groups of young men; cf. also M . v. Boehn, Das Bühnenkostüm in Altertum, Mittelalter und Neuzeit (Berlin: Cassirer, 1921), p. 60. 5 Cf. The Popish Kingdome, p. 48a: "The chiefest man is he, and one that most deserueth prayse, Among the rest that can finde out the fondest kinde of playes. On him they looke and gaze vpon, and laugh with lustie cheare, Whom boyes do follow, crying foole, and such like other geare." The fool is among the grotesques leading the entry of Princess Johanna into Brussels in 1496, cf. Herrmann (Forschungen), p. 368 and Abb. 61. Cf. also Vulpius, X , 398, for fools who cleared the way in a Nuremberg carnival in 1588. In the modern morris-dance a fool keeps the crowd back with a bladder on a stick, cf. G. Long, The Folklore Calendar (London: P. Allan, 1930), p. 108; Welsford (The F o o l ) , p. 69. "Quoted from Mayer, p. 19. ' I n M S No. 60 a note on this custom is included in the text for 1515, cf. Brüggemann (Mitt.), 1 1 : "Auch führet der Narr uff einem Esel zween Säckh mit N ü ß hindernach, die wurffen sie unter die Leuth." Cf. also Vulpius, X , 398 (Nuremberg carnival, 1588) for a fool with a basket of cookies, which he threw to the crowd. •Quoted from Mayer, p. 21.

THE

DANCERS

habt; und wann die Weiber und Jungfrauen haben zum Fenster herausgesehen, oder sonst unter den Hausthüren gestanden, hat er sie mit solchen Eiern geworfen, das hat gar schön geschmeckt, wie dann in nachfolgender Figur die A r t und Gestalt vor Augen gemalt ist. In

the miniature

h e r a l d , in the

we

see

this

elegant

procedure

figured:

the

center of the m i n i a t u r e , t a k e s the e g g s f r o m the

b a s k e t h u n g on his h o r s e a n d t h r o w s t h e m a t t w o ladies in the u p p e r w i n d o w s of a house o v e r l o o k i n g the street. S e v e r a l eggs a r e flying

in the air a n d spilling their contents, w h i l e t w o b o y s be-

hind the rider a r e a b o u t to help him at his f r a g r a n t task.

The

ladies do not o b j e c t to w h a t w a s d o u b t l e s s a l o n g - s t a n d i n g S h r o v e tide c u s t o m : d r e n c h i n g w i t h w a t e r a s a blessing a n d a fertilization c h a r m , 0 of w h i c h the e g g s used h e r e to contain the liquid are also s y m b o l i c . 1 0 T h e " R o s e n w a s s e r " in the e g g s is the h i g h l y - p r i z e d r o s e - w a t e r p e r f u m e of the p e r i o d , 1 1 a n d a s w e e t - s m e l l i n g a c c e s s o r y ' A sixteenth-century example of the custom is mentioned in The Popish Kingdome, p. 53b: "great streams of water" are poured down "from the beames" of the church on Ascension Day. Welsford (The Fool), p. 121, notes the throwing of water by the official fool of the city of Lille. Cf. also Vulpius, X (Nuremberg carnival, 1588), 3Q3 ("Apotheker mit großen Spritzen-'), 400 ("Badersgesellen mit Klystirspritzen"). Modern examples are plentiful, cf. Handwörterbuch des deutschen Aberglaubens (Berlin: W. de Gruyter & Co., 1927-38, cited below as "Hwb. d. d. Aberglaubens"), I X , 191-4 ("Wasserguß, Wassertauche"); Fehrle, pp. 47, 49, 57, 69, 70; Spamer (Handbuch), p. 43, and Abb. 80: "Der Metzgersprung in München"; also illustrated in Spamer (Volkskunde), p. 99; in this custom water and nuts are thrown at the spectators. A modern festival that offers more than one interesting parallel to the Schembartlauf is the Schemenlaufen of Imst, in the Tyrol, held every three years, cf. A Schwabik, "Das Imster Schemenlaufen," Atlantis, V (February, 1933), 76-83, cited below as "Schwabik." The road is cleared for the dancers by a group of "Sackner" and "Spritzer," the latter armed with syringes filled with water; the "Spritzer" stop suddenly, and a stream of water shoots into the face of some unsuspecting and frightened spectator, cf. ibid., p. 78, ill., p. 77; further cf. A. Dörrer, Das Schemenlaufen in Tirol und verwandte alpenländische Masken- und Fastnachtsbräuche (Innsbruck: F. Rauch, 1938), ill. opp. pp. 16, 32; cited below as "Dörrer." 10 Cf. Hwb. d. d. Aberglaubens, II, 610-615 ("Fruchtbarkeitsübertragungsritus"); Fehrle, pp. 50, 56; Spamer, p. 65. Another instance of eggs "full of sweet waters" cast "into the windowes among the Ladies" occurs in a description of a Shrovetide masquerie of 1549 in Venice, cf. E. Welsford, The Court Masque, (Cambridge Univ. Press, 1927), p. 101; cited below as "Welsford (Court Masque)." " Cf. Murner's Narrenbeschwörung, 1. 2328: "mit roßwaßer riechen wellen machen." Dürer notes in his Tagebuch der Reise in die Niederlande (1520-1): "Meister Jahn, franzos Bildhauer . . . hat meiner Frauen geschenkt 6 Gläslein mit Rosenwasser . . . ;" cf. K. Lange und F. Fuhse, Dürers schriftlicher Nachlass (Halle: Max Niemeyer, 1893), P- I 73- J- Scheible, Das Kloster (Stuttgart: Verlag des Herausgebers, 184549, cited below as "Scheible"), VI, 5150., quotes an essay from Garzonus: "Gemälde

T H E DANCERS

57

of many a civic pageant. 1 2 T h e casting of gifts to the assembled folk is a common feature of the festivals; in the entries and masques the spectators received perfumes, wine, money or rare fruits; 1 3 in perambulatory rites and folk celebrations, like St. Urban's ride, the gifts are simpler, more representative of nature's own bounty, such as the nuts thrown to the boys by the Schembart heralds. 14 Though the Schembartläufer consort with fools, they do not appear to belong to the "confrérie des fous" themselves; their masks are not grotesque, nor are their heads garnished with the characteristic asses' ears. Fifteenth-century records show that the Läufer formed a masked guard for the butchers guild during their dance; and the symbol of the guild, the "Fleischbärtlein" or butcher's axe, is painted on the breast of some of the first Läufer.13 T h e y were one of the few carnival groups permitted to wear masks. This privilege is noted in the Nuremberg police orders for 1469, in which masking is forbidden to all except the butchers' guards: " . . . doch hierinnen aussgenomen die knecht, die den fleischhackern zu beschützung ires gewonlichen vassnachttanntz durch unns erlawbt, und andere, den das in sunderheit von uns vergont wird." 1 6 A record of the special permission granted the Läufer also occurs in an order-in-council for 1480 (Feb. 1 9 ) : "Item die vasnachtrott, die in schenperten unerlaubt gelaufen einer Courtisane des sechszehnten Jahrhunderts," in which "Rosenwasser" is mentioned as a favorite perfume in the brothels. u Cf. Chambers (Med. Stage), II, 175 (London, i486: "a rain of rose-water . . . fell before the k i n g " ) ; Withington, II, 16 (London, 1556: '"Paid for Rose water spent and occupied aboute the children and hym that rode upon the camyll, iiij s. ii d."). " C f . J. G. Nichols, London Pageants (London: J. G. Nichols & Son, 1837), p. 11 (1377); Weisskunig, p. 14; Chambers (Med. Stage), I, 407 (1552). " A sixteenth-century drawing of an Urbanritt is reproduced in Spamer (Handbuch), p. 76, Abb. 108. Cf. also The Popish Kingdome, p. 49a, for gifts to the children on Ash Wednesday: "Some children do entise with Nuttes, and peares abrode to play." The custom seems an ancient one: Nicoli (Masks), p. 27, quotes a passage from Aristophanes' Wasps in which reference is made to the nuts scattered among the spectators in a mimic drama. For modern examples, cf. Fehrle, pp. 8, 10, 30-40. " T h e Läufer for 1451, 1456, 1457, 1458 show this symbol; cf. Briiggemann (Vom Sch.), p. 13 ( L ä u f e r , 1451). " Cf. J. Baader, Nürnberger Polizeiordnungen aus dem XIII. bis XV. Jahrhundert (Tübingen: Stuttg. Lit. Ver., Bd. 63, 1861), p. 92 ; cited below as "Baader."

THE

5«

DANCERS

sind, darumb zu rügen und hinfür in acht ze haben, außerhalb der fleischhacker knechten keinen schenpart zu erlauben." 17 The guard duty they performed is mentioned several times in our MS. On f. i4r, in the text for 1463, one of the two groups of Läufer is noted as attending on the butchers: "diese Rott wardteten nicht . auff die Metzker, sonder alein die erste Rott."; similar references occur for 1468 (f. i 9 r ) : "vnd wardten auff sie"; and for 1476 (f. 27r): "vnd wardten auff, bey irem Dantz." A Ratsverlaß for February 4, 1497 18 orders the Läufer to dance with the butchers and not the cutlers: ". . . und den in schenpart zusagen, das sie mit den messerern nit tanzen, dann der schempart stee den flaischhackern zu und nit den messerern." At first the butchers paid for this service; as we have seen, our MS (f. 5r) reports for 1451 that the Läufer were each given five "Groschen." But beginning with the year 1468 (f. i9r) the reverse arrangement obtained: the text records a fee 19 paid by the Läufer to the butchers for the right to guard their dance or to take part in the carnival: "gaben den Metzgern, ain gulten, das sie Jhn den Zu Lisen . . ." The payment of the fee is often expressed in the phrase "bestanden von den Metzgern um . . ." The privilege becomes more expensive with the years, the highest fee being "21.i." in 1497, though the average amount is five florins until 1490 and twelve florins after the turn of the century.20 The doubled fee is synchronous with the general expansion of the Schembartlauf. The greatest number of Läufer before 1490, according to the text, is forty-six, while thereafter the number of " H a m p e ( T h e a t e r w e s e n ) , p. 14.

" Ibid.., p. 13, n. 1.

" T h e recording of " p a g e n t p e n c y s " , or " p a g e a n t silver", as of all costs of pageants a n d plays in b o o k s of expenses, w a s c u s t o m a r y , cf. C h a m b e r s ( M e d . S t a g e ) , I I , 359, 404, e t c . ; Nicoll ( M a s k s ) , p. 192. x T h e a m o u n t s are as f o l l o w s (in the years o m i t t e d here no fee is m e n t i o n e d in our M S ) : 1468, "ain g u l t e n " ; 1469, 2 f . ; 1470, 3 f . ; 1 4 7 1 , 4 f . ; 1472, 5 f . ; 1473, 4 f . ; 1474, 9 f . ; 1475, 4 f . ; 1476, 6 f . ; 1477, 6 f . ; 1478, 6 f . ; 1480, 4 f . ; 1481, 4 f . ; 1482, 4 f . ; 1484, s f . ; 1488, 6 f . ; 1490, 11 f . ; 1491, 12 f . ; 1493, 16 f . ; 1495, 18 f . ; 1496, 20 f . ; 1497, 21 f-l 1498, 18 f . ; 1499, 18 f . ; 1503, 15 f . ; 1504, 14 f . ; 1506, 12 f . ; 1507, 10 f . ; 1508, 12 f . ; 1509, 10 f . ; 1510, 12 f . ; 1 5 1 1 , 12 f . ; 1512, 12 f . ; 1 5 1 3 , 12 f . ; 1514, 12 f . ; 1515, 12 f . ; 1516, 12 f . ; 1 5 1 7 , 12 f . ; 1518, 12 f . ; 1522, 12 f. I a m indebted t o Professor A . H . S t o c k d e r f o r information regarding this gulden or florin: it is the Rhenish gold florin struck in m a n y southern cities, including N u r e m b e r g , o u t of metal 18 k. 2 gr. fine, w i t h a p r e - w a r value of a p p r o x i m a t e l y 10 M .

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participants increases to as many as ninety-three Läufer for 1503 and no less than 150 for 1539. 2 1 Very frequently the number of Läufer is twenty-four, or some multiple of four or six; this is the case in some forty instances. Comparison with German and English festivals shows that this frequency is not merely accidental; 22 the basic number seems to be six or twelve, corresponding perhaps to the steps of the dance or to the six pairs executing a group movement.23 For the first recorded year of the Schembartlauf, 1449, the text (our M S , f. 4r) divides the twenty-four Läufer into two groups, one group of twelve being members of the wealthy classes, "von den Erbarn," and the other twelve small craftsmen, "aus der gemain." 24 The participation of Ehrbare in this year may account for the late date at which the record of the Schembartlauf begins. The division into classes is also made for 1458: our text (f. gr) notes that among the Läufer were several youths "von Erbar Geschlechten." Only one further mention of this change occurs, namely, in the text for 1468 (f. i 9 r ) : "warn " T h e numbers are as follows: 144g, 24; 1451, 24; 1453, 24; 1454, 24; 1457, 24; 1458, 24; 1459, 21; 1460, 24; 1461, 28; 1462, 24; 1463, 32 and 24; 1464, 32; 1465, 26; 1466, "yber 32"; 1467, "Jber 18"; 1468, 24 and 42; 1469, 35; 1470, 16; 1471, 43; 1472, 22; 1473, 33; 1474, 26; 1475, 46; 1476, 36; 1477, 26; 1478, 32; 1479, 19; 1480, 32; 1481, 33; 1482, 24; 1484, 24; 1485, 28; 1488, 32; 1490, 43; 1491, 36; 1493, 72; 149s, 64; 1496,52; 1497,51; 1498,48; 1499, 48; 1503,93; 1504, 73; 1506, 62; 1507, 40; 1509, "nur 13"; 1510, 109; 1511, 66; 1512, 48; 1513, 39; 1514, 78; 1515, 33; 1516, 80; 1517, 42; 1518, 90, 24, 6, "yber 30"; 1521, 58; 1523, 48; 1524, 40; 1539, 150. The total number of Laufer here recorded is 2614, and in addition the Schembartlauf included other maskers not usually mentioned in the text, supplementary figures which will be discussed in Chapter VI. 23 Cf. Hampe (Theaterwesen), p. 226, Nr. 7 (1483); Fastnachtsspiele, X X X , 1347: "Von zwelff pfaffen knechten wie sy sich riemen von großer faulkait."; Vulpius, X (Nuremberg carnival, 1588), 395, 398, 399, 402, 406 (examples of maskers in groups of six, twelve, and twenty-four). Welsford (Court Masque), pp. 69, 72, 86, 89, 112, 121, 127, 129, 130, 136, 177, 181, 183, 184, 284, cites some fifteen examples of groups of twelve dancers in the masques held from the year 1454 to Shakespeare's Winter's Tale, Act IV, Sc. 3, 11. 34iff. Chambers (Folk-Play), p. 209, notes a mummers' play performed in Thessaly by a troupe of twelve. " T h e morris-dance also calls for six men; cf. C. J. Sharp and A. P. Oppe, The Dance (New Y o r k : Minton, Balch & Co., 1924), p. 5. The number twelve has had a meteorological significance attached to i t : the twelve days from Christmas to Epiphany exercise an influence on the weather and fortunes of the twelve months of the year; cf. Frazer, I X , 322ft.; Chambers (Med. Stage), I, 269, n. 2; The Popish Kingdome, p. 46a. " Reicke, pp. 97-99, and G. Schroetter, Geschichte der Stadt Nürnberg, (Nürnberg: Koch, 1909), pp. 18, 153-5, g ' v e analyses of the classes of Nuremberg society. The "Ehrbare" comprised the wealthy merchants, property owners, and professionals.

6o

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Lauder Erbare Gesellen."25 This is the same year in which the butchers begin to receive a fee for the privilege of the Schembartlauf,26 and we may conclude that the more magnificent development of the festival was due to the interest taken in it by the wealthier burghers and patricians. A further clue to the social status of the Laujer exists in the names listed in the M S S ; in all, our text contains about five hundred names, some of which are repeated several times.27 In some thirty instances the trade of the Läufer is appended to his name, as, for example, (f. 68v) "Melchior Teich Schneider," or "Hannß Bessel Schelnmacher."28 A Läufer who is in the service of a master is simply referred to as a servant, as (f. 6gr) "Hannß Dechelmairs Diener."29 It is clear that men of the crafts and even of the serving class found their place among the Schembart dancers. The great majority, however, belonged to the Ehrbare Geschlechter, and some of the famous old patronymics are represented by more than one scion of the family (the number of times a name appears in our M S is here indicated in parentheses): Haller (9), Tucher (8), Imhoff ( 7 ) , Pfinzing ( 5 ) , Baumgarten ( 5 ) , Kress ( 3 ) , Von Plauen ( 3 ) , Nützel ( 3 ) , Derrer ( 3 ) , Groland ( 3 ) , Behaim (3), Holzschuher ( 3 ) , Ebner (2), Toppler ( 2 ) , Zollner * Perhaps the group of Läufer in 1463 who did not serve the butchers and who were costumed according to our M S (f. i 4 r ) in "eittel Landtgolt" were also "Ehrbare." * A reference to this innovation is made by Hans Sachs, Scheinpart-spruch, 11. 1481 5 2 : "Aber nach jaren ( s e c h t ! ) / Die erbern der geschlecht/ Theten den scheinpart kauffen/ Um etlich geld, zu lauffcn,/ Von flaischhackern viel jar." " O f these names 390 are cited for the years 1503, 1518, and 1530, on ff. 68v, 6gr, 6pv, Ilr, 99V, ioor, ioov, i o i v , and io2r, as noted above. The form and spelling of the names, and the order in which they are listed, are not the same in all the MSS in which they are given (these are, in addition to MS No. 1, MSS Nos. 14, 19, 28, 29, 30, 35, 39, 41, 44, 46, 50, 51b, 57, 58, 59. 60, 61, 63). In some cases an obvious corruption occurs; cf. e.g., MS No. 58 (Drescher, p. 16) "Vngehewr" for "Vnbehauen." The Christian names also vary somewhat. In general, however, the names correspond. A curious item is listed on f. 68v of our M S : "3 blindt N a m e n " ; we may assume that fictitious names were not recorded. M A variety of trades is represented, some appearing more than once, as indicated in the following by the number in the parentheses: "Weissgerber, Ferber (8), Bader Kertzenmacher, Püettner, Khiirschner (2), Pierbrey, Rottschmidt, Balbierer, Spiegler, Deckhweber, Rechenmaister, Metzger (2)." N o doubt the "Ferber" were able to provide a costume for themselves more easily than other craftsmen. " S e v e r a l other examples occur for 1518 on f. IOOV: " N : Petter Vischer Diener," " N : Das Ayrers Diener"; on f. IOIV: "Wolff J h m Hofs Diener"; f. I02R: " N : Virich Hallers Diener," N : Hannß Thuehers Diener."

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( 2 ) , Volkamer ( 2 ) , Wolckenstein ( 2 ) . Among those listed only once we find the names of Löffelholz, Geuder, Fürer, Tetzel, and Krell. 30 "Erbare" and "gemain" shared the honor of being captain of the Läufer, and their names are carefully recorded in the text for each year. In that for 1449 (f- 4 r ) w e read, in a note added by the second hand, that the Council had ordered the Läufer to have a leader, to prevent the disorders that had marred the carnival previously. All groups preparing a Fastnachtspiel were obliged to inform the Pfänder, the official in charge of the guilds, of the names of their leaders, 31 and it is probably due to this rule that the names of the captains of the Schembartlauf have been preserved for us. N o doubt the captain, who is first cousin to the many festival kings that ruled their topsyturvy world for a day, was able to check excesses during the running. 32 He was probably filled with a sense of the honor of his position, which he often retained for several years. 33 When the Schembartlauf was held on The last named is the same Oswald (in our M S , f. i o o r : "Oßwaldt") Krell who was the agent in Nuremberg of the great Ravensburg business house; he was immortalized in the famous portrait by Dürer, cf. Hampe (Theaterwesen), p. 1 6 ; reproduction in V . Scherer, Dürer (Stuttgart: Deutsche Verlags-Anstalt, n. d.), p. 12 : "Oswolt Krel, 1 4 9 9 " ; cf. also Th. Hampe, "Oswald und Kaspar Krell," Mitteilungen aus dem germanischen Nationalmuseum (Jahrgang 1896), pp. 23-28; H. Braune, " E i n Beitrag zu Dürers Porträt des Oswald Krel," Münchner Jahrbuch der bildenden Kunst, II. Hbjhrbd., 1907, 28-33. T w o other Dürer portraits are of interest to us here for the names they bear, that painted in 1499 of Hans Tucher, a name that appears in our M S several times from 1 5 1 1 to 1523, and the portrait of J a c o b Muffel, 1526, who is also in our M S for the year 1539. Dürer's " J a c o b M u f f e l " is by no means a young man; the list, however, also includes "Der Alt Tuecher." These portraits are reproduced in Scherer, op. cit., pp. 1 1 , 68. 31 Cf. Hampe (Theaterwesen), p. 25; also, for examples from the Ratsverlässe, p. 226, Nr. s, 6, 7; p. 228, Nr. 13. 32 C f . Chambers (Med. Stage), I, 3 3 0 : "it would certainly be an exceptional Germano-Keltic folk-feast which had not a dominus jesti." The mummers' sovereign goes under many titles: he is the Vortänzer in the sword-dance, cf. K . Meschke, Schwerttanz und Schwerttanzspiel im germanischen Kulturkreis (Leipzig: B . G. Teubner, 1 9 3 1 ) , pp. 30, 60, cited below as " M e s c h k e " ; the Julkömg of the north, cf. Stumpf! (Kultspiele), pp. 387, 4 0 s f ; the rex stultorum or the Prince des Sots of the Enfants-sans-souci, cf. Petit de Julleville (Les. Comédiens), pp. i6off., 1 8 5 ; the "Pageant-Master" of the Corpus Christi plays, cf. M . Lyle Spencer, Corpus Christi Pageants in England (New Y o r k : The Baker & Taylor Co., 1 9 1 1 ) , pp. 5 1 - 2 , cited below as "Spencer"; the " L o r d of Misrule" of Tudor days, cf. Chambers (Med. Stage), I, 403 ; the Captain or King of the English Mummers' Play and Sword Dance, cf. Chambers ( F o l k - P l a y ) , pp. 14, 125. Perhaps the captain is a lineal descendant of the King or his substitute who originally personated the god of fertility, cf. Frazer, I X , 407ff. ; further pp. 3 1 3 s . ; " T h e King of the Bean and the Festival of Fools." " F o r example, "Hannß Kreß," 1464, 1465, 1468, 1495; "Hannß Tucher," 1 5 1 1 , 1512, 1515, 1518, 1523.

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a larger scale, more than one captain led the run, indeed it became usual to have two captains, and several times there were as many as four. 34 In some instances the text indicates the craft of the captain, as in 1467 (f. i 8 r ) : " H a n n ß Ferber Reuther genandt, Haubtman . . . und neben Jme Ein Schlosser der Schellhamer genandt." 35 There seems to have been no class distinction in the choice of a captain; for example, together with "Veit Schütz ein Flaischhacker" in 1516 we find the patricians "Hieronimus P e ß l e r " and "Vlrich Haller." T h e great families of Nuremberg are represented by many names among the captains, since the majority were Ehrbare; the following families are included (the frequency of their participation is indicated by the number in the parentheses): Baumgarten (8), Haller (8), Kötzel ( 6 ) , Tucher (6), Kress ( 4 ) , Tetzel ( 4 ) , Strobel (3), Pesler ( 3 ) , Rummel, Grundherr, von Plauen, and Cämmerer with two each, and others. What considerations guided the Läufer in the selection of their captain are not told us by the Schembart MSS. Hampe 36 has pointed out that Wolf Ketzel, one of the captains for 1498 and 1499, had been sentenced to a month's imprisonment in 1497 for performing a Fastnachtspiel satirizing Hans Zamasser, a citizen of Nuremberg. 37 Perhaps the best qualifications for leadership in the Schembartlauj were fertility of ideas and boldness in the execution of a prank. As we shall see, in 1507 it was the captains themselves who directed a riot against a group of maskers infringing on the rights of the Läufer.38 It is naturally the captains who are figured in the miniatures of " In 1493, with seventy-two Läufer, the captains were "Wolff Haller, Göerg Kötzel, Steffan Baumgartner, Sebalt Teuchsler"; in 1539, with 150 Läufer, there were three captains: " J a c o b Muffel, Martin von Plauen, Jochaim Tetzel." " T h e other trades mentioned are "ein Weyßgerber," "ein Plattner," "Zwen Metzger," "ein Salwürck (Sal, "selvedge"), "Sattler," "ein gurtler," "Handtschug macher," "ein Fechtmaister," "ein Löffelschmidt," and again "ein Flaischhacker." " H a m p e (Theaterwesen), p. 16. "According to the Rats-Protokolle for Feb. 28, 1497,, cf. Hampe (Theaterwesen), p. 229, Nr. 20, Ketzel's companion in crime and punishment was the Oswald Krell already referred to, a Schembartläufer in 1503. Dürer's portrait of him reveals a dynamic face, with a harsh, almost violent expression, a Renaissance character of "bold hostility." ** Hans Sachs looks upon the captains as representatives of the Geisbart group, the leaders of the revolt in 1348, cf. Scheinpart-spruch, 11. 179-185: "Der scheinpart hat hauptleut,/ Die all person beschreyben/ Unnd sie zu hauffen treyben,/ Den scheinpart in beystehn,/ Jnn allen ihn vorgehn./ Bedeudten mit geferd/ Mit namen die gayßperdt/ ."

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the M S S , although there can be no question of portraiture since the figures are all masked. 39 T h e identity of the captain may be known, however, from the coat of arms which is figured alongside him, in the lower half of the folio, 40 and which were a major interest in the creation of the M S S , whether they represent the aristocratic families of Nuremberg or the craft to which the captain belonged. 41 There is an emblem in our M S for each captain, except for the years 1479 and 1481, an omission which was probably unintended by the artist; when there is more than one captain the coat of arms for each is painted in the miniature, one above the other or on either side of the Läufer.*2 The emblems usually measure one and one-half by one and three-quarters inches, and are very carefully colored and illuminated with gold or silver. 43 T h a t the coats of arms in our M S are authentic is revealed by a comparison with the devices for the same families in Siebmacher's Wappenbuch,44 although not all of the old family escutcheons appear here. T h e miniaturist was restricted to the representation of only one costume for each group of Läufer, as the maskers all dressed like their captain. T h e identity of dress is not unusual for the period, which, as Chambers has remarked, "was an age of guilds in every department of social life." 4 5 Groups of celebrants on any occasion often dressed uniformly, 4 6 and particularly in the case of a festal group a kind of livery would be natural. 47 In discussing the cos39 In some M S S the names of the captains are placed above the miniatures, e.g., MSS Nos. 21, 51b, 67. 40 This is the usual arrangement, but in M S No. 3 the shield is placed below the text, in M S No. 45 it is on the verso of the folio bearing the miniature of the Läufer, while in M S No. 61 the coats of arms decorate the folios following those with the miniatures. " M S No. 42, for example, contains a complete armorial following f. 111. From the Ratsverlaß of June 1, 1605, quoted above p. 18, it is evident that the families whose coats of arms appeared in the Schembart illustrations considered them a private matter and therefore prevented the public sale of the drawings. " Cf. Figs. 6, 9, 10, etc. " F o r colored reproductions, cf. Brüggemann (Vom Sch.). " J . Siebmacher, Wappenbuch (Nürnberg: Bauer & Raspe, 1856-1908), II, Abt. i : Der Adel des Königreichs Bayern; VI, Abt. 1 (1, 2, 3 ) : Abgestorbener Bayerischer Adel. " C h a m b e r s (Med. Stage), I, 373. " C f . Schultz, p. 322, for several examples in 1464, p. 328 in 1470. 47 In the Freydal each group of mummers is depicted in the same costume. For examples of carnival actors dressed alike cf. Hampe (Theaterwesen), p. 227, Nr. 6 (1479): "in gestalt alter weiber"; p. 228, Nr. 13 (1487): "in gestalt des m o m " ;

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tume of the Läufer therefore, the miniatures representing the captain will in each case serve as models for the whole company. The miniatures of our MS are distinguished by their fine technique; 48 the tempera colors are particularly bright and the fullpage figures of the Läufer generally show good modelling and some subtlety of shading. The illuminations represent the last stage of medieval miniature painting,49 and most of the characteristic features of the earlier, more primitive style are absent. The subject naturally does not permit of such abstract treatment as we find in minatures on religious themes suffused with the transcendental idealism of the Middle Ages. Yet the masked, impersonal figures of the Läufer bear the marks of the formalized presentation characteristic of the medieval miniature; this is in line with the generally classical tendency of miniature art from the Sixteenth Century on.50 However, the dancers' movements are portrayed in a far less stilted manner, and the proportions are comparatively natural. Doubling of scenes is entirely absent in the miniatures of the Schembart MSS, and the typical smaller figures of earlier drawings are rare. Two miniaturists seem to have worked on our MS; the Läufer for 1469 to 1472, and from 1517 to 1539, show more height and grace than the others.51 Both artists, however, executed their miniatures in the typical style of the illuminated pen-and-ink drawing, with vigorous design and careful coloring. The outlines are black but are not heavy, and the colors are limited in range to the flat tints used in manuscript illumination.52 Gold and silver ornament the miniatures everyfurther, Fastnachtsspiele, pp. 728-730: " D i ploben farb vasnacht," a play consisting of explanations for the blue costumes ("plobs clait") worn by the actors. " M S S Nos. 2i, 38, 60, also have excellent miniatures. B y contrast, the miniatures of MSS Nos. 15, 39, 41, are very poor in both drawing and color. Only the outlines of the figures are given in M S S Nos. 16 and 40 (in pencil), 48a and 49 (in i n k ) ; on the other hand, in some M S S the colors are laid on very thickly, e.g., M S No. 24. " Th. Raspe, Die Nürnberger Miniaturmalerei bis 1515 (Strassburg: "Studien zur deutschen Kunstgeschichte," 60. Heft, 1905), p. 73, considers the decay of the art to have set in after 1520. Diirer's example was of great influence in this regard, cf. H. v. der Gabelentz, Zur Geschickte der Oberdeutschen Miniaturmalerei im XVI. Jahrhundert. (Strassburg; "Studien zur deutschen Kuntsgeschichte," 15. Heft, 1899), pp. 36ft 51 Cf. Figs. 7, 13, 14, 15. B I n some MSS, e.g., Nos. 12 and 16, the guide-letters or words for the coloring

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where,53 even where the object itself would not be so ornamented; this Renaissance splendor is typical of book illustration in the second half of the Sixteenth Century. 54 The maskers are depicted at full-length, standing or running in various bold postures, usually on a small grassy mound and with no indications of background; in our MS this base has been resolved in almost every case into a uniform colored strip across the bottom of the folio.55 Many of the Läufer present a front view of costume and mask, but some turn their profiles or backs to us. The figures show an inexhaustible variety in pose, scarcely two are alike.58 In all the characteristics we have analyzed here the miniatures of the Scherrtbart MSS are closely akin to the type figures portrayed in the costume books of the period.57 We are not informed by the text of the MSS who were the designers of the costumes. Our MS usually describes the decorative patterns and trimmings as "gemahlet" or "geziert," 58 but on are still to be seen, under the colors, or at the side of the figure, e.g., " b " or "blob" for blue, "aschenfarb" for white, etc. These directions for the painter in illustrated manuscripts are discussed by F. Panzer in "Wort und Bild in der deutschen Dichtung," Dichtung und Volkstum, X X X V I (Heft i , 1935), 8. " T h e silver is often oxidized in the M S S (cf. No. 26) and appears black. " Cf. F. Jacobi, op. cit., p. 98 A few miniatures in M S No. 18 are illuminated with glass particles, which were probably originally meant as a ground for gilding, cf. J. H. Middleton, Illuminated Manuscripts (Cambridge: Univ. Press, 1892), p. 238; also pp. 234-8 for the methods used in illuminating with gold and silver. " F o r the colors of this ground-strip (pink, grey, tan, green, etc.) cf. reproductions in Brüggemann (Vom Sch.). The mound may be seen in M S S Nos. 7, 26, 28, 41, 46, 56. Occasionally a little tree is shown growing from the mound, cf. M S S Nos. 28, 41. These characteristic mounds may be seen in sixteenth-century portraits, cf. Schultz, Tafel X I X , X X , X X I , X X V ; also Zoepfl, I, Bild 15, 24. T h e Läufer is also drawn standing on the cobblestones of the street, cf. M S S Nos. 6, 27, 67. " I n a few M S S the Läufer are treated more imaginatively, as in M S No. 28, which shows some Läufer with an accompanying fool or with dogs; this was a popular w a y of representing ladies and gentlemen, cf. R. v. Marie, Iconographie de l'art profane au Moyen-âge et à la Renaissance et la décoration des demeures (La H a y e : M. Nijhoff, 1931-2), I, 29, Figs. 24, 25; cited below as "Marie." M S No. 52 contains a miniature of Läufer gathered in front of a Trinkstube. In M S S N° s - 37, 39, 58, the Läufer are numbered; in M S S Nos. 3, 24, 46, 56, 61, they are dated; these numbers are placed above or below the figure. In M S N o . 21 the name of the captain is inscribed above each figure. " We find a similar manner of presentation in Dürer's costume studies, cf. F. Lippmann, Zeichnungen von Albrecht Dürer (Berlin: C. Grote, 1883-1929), Nr. 62, 373-5. 459. 4Ô3-5" F o r example, the description of the costume for 1471 (f. 22r) : "mit weysen Chleplettlein gemahlt"; for 1476 (f. 2 7r) : "darauff Blumen gemahlet"; for 1477 (f. 28r) : "mit Blumen geziert," etc.

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f. i 2 r ( 1 4 6 1 ) we find "gehefftet," and other M S S write "geneet." 5 * T h e embroidering of garments was in the hands of craftsmen called "Seidensticker" or "Seidenhefter." 8 0 The costumes were probably the creations of the tailors, who no doubt used designs suggested by artists. 61 Dürer himself made sketches for carnival costumes while on his visit to the Netherlands, and enjoyed seeing the mummers masked after his fancy. 82 T h e costs of the costumes were apparently not important enough to be stressed by the chronicler. T h e text f o r i 4 5 i (f. sr) remarks: "die Flaischhacker musten sie Klaidten"; the expense was, however, not borne by the butchers after 1468. T h e only comments on the costs in our text are for the years 1514, 1515, and 1516. In 1514, when satin was first worn, there is the note (f. 58r): "gab ainer an der Klaidtung vnd vnkosten 4^2 f."; similar items are also noted for 1515 (f. 5 9 O : " g a b ein jeder an der Klaidtung. f."; and for 1516 (f. 6 i r ) : " g a b einer für die Klaidtung f." The sumptuous costume worn in 1539 was more costly to the Läufer, as a note in some M S S shows: " L e g t ein Jeder 5y 2 f.'"53 These amounts seem slight by comparison with the high prices paid for garments in the period, so high, indeed, that laws were passed prohibiting too costly clothing. 84 " Cf. M S N o . 58, f. 37r, f. 4 3 r , etc. Cf. S c h u l t z , p. 394, f o r a r e f e r e n c e t o t h e " S y d e n h e f f t e r " of K u r f ü r s t F r i e d r i c h v o n S a c h s e n , 1448. A p a t t e r n of r e d d i a m o n d s is s e w n o n t h e c a n v a s of t h e c o s t u m e labelled " N ü r n b e r g e r S c h ä m b a r t l ä u f e n " in R o o m 65 of t h e B a y r i s c h e s N a t i o n a l m u s e u m in M u n i c h ; t h i s c o s t u m e , h o w e v e r , is d a t e d "2. H ä l f t e d e s 18. Jahrhunderts." " T h e costumes for Maximilian's masquerades were m a d e b y t h e court tailor, M e i s t e r M a r t i n T r ü m m e r , w h o w a s also given t h e t a s k of a r r a n g i n g f o r t h e i r r e p r e s e n t a t i o n in t h e Freydal, cf F r e y d a l , I , v . 62 C f . K . L a n g e u n d F . F u h s e , op. cit., p . 148: " I c h h a b e d e n F o c k e r i s c h e n [ F u g g e r ] ein V i s i r u n g [Skizze] zur M u m m e r e i g e m a c h t . . . I t e m d e m T o m a s i n [ T h o m a s P o m b e l l i ] z w e e n B o g e n voll g a r schön M ü m m e r e i g e m a c h t . " ; p. 149: " U n d auf d e m o b g e m e l d t e n F e s t w a r n g a r viel k ö s t l i c h e r M u m m e r s u n d s o n d e r l i c h Tomasin Pombelli." " C f . M S N o . 58, f. 67. C f . M . v . B o e h n , Die Mode: Menschen und Moden im Mittelalter (München: F . B r u c k m a n n , 1925), p. 240; cited b e l o w a s " B o e h n ( M A ) . " S c h u l t z , p p . 3528., cites q u o t a t i o n s f r o m t h e a c c o u n t b o o k s of M a r t i n B e h a i m a n d A n t o n T ü c h e r . M . v . B o e h n , Die Mode: Menschen und Moden im XVI. Jahrhundert ( M ü n c h e n : F . B r u c k m a n n , 1923), p. n o , p o i n t s o u t t h a t a c o w cost f o u r florins w h i l e b r o c a d e s w e r e t e n t o e i g h t e e n florins t h e ell, t h a t is, 100 t o 180 M . ; cited b e l o w a s " B o e h n ( X V I ) . " A l a d y ' s w a r d r o b e e n t a i l e d e n o r m o u s expense, a n d a n elegant g e n t l e m a n l i k e V e i t

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In design the costumes reflect the fashions of the day, 65 except that, as on the costumes worn in the Metzgertanz, both the cape and the short skirt to the doublet, usually indispensable in this age, are lacking. 68 T h i s brevity of costume is also to be seen in contemporary illustrations of soldiers, 67 acrobats, 68 and actors or dancers. 69 The fashion was, however, not invented by these groups but was rather the extreme development of a general tendency in masculine attire to reveal the body as much as possible by means of close-fitting hose and ever shorter mantles. 70 Satirists might rail their bitterest, 71 preachers thunder perdition in their sermons, 72 law-makers mete out dire punishmeint for infringement of the police-orders regulating the length of garments, 73 fashion went its way and compelled toleration of its exaggerations. T h e Läufer, in sporting this daring style, were indulging their prerogaKonrad Schwarz, towards the end of the Sixteenth Century, paid from twenty to eighty florins for silk clothes, cf. ibid., p. i42f. " S c h u l t z , p. 381, likened the Schembart book to a " M o d e j o u r n a l " ; but even the theatrical costume of this period was never far removed from that of every d a y , cf. Herrmann (Forschungen), pp. 103-4. " T h e Läufer for 1503 (f. 48V, cf. Fig. 10) is an exception in this respect: his costume shows scallops around the waist, "Zaddeln," a highly popular mode in the Fifteenth and Sixteenth Centuries, cf. H. Weiss, Kostümkunde (Stuttgart: Ebner und Seubert, 1872), III, 222, 236; cited below as "Weiss." " C f . Schultz, Figs. 650, 653, 659; Weiss, Figs. 104a, b ; Barbeck, Teil I, Bl. 5 (Hans Wurms Ansicht von Nürnberg, 1500), Teil III, Bl. 2 (Die Schlacht vor den Toren Nürnbergs, 1502); further Nikiaus Manuel's drawings of soldiers, cf. L . Stumm, Niklaus Manuel Deutsch von Bern als Bildender Künstler ( B e r n : Stampfi &

C i e , 1925), A b b . 1 , 2, 3, e t c .

" C f . H. T . Bossert und W . F. Storck, Das Mittelalterliche Hausbuch (Leipzig: E . A . Seeman, 1912), T a f e l 2, 18; Raspe, op. cit., T a f e l I I I (Die Kunst des Messerstechens,

1482).

®Cf. Herrmann (Forschungen), Figs. 22-30, 44-46, 81 (Gerold Edlibachs Federzeichnung zu Brunners Fastnachtspiel); Schultz, Fig. 444. , 0 C f . Weiss, p. 228; Schultz, pp. 297!!., 300, 303, 308, etc., and Figs. 391, 392, 398, 401.

" T h u s Sebastian Brant in his Narrenschiff, 4: " V o n nuen funden (II. 24-7): "vil nüring ist in allem land./ kurz schäntlich und beschroten röck,/ das einer kum den nabel bdöck./ pfuch schand der tütschen n a t i o n ! " " C f . Böhme, I, g6ff.: " V ß dem springenden tantz komen V I schaden . . . 1. zum ersten: . . . w a n da legt man abe mentel vnd Schleier . . . ; " cf. also Schultz, p. 317 (men take off capes in dance: "schamlos"). " C f . Baader, pp. 95ff., for a police order in 1480 permitting shorter garments than previously allowed: " S o will ein Rat gedulden, das hinfür die Klaider kurtzer, dann als obgemelt vorgesetzt ist, getragen werder mügen, Nemlich so mag hinfür ein jeder kurtz Röck vnd Mentel tragen, doch nit kürtzer, dann das sie ij Zwerg vinger über den latz vnd schäm raichen vnd treffen sollen."

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tive as maskers and at the same time were freeing themselves from all encumbrances to their leaps. Our text makes almost no reference to the cut of the costume, though the details of color and pattern receive considerable attention. T h e miniatures, however, are explicit enough. T h e y show us first, for the years 1449 to 1496, a simple costume that covers the Läufer from head to foot, a close-fitting costume cut down the front and buttoned at the neck. 74 T h e hood, or " G u g e l , " worn here b y the Läufer, was the mode throughout the Fourteenth Century and was gradually replaced in the Fifteenth Century by the h a t . " T h e long hose, equipped with the characteristic "Schamk a p s e l " of the period, 76 was bound to the doublet at the waist; only the Läufer for 1 4 5 7 and 1 4 5 9 show the colored laces used in the hose during early attempts at the development of a stocking. 77 A long V-neck is cut into the doublet of the Läufer for 1467 ( F i g . S ) in accordance with the dictates of fashion; when this cut appears again on the Läufer for 1 4 7 1 , the low decolletage is filled in b y an embroidered undershirt, and this becomes the rule after 1 4 9 1 , except when an ornamental breast-piece is inserted (Figs. 9, 10, etc.). 7 8 T h e " G u g e l " disappears entirely after 1 4 9 3 and in a few cases the doublet is folded back around the neck into a collar; the edge of the shirt, embroidered in silk and gold, is " Cf. Figs. 4, s, 6, 7; further Brüggemann (Vom Sch.), p. 13 ( 1 4 5 1 ) , p. 17 (1463), p. 21 (1474), p. 28 (1475). On the fashion of wearing tight and constricting clothes cf. Boehn ( M A ) , pp. 224-5. " N o hood appears on the miniatures of the Läufer for 1458, 1465, 1467 (Fig. 5), 1470, 1471, 1473, and on all those after 1491 (Figs. gff.). P. Post, Die französischniederländische Männertracht einschliesslich der Ritterrüstung im Zeitalter der Spätgotik 1350 bis 147; (Halle: Diss., igio), p. 3 1 , has called the "Gugel" "das kostümliche Kennzeichen der Gotik." Cf., for the Fourteenth Century, Boehn (MA), p. 214, and Schultz, Fig. 286, Tafel VIII, 5, 6; for the Fifteenth Century, ibid., Fig. 337 ( 1 4 1 9 ) , and p. 328 (1470-2: "kugeln''). Brüggemann (Vom Sch.), pp. 19-20, has attempted to give this hooded costume of the Läufer folkloristic meaning as a "Verbergekostüm," in which primitive man would conceal himself from the demons of nature by transforming himself into "Niemand." " C f . Boehn ( M A ) , p. 225. " Originally the long hose consisted of two separate parts, often not tied together at all, a fashion resulting in indecent exposure and much bitter satire, cf. Schultz, pp. 2Q7f. The change to a pair of hose was introduced about 1450, cf. ibid., pp. 331-2. " O n this decolletage cf. Schultz, pp. 33iff.; Boehn ( M A ) , p. 223; Boehn ( X V I ) , p. 103. Dürer's Selbstbildnis 1498 shows the "brostouch" and the cord which holds the doublet together across the shoulders.

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69

brought up higher to cover the neck completely, and begins to develop into the plaited ruff worn for almost two centuries thereafter (Figs. 14, is). 7 9 Another mark of popular fashion, the slashing of the costume and the lining of the slashes with material of a contrasting color, makes its first appearance in the Schembart costume for 1493 (Fig. 9), and then remains as an essential feature of style in almost all the subsequent costumes of the Läufer.'0 With the slashing we find the padding characteristic of the age of bombast that was being ushered in, puffing produced by sewing rolls into the garment, especially in the sleeves and short trunkhose (cf. Figs. 9, 12). 81 The latter, the padded trunk-hose, were slow in developing — the Läufer for 1495 was the first to wear them — but finally became the fashion, while the long hose were worn as stockings.82 The changes we have discussed were all combined in the Spanish costume that conquered Europe in the Sixteenth Century. It appears in full development in the Schembart books on the Läufer for 1539 (Fig. is). 8 3 Both sleeves and hose of this costume are made of strip» of silk and velvet sewn together, ™Cf. Boehn ( X V I ) , p. 104. " F o r a reference to clothes that were "verhauwen und underfudert" (1470) cf. Schultz, p. 328. Matthäus Schwarz notes in his Trachtenbuch a costume worn by him in 1523, with 4800 "Schlitze," all lined with white velvet, cf. Boehn ( X V I ) , p. 100. Oskar Fischel, Chronisten der Mode (Potsdam: Müller & Co., 1923), p. 17, interprets the slits as an expression of freedom, "Ellenbogenfreiheit," in line with the development of bourgeois democratic society. A more natural origin for "die M o d e des Zerhauenen" is suggested by Boehn ( M A ) , p. 228, in the tight clothing of the Fifteenth Century; the slash appeared first at the elbow, then spread to other parts of the costume, even to the shoes. " Cf. Schultz, Figs. 410, 422-5, 460, 650-1; Weiss, Bd. I l l , p. 6o9f. This fashion seems to have originated in Burgundy, at the beginning of the Fifteenth Century, cf. Boehn ( M A ) , p. 224. The word "bombast" itself is derived from O F bombace, "cotton," "padding." " C t . Boehn ( X V I ) , p. 107. " T h e costume is figured again in our M S on f. 7or and f. 7ir, in somewhat modified form. On the Spanish costume in the Trachtenbücher cf. Herrmann (Forschungen), pp. io7ff. In 1524 Matthäus Schwarz dressed "auf hispanisch," cf. Boehn ( X V I ) , pp. i24ff. Cf. also J. H. v. Hefner-Alteneck, Trachten, Kunstwerke und Gerätschaften (Frankfurt a / M : H. Keller, 1879-89), VII, Tafel 491, 494, Bd. V I I I , Tafel 545 (Landsknechte), cited below as "Hefner-Alteneck"; R. Badenhausen, Das spanische Kostüm und seine Bedeutung für die Bühne (München: Kallmtlnz, 1936), pp. 22ff.; E. Nienholdt, Die deutsche Tracht im Wandel der Jahrhunderte (Berlin: W. de Gruyter & Co., 1938), pp. 90-107. T w o references by Hans Sachs to the Spanish costume are quoted in Herrmann (Forschungen), p. 135 (1532: "Der pueler fein stolz in spanisch' kappe vnd federn"), p. 122 (1551: "spanisch gekleidt").

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with more than the usual slashing and padding as trimming, in line with the trend to the exaggerated ornamentation of sleeves 84 and the later notorious "Pluderhosen." 8 5 T h e development from simple to ornate costume is naturally accompanied by a change in the materials of which the festive garments were made: according to our text the range was from rough linen to rich satin. T h e first mention occurs on f. 7r for 1456; "Jn Plauen Schetter"; Schetter, according to Schmeller, is a rough, loosely woven linen. 86 T h e text for 1463 (f. i 4 r ) tells us that one of the two groups of Läufer for that year was dressed "in eittel Landtgolt," that is, a lamé cloth woven of gold thread. 87 T h e expense of such a brilliant costume would certainly make it prohibitive and it is not repeated. In 1466 the text (f. i 7 r ) again notes that the Läufer were "beklaidtet Jn grobe Blähen," a material which is a coarse linen cloth; 88 and more evidence of the use of linen until 1493 is contained in the text for that year (f. 4 2 r ) : "vnd diß ist der Erste Schempärt gewest, so in Wühln Thuch beklaidt gewest, dann sie Zuuorn nur Leinwath, vnd Plahn angedragen." Wool made warmer costumes for the frosty carnival nights, and was not too expensive. 89 T h e use of wool is mentioned again for 1497 (f. 4 S r ) : "Jnn Gelb vnd Blau Wiilhen S p a m " (Spam = Sparren, "chevrons," the ornament used on the costume) ; and for 1503 (f. 48r), when a combination of linen doublet and woolen hose appears: "Leinene Leib, vnd Wülene Hosen." In the last period of the Schembartlauf the opulence of the Renaissance is reflected in the costumes of satin that grace the Läufer, a change of material that is recorded three times in our text: 1514 " Detachable sleeves were worn as ornaments of dress, cf. Boehn ( X V I ) , p. 107. 1,5 Cf. Henne am Rhyn, II, 64-5 ("Vom Hosen Teuffei," 1555); Weiss, III, 635fr., and Figs. 225, 244. " Cf. Schmeller, Bayr. Wb., II, 482 : "Schätter, Schetter, Steifschetter, lockere, undichte Leinwand, wie die, welche durch Überziehen mit Leim oder Kleister steif gemacht wird." Hans Sachs, Scheinpart-spruch, 11. 142-3, describes the first costumes thus: "Ir klaydung erstlich gar/ Schlecht und nur leyne war." " Reproduced in color in Brüggemann ( V o m Sch.), p. 17. On "Landtgolt" cf. Grimm, Wb., VI, 77, under "Lahn": "zu einem dünnen faden geplätteter draht. der name ist mit der sache aus Frankreich eingeführt, franz. lame . . . goldlahn, silberlahn, messinglahn." " Cf. Schmeller, Bayr. Wb., I, 455" On the cloth of the period cf Schultz, p. 3g2 ; the "Leipziger Kramerordnung" of 484 mentions "Schwebische geferbte leywannt . . . baumwollen . . . parchant."

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7i

(f. 58r), "hetten Attlaße W a m m e s " ; 1518 (f. 62r), "vnd A l t a ß e Wammes"; 1539 (f. 68r), "Jnn W e i ß A t t l a ß e beklaidtet, mit gelb vnd Praunen Schnitten auch allso gepremet." T h e Atlas, a heavy satin, had been worn even in the Fifteenth Century, despite its costliness; 90 in the Schembartlauf it was at first used only for the doublets, but the Spanish fashion of 1539, as the note above shows, called for a whole costume of the shining stuff, with strips of yellow and purple velvet as trimming. 91 In color and pattern the costumes of the Läufer show the rich variety of Renaissance decorative art; the designers were not, however, fancy-free in their creations, but rather followed the mode. Here our text is more complete, containing for most years some brief description of the colors and designs shown in the miniatures. 92 Only three of the costumes were of one tone: white for 1451 (f. 4v) ; 93 gold for 1463 (f. 13V, f. i 4 r : "in eittel L a n d t g o l t " ) ; and yellow for 1514 (f. 57V, f. 58r: "Jnn Eittel G e l b " ) . But it was a time that reveled in the joy of color, and men found endless means of expressing this in their attire. One sleeve may be colored differently from the body of the costume, as in 1449 (f. 3 v ) , a white costume with one sleeve green; 9 4 1453 (f. 5V), all white with one blue sleeve; 95 1456 (f. 6v, f. j r : "einen Rodten . . . E r m e l " ) , one red sleeve contrasting with the blue costume; 1457 (f. 7 v ) , the costume white, with a red inset in one sleeve. 98 T h e contrasting of color produced the mi-parti costume, or the "geteilte T r a c h t , " so predominant in this period; 9 7 some twenty Schembart costumes 90 C f . Schultz, p. 321 (1462), p. 334 ( 1 4 8 2 ) ; Narrenschifi, 11. 3 9 - 4 0 : "die buren tragen siden kleit/ und gulden ketten an dem lib." " O n the use of velvet cf. Schultz, pp. 337 (1490), 393 (1500). Hans Sachs did not fail to note these changes in costume materials, cf. Scheinpart-spruch, 11 154-7: ". . . sie trugen parchant,/ Gut hosen, Wüllen g w a n d . / Endlich auch inn a t l a ß / Y e lenger köstlicher was." Parchant is barchat, barchent (cf. Grimm, Wb., I, 1125), "fustian" (linen and cotton). T h e 1539 costume is described in 11. 4 3 - 6 : ". . . ein schar,/ Schnee-weiß bekleydet w a r / Jnn atlaß uund s a m e t . / H o ß n unnd w a m m a s ( v e r s t e h t ! ) / Verbrembt mit praun unnd gelb." 92 Our MS lacks references to the costumes for the years 1449, 1451, 1453, 1457, 1458, and 1459. M M S No. 58 (f. 23r): "gancz weiß." w Ibid. (f. 2 i r ) : "und der Rechte Ermel war gruen." " Ibid., i. 2$r: "vnd der Recht Ermel blau." "Ibid., f. 29r: "der Recht Ermel halb Roth, halb weiß, N a c h der Leng." " Cf. Schultz, p. 380, and Tafel III, 3, Tafel I X , 5-9, Tafel X X I X . T h e mi-parti

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are of this type, with many combinations of red, white, blue, black, purple, green, yellow, grey, and rose.98 Variation of color is very frequently obtained by a contrasting stripe, as in 1458 (f. 8v), when a red band is put around one sleeve, and in 1459 (f. 9V), a spiral red band on the sleeve." Broad stripes form the pattern of the whole costume in 1493 (Fig. 9; f. 4 i v , f. 42r: "Jnn Schwartz vnd Weiß, der leng nach Strich weiß abthailt"); and similarly in 1499 (f. 46V, f. 47r: "Jnn Praun vnd w e y ß der leng nach gethailet"). In the mi-parti costumes for 1 5 1 8 , 1 5 2 0 , 1 5 2 2 , 1 5 2 3 , and 1 5 2 4 (ff. 6 i r , Ö 2 r , Ö4r, 6sr, 6 6 r ) one half is striped the length of the figure; in 1522 the stripes are in four colors. Striped hose is worn in 1507 (f. 50V, f. s i r : "in Gelb und W e i ß der leng nach H o s e n " ) ; and again in 1508 (f. 51V), when a mi-parti note is introduced, the stripes being purple ( " P r a u n " ) and white on one side, green and white on the other. In 1466 (f. i 6 v ) the stripes are resolved into a pattern of short varicolored strokes, running the length of the costume (f. 17r: "grobe Blähen, darauff von allerhandt färben kleine Strichlein gemahl e t " ) . When the stripes are crossed checks are formed, as in 1503 (Fig. 10, f. 47V), when the miniature shows six different designs of checks and stripes on the costume, an excellent example of the fashion of "pieced" design ("gestückelte Kleider"). 1 0 0 T h e decorative motifs most frequently adorning the Schembart costumes are derived from nature: formalized imitations of foliage and flowers, of flames and clouds, illuminated with gold. Beautiful patterns of climbing and intertwining foliage lend a festival appearance to the costumes for 1449 (Fig. 4; f. 3V, green on the white costume), 1480 (f. 79V, f. 8or: "auff einer seiden mit gelben L a u b w e r c k " ) , 1489 (f. 37V, f. 38r: "Jn Schwartz mit Gelben L a u b w e r c k h " ) , 1491 (Fig. 8; f. 39V, f. 4or: "mit grünen Aichen Laubwerckh g e z i r t " ) ; variations of the pattern also appear on the mode lasted until the end of the Sixteenth Century, although by 1585 it had been discarded by the patricians, cf. Boehn ( X V I ) , pp. 112-114. It still recurs in ladies' fashion, even in our day. " O n l y one combination is repeated, blue and white, "Jnn Blau vnd Weiß," for 1470 (f. 2ov), and 1485 (f. 34V), but each time the design is different. " O n the fashion of stripes in the Fifteenth Century cf. Weiss, p. 235; Schultz, p. 322 (1464: "auf dem linken arm schwarz rot und wis dradeln"). *" Cf. Schultz, p. 354.

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costumes for 1504 (f. 48V), 1506 (Fig. n , f. 49V), 1507 (f. 50V), 1509 (f. 52V), and 1510 (f. 53V). In 1475 (f. 25V) single oak leaves form the design on the mi-parti costume (f. 2Ör: "Jn den Praun warn gelb, und im grünen weiß Aichl Blettlein gemalet"); and in 1511 (f. 54V) the doublet of the Läujer shows a threefold pattern of leafy wreaths running around it. T h e flower motifs are limited to thistles, clover, and roses. In 1464 (f. 14V) the thistles are purple and green (f. i 5 r : "mit Disteln Blumen bestreyet"); in 1470 (f. 2ov) they are red and yellow (f. 2 i v : "mit Rott und Gelben Distlen, auff iren Zweigen gezirt"); in 1476 (f. 2öv) and 1477 (f. 27V) they are again colored more naturally purple and green. Clover occurs but once, in 1471 (f. 2 i v ) , and the design is colored white (f. 2 2r: "mit weysen Chleplettlein"), contrasting with the blue costume. Roses are more frequent: white roses with two leaves on their stems in 1474 (f. 24V, f. 25r: "mit weisen Rößlein sambt irem Laub, bestreyet"), yellow in 1479 (f. 29V) and white again in 1490 (f. 38V), here without foliage (cf. Fig. 5, 1467).

Nature's elements again quicken the carnival in the curling flame and cloud patterns on twenty-one costumes (f. n r , 1460: "mit Rodt vnd Weysen Flemlein"; f. 29r, 1478: "mit weysen Flammen vnd gewiilck"; cf. Figs. 5 , 1 4 6 7 ; 6 , 1 4 6 8 ) ; these designs are usually white, though the flames are also done in contrasting colors, particularly on a mi-parti costume or on stripes. The phenomena of nature are reflected in the patterns of two other Schembart costumes: in 1523 (f. 65V) the upper part of the long hose shows a motif of jagged streaks of lighting; and for 1472 (Fig. 7, f. 22v) the solar system contributes a design of sun, moon, and stars (f. 23r: "Jn Praun vnd w e y ß beklaidtet, vnd mit Gülten, Sonen, Mondt vnd Stern gezirdt"). T h e y are divided in mi-parti fashion, the golden sun and stars against the white background, the crescent moon with stars against the purple. T h e faces of the celestial bodies, a characteristic feature of this astronomical motif wherever it appears, are clearly drawn. 101 101 E x a m p l e s are t o be f o u n d in t h e w o o d c u t in Narrenschiß, Nr. 65: " V o n achtung des g s t i r n ß " ; an allegorical w o o d c u t of t h e P e a s a n t s R e v o l t printed in 1523, c f . H e n n e a m R h y n , I I , 1 9 ; also H a n s W e i d i t z ' w o o d c u t s f o r S e b a s t i a n B r a n t ' s

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A few costumes show more special designs. T h e number '3' is used as a motif on the costume for 1468 (Fig. 6; f. i8v, f. i9r: "die eine seidten mit weisem gewilck vnd gelben Flammen, die ander mit viln weyßen .3. Z i r t " ) ; 1 0 2 and on the costume for 1469 (f. 19V) a single large ' A ' with an uninscribed scroll above it103 is painted or embroidered just above the knee. 104 Six Läufer, in the years 1478 (f. 28v), 1479 (f. 29V), 1480 (f. 30V), 1489 (f. 37V), 1490 (f. 38V), 1491 (Fig. 8, f. 39V), have the figure of a lady in flowing robes of the period painted on their breast, and above her an uninscribed scroll. 105 A note on this design is made in the text for each year: thus for 1478 (f. 2gr): "hetten auff der Brust ein gemalte Junckfrau, Jn Praun bekleidtet"; and similarly for the other years. The lady's robe is white in 1479, 106 yellow in 1480, white again in 1489, red in 1490 and 1491. Varied motifs in yellow appear on the costume for 1506 (Fig. 1 1 ; f. 49V, f. 5or: "mit gelben Zügen gemahlet"), a link design on the doublet and on one thigh and two interlocked hearts on the other thigh. 107 A novel pattern is painted on the doublet of the costume for 1515 (Fig. 12, f. 59r): "Trugen Häring, vnd Pradtwürst am Wammes gemahlet."; three bars go across the breast, on one side fish dangle from these rods, on the other sausages are hung over them. N o doubt we should have more such grotesque motifs on the Schembart costumes had not the patterns formed by the slashing and the play of contrasting color entirely supplanted painted or appliqued designs. Glücksbuch, cf. W . Fraenger, Altdeutsches Bilderbuch ( L e i p z i g : 1930), T a f e l 4, 5, 6 ( " V o m schönen w e t t e r " ) , T a f e l 8 ( " T u g e n d " ) . 105 A costume in R o o m 65 of the Bayrisches Nationalmuseum in Munich, dated " u m 1700," has a pattern of hearts, on some of which large " 3 ' s " are sewn. 103 T h e scroll in M S N o . 6 is inscribed with the letters " W G W , " and in M S N o . 60 "WCW." 1 < K Numbers and letters have a l w a y s been used as designs; for their use in the F i f t e e n t h Century cf. Schultz, p. 317 (1450), p. 328 ( 1 4 7 1 ) . 105 A few M S S have inscriptions on the scrolls. In M S N o . 3 w e find three inscriptions: " A 148g D " ; "14Q0"; and, in 1491, " H \VH A " ; in M S No. 4, 1480: " R o s u munde A : i 6 2 3 " ; 14Q0: " C l a u d i n e ( ? ) 1623"; in M S N o . 52 (an eighteenth-century M S ) , f. 23: " F r e y h e t t ! " " " T h e second hand adds the comment (f. 3 o r ) : "Ettliche Schönbart-Bücher setzen, Jn R o t Beklaidet." , o : Of this costume for 1506 a very interesting contemporary description is given in Heinrich Deichsler's Chronik, cf. Chroniken, X I , 660: " I t e m es w a r n auch an der rehten vasnacht . . . schenpart kostenlich in gruen und auch als vergittert mit gulden leisten ains vingers preit."

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Iconographie representations of the dress of the period and comments by chroniclers and critics show the colors and patterns we have seen in the costumes of the Läufer to be for the most part conventional. Some degree of symbolism would not be surprising in a time when most things attained allegorical meaning; the symbolism of colors, for example, green for hope, blue for self-denial, gold for joy, and certainly red and purple for nobility, was often applied in the design of a costume. 108 In a theatrical costume there might be even more symbolization : a black costume with nails and dice as a pattern for the tormentors of sinners in Hell, 109 or the design of a little child on the breast to indicate goodness or a black unicorn for evil (Lucerne Passion). 1 1 0 T h e Läufer very frequently wear white, either in the whole costume or in mi-parti, stripes, ornaments, etc.; the Sixteenth Century considered white the color of freedom, 111 and it is not difficult for the folklorist to view it as an apotropaic symbol, particularly since white appears so often in customs that are meant to ward off the demons. 112 However, we find white costumes worn in fifteenth-century dances, at both folk and court festivals, without more purpose than to reflect brightness on the happy occasion. 113 T h e red, yellow, and green mi-partis that appear some six times in the Schembartlauf are also interesting here, as these are favorite colors with the fools; 1 1 4 but no conclusion may be drawn from this as a great variation of costume and color is recorded for the jesters. Other features of the designs we have examined are perhaps more symbolic. The herring-andsausage pattern of 1515 seems to be a reflection of carnival feasting, the " J u n c k f r a u " design a sublimation of the love element in the spring festival, while motifs like foliage and flowers, flames and clouds, lightning, sun, moon, and stars, may all be taken to be " " C f . Boehn ( X V I ) , pp. 1 1 5 - 1 1 6 . 109 C f . Spencer, p. 245 ; the costume w a s w o r n in the C o v e n t r y Crucifixion. 1.0 C f . Borcherdt, p. 33. 1.1 C f . Boehn ( X V I ) , loc. cit. ' " C f . Frazer, V I , 1 1 5 , 220, etc.; Hwb. d. d. Aberglaubens, I X , 33Qff. : w h i t e serves both purposes, fertility and protection f r o m evil spirits. T h u s to Briigpemann ( V o m Sch.), p. 31, the w h i t e costumes of the Läufer characterize them as "'sommerliches Gesinde." 113 C f . Schultz, pp. 328 ( 1 4 7 0 ) , 490 ( 1 4 7 4 ) ; Freydal, Pl. 84; Meschke, pp. 32, 34, i4if. 111 C f . Welsford ( C o u r t M a s q u e ) , p. 1 1 9 ; P e t i t de Julleville (Les C o m é d i e n s ) , p. 148 ( E n f a n t s - s a n s - s o u c i ) .

7

6

THE DANCERS

clearly in harmony with a nature festival. 115 Y e t here, too, comparison with the rich embroidery on costumes of the Renaissance would indicate that such patterns are without special significance. Varicolored stripes like those on the Schembart costumes were very popular, as many illustrations show, and flowered goods were held in high favor. 116 T h e other patterns we have seen are also noted in the records; thus Bernhard Rohrbach refers to a design of flames on a costume he wore in 1470; 1 1 7 while the Ensisheimer Chronicle mentions flames, trees, branches, foliage, and letters as ornaments in 1492. 118 Early in the century Johann Hus had remarked on designs of animals and birds, dogs and hares.11® In the light of these depositions and illustrations, it is doubtful whether the symbolization that seems apparent in the designs of the Schembart costumes was a conscious one. In other respects, such as shoes, hats, gloves, and ornaments, the costumes of the Läufer also bear the characteristic marks of the day's fashion. Our text makes no comment on the shoes, as they show no special features; usually they are black, although here, too, color is not entirely absent, for the Läufer wear red shoes in 1451 and 1463, blue in 1462, and white in 1539, while in 1459 and 1465 a pair consisting of one black and one red shoe is worn, and in 1467 (Fig. 5) and 1469 the combination is black and white. 120 A red or white lining often edges the top of the black shoe. 121 Wooden clogs tied under the shoe as protection against the mud or snow appear on the Läufer for 1460 (f. iov). 1 2 2 Three 115 This is the point of view taken in Brüggemann (Vom Sch.), p. 34: "Blumen und Blätter einerseits, Flammen und Gewölk andererseits charakterisieren die Schembartläufer . . . als Frühlingsgarde." " ' C f . , for example, the costumes in the Frey dal; further Schultz, Tafel X X I X (1484), Hefner-Alteneck, V I , Tafel 388. 111 Cf. Schultz, p. 328: "uf corporis Christi in grüne hosen und kugeln . . . und in der hosen, kugel und koller ein flemmegin in rot und weiß." "* Cf. Schultz, p. 335: "Anno 1492 . . . man trug selzame kleider, besonders die mann, von vielen färben und stücken, von flammen, von bäumen, von asten, laubem und buchstaben . . ." "" Cf. Schultz, p. 308: "capita bestiarum, aves. canes, lepores et similia infinita." " " T h e color is noted in some M S S ; cf. M S No. 58: 1451 (f. 23O, "vnd Roten schuhen"; 1453 (f. 2sr), " R o t e schuch"; 1457 (f. 2gr), "schwarze schuch." Cf. Schultz, p. 314, for an order prohibiting colored (red, green, yellow) shoes in Strassburg in 1435; further Weiss, p. 235 (1468). m Cf. Brüggemann (Vom Sch.), p. 29 (Läufer, 147s). , a C f . Schultz, p. 378; Figs. 389, 415.

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types of shoes are figured in the miniatures, corresponding to the styles worn in the period. Until 1495 the shoes are the notorious "Schnabelschuhe," pointed to a degree and the subject of many a diatribe by preachers and magistrates. 123 These points seem to have been forbidden in Nuremberg in 1473, 1 2 4 yet they apparently continued to be popular until the turn of the century. 125 Nevertheless, they begin to disappear as early as 1480, and after 1495, as our M S also shows, the mode was completely reversed: the pointed shoes were supplanted by low broad-toed shoes with one strap, the so-called "Kuhmäuler." 1 2 6 The Läufer for 1 5 2 0 to 1 5 2 4 wear this pump without a strap, while the miniature of the "Spanish" costume of 1539 shows a fuller shoe with pierced uppers, to match the slashed costume (Fig. 1 5 ) . Gauntlet gloves cover the hands of all the Läufer,™ as convention had decreed for men and women of fashion since the Twelfth Century. 128 The gloves, which were made of leather, are usually brown, grey or yellow, but on a few Läufer they are white or red. The appearance of many of the Läufer is further enhanced by the gold neck-chains adorning them,129 some short, some long, with heavy or finer links, correCf. Figs. 4-9. Schultz, p. 319, quotes the Nürnberger Jahrbücher des XV. Jahrhunderts for 1452: "In desselben jars hüben sich an die langen schnebel an den schuhen." But the long, pointed toes had been worn in the Fourteenth Century, cf. ibid., pp. 292-3 (1350), 29s (1356), 300 (1367), etc. Cf. Weiss, p. 238 ; Scheible, VI, 54. 128 The "spitz schu" are satirized in the Narrenschiff, Nr. 95, 11. 9-10: "dem füllet man die spitzen sin/ vii hudeln [Lumpen] muß man darin stossen." Cf. Figs. 10-14. Cf. Schultz, p. 329: "Anno domini M C C C C L X X X , do vergingen die langen snebele an den schuen . . . darnach komen dy breyten scho, als dy kuemuler mit uberslegen." Sebastian Franck refers to this drastic change in his Weltbuch, 1533 (quoted from Weiss, p. 606) : "Die Kleidung ist alle Tage neu, nicht von Dauer. Noch bei Menschen-Gedächtniß trug man spitze Schuh mit langen Schnäbeln, kleine enge kurze Kleider, und Kappen mit Zotten. Jetzt ist alles anders und umgekehrt, weit, groß, die Schuh breit und maulicht . . ." The only exceptions are the two Läufer figured in the supplementary miniature for 1539 on f. 7or. While our text does not refer to the gloves, they are mentioned in other MSS, e.g., MS No. 58, 1451 (f. 23O : "mit Roten hentzschuch" ; 1453 (f. 25O : "Rote . . . Hentschuch"; 1457 (f. igr) : "gelbe Hentzschuch." 1M Cf. Weiss, pp. 239, 619, Fig. 239; Hefner-Alteneck, VII, Tafel 331 ; M. v. Boehn, Modes and Manners (Suppl. Vol.: Ornaments), (New York: E. P. Dutton, 1929), pp. 73ff. Gloves were worn in the English masques and pageants as a mark of splendor; cf. R. Brotanek, Die englischen Maskenspiele, (Wien: W. Braumüller, 1902), p. 103; Spencer, p. 219. 1M Hans Sachs mentions the chains in his description, Scheinpart-spruch, 11. 47-8: "Geschmucket war die selb/ Von hauben, ketten unnd ringen."

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sponding to the prevailing mode of ostentatious ornamentation. 130 In contrast to the elaborate head-gear customary in folk festivals today, 131 the hats of the Läufer conform to conventional style. The hat, regularly of the same color or color combinations as the costume, 132 is worn even where the head is covered by the hood ("Gugelkappe"), with the exception of the Läufer for 1451, who is the only one in the miniatures to go hatless. In M S No.58, f. 2ir, the hat for 1449 is described in the text: "und ein gruen spiczhauben auff." 133 This "Spitzhaube" is to be seen on the majority of the Läufer (cf. Figs. 4, 5, etc.); it is a high-crowned, bell-shaped, felt hat with a turned-up brim, often decorated with the feather of a heron, peacock, cuckoo, or an ostrich plume or two (cf. Figs. 7, 10), 134 and a silk ribbon (cf. Fig. 6), the so-called "Sendelbinde." 135 In some years the hat is not high but rather flattened on top; 1 3 6 this low hat develops after 1517 into the barret, with slashed brim and as many as six ostrich plumes (Fig. 13). 137 A final change occurs in 1539, when the last Läufer wears a flat, brimmed hat with a shallow crown, trimmed with a ribbon and three ostrich feathers (Fig. 15). The barret is held on the head by means of a snood of silk and gold thread, which also serves to catch the long hair that had now become the custom. 13 ' 130 C f . Schultz, p. 3 9 1 ; H e f n e r - A l t e n e c k , V I , 460. Geiler v o n Kaisersberg referred to the chains satirically (1498) : " u m b h e n c k e n den h a l ß mit viel güldenen ketten," cf. Schultz, p. 342. 131 A n example is the so-called " S c h e i n " of the Roller in the Imst Schemenlaujen, cf. S c h w a b i k , p. 8 1 ; further cf. Dörrer, p. 11, and ill. opp. pp. 13, 16. These headdresses are often heirlooms. 132 T h e color is mentioned several times in our t e x t : 1456 (f. 7 r ) , "einen R o d t e n H u e d t " ; 149Q (f. 4 7 r ) , " u n d weisen H u e d e n , " etc. 133 C f . Drescher, p. 3. 131 In 1477 the ornament is a w i n g (f. 28r) : "hetten auff den H u e d t ein Flügel." 133 C f . Schultz, Fig. 287; B o e h n ( M A ) , p. 228-30. 1 M Similar hats m a y be seen in Schultz, Figs. 333 (1408), 351 ( a f t e r 1447), 375 ( 1 4 5 6 ) , 40g ( 1 4 9 3 ? ) . Geiler v o n Kaisersberg preached on the s u b j e c t of hats in 1498, cf. ibid., p. 343: " W a s soll ich sagen v o n den seltzamen hüten, so jetzt auff der pan sein, deren etlich gantz bürstig und haarechtigt, etlich hoch und spitzig, etlich k u r t z unnd neben auffgestützt s e i n ? " ' " O u r text notes the feathers f o r 1518 (f. 62r) : " m i t R o d t e n Parethen, Darauff ein L a n n g e F e d e r n " ; 1523 (f. 66r) : " R o d t e , P a r e h t . . . mit Weisen Federn beschm u c k t " ; 1524 (f. 6?r) : " G e l b e Pareth . . . mit weisen F e d e r n . " F o r plumed hats cf. Schultz Figs. 345 ( 1 4 1 9 ) , 418 (1500), 454 ( " S t r a u s s f e d e r h ä n d l e r " ) . 138 C f . Paul Post, " D a s K o s t ü m des M a n n e s v o n 1450-1500," in Deuscher Kulturatlas ( B e r l i n : W . de G r u y t e r & C o . , 1928-36), B d . I I , T a f e l i o 6 g - g ' ("üppige

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An ornament of the Schembart costume that seems to strike a carnival note is the string of bells figured on every Läufer in the miniatures. 139 T h e first three Schembartläuje were run to the clanging of large bells, hung on a strap about the waist (1449, Fig. 4 ) , around the shoulders ( 1 4 5 1 ) , or on a baldrick across the breast and around one knee ( 1 4 5 3 ) . In all other years the race of the Läufer was accompanied by the ringing of small gilded bells, affixed to a belt around the waist or knees, or embellishing some part of the costume. In the iconography of the Middle Ages may be found countless examples of bells as an ornament of costume, 140 and literary references date from Wolfram's Parzival.141 T h e attractive sound and appearance of the silver-gilt bells continued to attract the fancy of even sedate gentlemen and their ladies far into the Fifteenth Century, despite decrees against them, 142 and not until the end of the century did the tinkle of the bells die a w a y ; now only fops dared to be confused with the fools. 143 For the latter E n t f a l t u n g des H a a r e s " ) . T h e snood m a y be seen in the Freydal,

PI. 32, 156, 187,

255" ' T h o u g h our text is silent on this point, a mention of t h e bells m a y be f o u n d in other M S S , cf. M S N o . 58, 144g (f. 2 i r ) : " a n der gurtel schaffscheln." H a n s Sachs hears the bells ringing l o u d l y before he sees the Läufer, Scheinpart-spruch, 1. 1 6 : " L a u t e m gekleng mit schellen"; and again 1. 4 9 : " I r schellen hört ich klingen." C f . H e f n e r - A l t e n e c k , I V , T a f e l 224 (ca. 1400), f o r costumes w i t h large bells; Weiss, Fig. l o g , f o r bells on a " H o r n f e s s e l " or b a l d r i c k ; Schultz, Figs. 312 (ca. 1400), 313 (ca. 1400), 333 (1408), 374-6 ( 1 4 5 6 ) , T a f e l X X I I ( 1 4 0 5 ) , X X I I I (i4°5)141 C f . B k . I , 3Q ( K a i l e t ) : "sine schellen gäbn g e d o e n e " ; also B k . I I I , 122 (Karn a h k a r n a n z ) , B k . V I , 286 ( S e g r a m o r s ) . E . M a r t i n , Parzival und Titurel, (Halle: B u c h h a n d l u n g des Waisenhauses, 1903), I I , 50, q u o t e s other early references, including the description of Ulrich v o n Lichtenstein of a knight adorned w i t h 500 bells. Boehn ( M A ) , p, 221, considers the " S c h e l l e n m o d e " specifically G e r m a n , t h o u g h it is found elsewhere and seems t o have been i m p o r t e d f r o m the Orient in the T e n t h Century. 112 Fourteenth-century decrees are cited b y B o e h n ( M A ) , pp. 2 2 i f . ; in 1343 in N u r e m b e r g a decree w a s passed against the wearing of b e l l s : " k e i n m a n n soll keinerlei Glocken oder Schellen, noch keinerlei g e m a c h t D i n g v o n Silber hängend an einer K e t t e a m Gürtel tragen." A fifteenth-century reference (1430) occurs in a Thuringian chronicle: "grosse glocke, d o r a n e etliche v o n .x. marke, etliche v o n zwölffe, v o n .xv., v o n .xviij., adir .xx. marken adir m e r " ; cf. Schultz, p. 314, and n. 2: "sie hatten also G l o c k e n v o n 5, 6, 7^2 und 10 lb. S c h w e r e " ; f o r these large bells cf. Hefner-AIteneck, I V , T a f e l 224 (ca. 1400). Geiler v o n Kaisersberg, in 1498, refers t o the folly of w e a r i n g silver bells on the barret, cf. Schultz, p. 3 4 3 : " d a n n es lebt kein mensch, der nicht eselohren auff dem kopff oder dem paret hat, welchen gemeinlich silberne schellen angehenckt sein."

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the bells had become a sign of profession: " D i e Schellen gehören dem N a r r e n . " 1 4 * Y e t even a f t e r the turn of the century the

Läufer,

who do not belong to the fraternity of fools, continue to adorn themselves with bells, wearing them as before around the waist and below one knee or both knees. W e are reminded of folk dancers and actors of today, to whom the bells are often an indispensable feature of festival c o s t u m e ; 1 4 5 particularly in the morris-dance a pad of bells is worn at the knee, 1 4 8 and in some sword-dances. 1 4 7 T h e s e dances, of which we shall see examples in our M S , were known in G e r m a n y in the Fifteenth C e n t u r y : 1 4 8 for the sworddance there is neither reference to bells nor a representation of them in illustrations before 1 6 0 0 , 1 4 9 but we have several early instances of bells in the morris-dance. T h e y adorn the grotesque little

figures

of

the " m a r u s c h k a t a n n t z "

designed b y

Erasmus

Grasser in 1 4 8 0 for the M u n i c h T a n z h a u s ; 1 5 0 strings of bells encircle the wrists and ankles of the frenzied dancers sculptured Hans Sachs, writing his Scheinpart-spruck in 1548, can only interpret the bells of the Läufer as the symbol of the folly of the revolt in 1348, cf. 11. 250-4: "Der-gleich deuten die schellen/ Ir thorheyt inn den feilen,/ Inn auffrur zu verharren,/ Gleich unbesindten narren." Murner uses "schellig" to characterize mad folly, cf. Narrenbeschwörung, 9, 1. 37: "So loufft er, als er schellig wer." In the verse on the "Schellenmacher" which Hans Sachs wrote in 1565 for Jost Amman's Stände und Handwerker the bells are given purposes related only to "NarmweiB": "Zum Schlittenzeug," "auff die Stech Bahn," "Schellen an die Narren Kappn"; cf. Hans Sachs (Werke), XXIII, 271 ff. 145 Among the figures of the Schemenlaufen in Imst are the "Scheller," with large cow-bells on his back, the "Lagge-Scheller," whose wooden cow-bells are meant as a satire of the "Scheller," and the "Roller," who wears about his middle a large belt studded with small bells, cf. Schwabik, p. 81. Examples of German bell customs are also described by Fehrle, pp. 8, 10, 27, 39 f. (Abb. 7, Villinger Hansele, Abb. 8, Rottweiler Hansele); cf. also Spamer (Volkskunde), p. 96, Abb. 1. In folk custom bells are rung with apotropaic or fertilization purpose, cf. Frazer, IX, 117, 157, 242ft. (Perchten), 247. Brüggemann (Vom Sch.), p. sof., stresses the motive of fertility in the bells of the Läufer. ""Cf. Sharp and Oppe, op. cit., p. 5; Chambers (Folk-Play), p. 151. 141 Cf. Chambers (Folk-Play), p. 126. Cf. Fastnachtsspiele, Nr. 14, for a fifteenth-century "Morischgentanz"; further a reference in the Ratsverlässe to a "morischkotanz" in Nuremberg in 1479, cf. Hampe (Theaterwesen), p. 226, Nr. 6; other German examples are cited by P. Halm, Erasmus Crasser (Augsburg: B. Filser, 1928), pp. 140ft.; cited below as "Halm." For the sword-dance in Nuremberg there are historical depositions from the year 1490, cf. Meschke, p. 20. Cf. Meschke, p. 36, and App. A. Ten of the original sixteen figures are preserved and are reproduced in Halm, Tafel II-XI. Cf. also ibid., Tafel XCIV, for a fifteenth-century Italian example.

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on the upper balcony frieze of the "Goldenes Dachl" in Innsbruck, a projecting balcony erected in 1500 by Maximilian; 1 5 1 and one of the mummings in the Freydal ( 1 5 1 7 ) takes the form of a morris, in which the dancers wear the strings of bells (Plate 36). Contemporary with the Schembartlauf is also a morris-dance of the tailors in Strassbourg in 1538, with bells around the knee ("schellenband um die knie"); 1 5 2 and a little later, in 1542, the bells appear again on a drawing of a morris-dance ascribed to Erhard Schön. 153 A rule regarding the wearing of bells in the morris-dance, however, cannot be deduced from these examples, for in other representations of the morris the dancers are not furnished with bells; examples are an engraving by Israel von Meckenem (1480), a drawing of the dance by Hans von Culmbach ( 1 5 1 0 ) , and Hans Leinberger's woodcut (1520). 1 5 4 Nevertheless it is evident that the bells were beginning to be a regular feature of the dress of a festival dancer. In the Freydal, for example, while the mummers in court costume do not wear bells, two groups of grotesque mummers, in addition to the morris-dancers already described, dance to the tune of the bells: the first group (Plate 136) consists of five beribboned youths in a striped costume similar to that of the Schembartläufer, the second (Plate 164) of five fat buffoons. The bells helped mark the rhythmic movement of the dancers. N o doubt the Läufer, too, as they ran and leapt through the city, timed the swing of their legs to the jingle of the bells. The mask on the face of the Läufer is also a mark of the carnival. As we have seen, it was worn apparently under the rights of a special privilege granted the dancers by the Council. Again and again the Ratsverlässe of the Fifteenth Century admonish carnival players not to wear masks ("on schemport"; "sollen keinen schen151 Cf. J. Garber, Das goldene Dachl (Wien: Die Kunst in Tirol, Sonderband 4, 1922), Bild 13-16; cited below as "Garber." With fine insight Garber suggests, PP- 32-3, that the "Neuhof," or "Goldenes Dachl," as it is called from the gleaming metal roof, was intended as a private box for Maximilian and his court during the canival plays on the market-place below. The figures are also reproduced in Nicoll (Masks), Figs. 110-113. 1U Halm, p. 146, quoted from Sebald Büheler's Strassburger Chronik. Ibid., p. 14s, and Tafel X C , Fig. 161. Ibid., Figs. 164, 166, 168; the dates are approximate.

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82

part haben"; "keinerlei schenpert ganz noch halb haben"), while the tradition which allowed the Läufer this privilege is borne out by a decree of 1480: "außerhalb der fleischhacker knechten keinen schenpart zu erlauben." 105 The mask is clearly recognizable on almost every Läufer in our MS, 156 but it is not the bearded mask we might expect to see; 157 beards do appear in some Schembart books, but only one in our MS, on the Läufer for 1517 (f. 59V, Fig. 13). 158 All the other Läufer wear simple pink masks, 159 with normal features, nose, lips, and chin well-marked and the eyebrows clearly drawn, the eyes of the Läufer being visible through holes cut in the mask. The face is covered to the ears by the mask, which is finished off with a raised edge. 160 The masks seem to be tied on by ribbons, 161 or held in place by the hat over the forehead. Despite their general uniformity, they are not stereotyped but show a natural difference of expression, though by no means such characterization as the rich art of wood-carving made possible at the 1SS

H a m p e (Theaterwesen), p. 14. Other orders-in-council are cited here, too, cf. pp. 1 3 - 1 4 , n. 3, and p. 220, Nr. 18, 1 9 ; cf. also Baader, op. cit., pp. 92-4, for rules against masquerading "mit verpundem angesicht." By analogy with presentd a y customs Stumpf! (Kultspiele), p. 15, derives the privilege of the mask f r o m t h e rights of the "kultische M ä n n e r b ü n d e " of O t t o Höfler's t h e o r y ; cf. also Meuli ( H w b . d. d. A.), 1818, and E. A. Philippson, "Die Volkskunde als Hilfswissenschaft der germanischen Religionsgeschichte," Germanic Review, X I I I (October, 1938), 245, 248. Philippson considers it a " f a c t " that t h e Sckembartlauf was t h e privilege of a closed age-group: "denn solche Altersgruppen sind ja tatsächlich' in der m i t telalterlichen Kultur die Träger kultischer Bräuche (Perchtenläufe, Schembartspiele u s w . ) " ; "Tatsächlich haben im ausgehenden Mittelalter die Burschenschaften die A u f f ü h r u n g der dramatischen Bräuche (Schembartläufe) betreut." 1M H a n s Sachs remarks in his Scheinpart-spruch, 11. 23-4: "Waren v e r m u m m e t g a r / D a s man ir keynen kendt." ,ST " S c h e m b a r t " is usually interpreted as "bärtige Maske." Cf. K. Weinhold, " Ü b e r das Komische im altdeutschen Schauspiel," Gösches Jahrbuch für Literaturgeschichte, 1865, 43: " D a s Wesentliche bei der Larve war der Bart, daher a u c h die N a m e n hagebart und schembart." Cf. also infra, p. 127. 158 I n M S No. 4 the Läufer on f. 38 is bearded; some Läufer in M S S N o s . 14, 52, 56, wear moustaches, as do all the dancers in M S No. 18; M S No. 29 shows eyebrows, beards, and moustaches on some figures. " ' I n several MSS t h e masks are of an u n n a t u r a l color: blue in M S No. 47, d a r k gray in M S No. 59, silver in M S S N'os. 6, 26 (here also red cheeks), a n d gold in M S S Nos. 13, 18. Silver masks ("silbrine antlitt") are mentioned by Gerold Edlibach (1485), cf. Schultz, p. 492, n. 3 ; on gilded masks used in England in the Sixteenth C e n t u r y , cf. Brotanek, op. cit., p. 102; our "false faces" today are also c o m m o n l y gilded. Grotesque masks with large noses appear in the eighteenth-century M S N o . 29. Cf. Figs, s, 6. 1,1 Cf. Figs. 8, 9, io.

THE DANCERS

83

time. 162 All the masks, however, represent a single type—and this type is to be found in the majority of the Schembart books—the smooth, fresh face of a youth. 163 It is interesting to compare this mask with that of the "Roller" in the Schemenlaujen in Imst, for here, too, the mask is formalized and handsome, indeed, feminine in its beauty. 161 Similar stylized masks appear in other folk festivals of today, and some of these are definitely feminine masks, though the wearers are men, for example the "Schemme" of the Villingen or Donaueschingen "Hansele," 165 and the mask of the ' " T h e decrees of clerical a n d secular a u t h o r i t i e s a n d t h e i c o n o g r a p h y of t h e p e r i o d p r o v i d e u s w i t h a b u n d a n t e v i d e n c e of m a s k i n g t h r o u g h o u t t h e M i d d l e Ages. F o r a c o m p r e h e n s i v e s t u d y of t h e s u b j e c t cf. S t u m p f t ( M a s k e n ) ; t h e decrees a r e cited here, p p . 36ff. C f . f u r t h e r H a m p e ( T h e a t e r w e s e n ) , p p . 1 3 , n . 3, 22g, N r . 18, i g ; B a a d e r , p . 92. A n o t e in M i c h a e l B e h a i m ' s a c c o u n t s is of special i n t e r e s t in t h i s c o n n e c t i o n , cf. Schultz, p. 4 1 1 , A n m . 1 : " I t e m 1497 a m m o n t a g n a c h O c c u l y ( F e b r . 27) z a l t ich d e m m a i s t e r S e b o l t ( S c h ü r s t a b ) m a i e r d u r c h m e i n k n e c h t J o r g e n f ü r ein s c h e m p a r t f a c i t s u m m a 3 5 d e n . " T h e r e d o n o t seem t o b e a n y m e d i e v a l m a s k s p r e s e r v e d ; t h e m a t e r i a l p r e s e n t e d in J . G r e g o r , Die Masken der Erde ( M ü n c h e n : P i p e r , 1 9 3 6 ) , T a f e l 43, 45, 46, s e e m s t o b e of little v a l u e here. A n e x a m i n a t i o n b y H i l d a E m m e l , Masken in volkstümlichen deutschen Spielen ( J e n a : " D e u t s c h e A r b e i t e n d e r U n i v e r s i t ä t K ö l n , " B d . 10, 1 9 3 6 ) , p. 73 of all t h e m a s k s in t h e G e r m a n i s c h e s N a t i o n a l m u s e u m f a i l e d t o c o n v i n c e h e r t h a t a n y w e r e a s old as t h e Sckembartlauf. T h e d a r k b r o w n m a s k of t h e c o s t u m e labelled " N ü r n b e r g e r S c h ä m b a r t l ä u f e n " in t h e B a y r i s c h e s N a t i o n a l m u s e u m ( R o o m 65) is of e i g h t e e n t h - c e n t u r y origin. R . K o e n i g , Deutsche Literaturgeschichte (Bielefeld u n d L e i p z i g : V e l h a g e n u n d K l a s i n g , 189g), A b b . 5 1 , r e p r o d u c e s t w o " S c h ö n b a r t l a r v e n a u s Holz," but does not indicate their provenance; they are no d o u b t m o d e m f o l k m a s k s . T h e t r a d i t i o n of m a s k - m a k i n g w a s highly d e v e l o p e d in N u r e m b e r g , cf. t h e f o l l o w i n g c o m m e n t b y J . F r h r . v . H o r m a y r , " S i t t e n u n d G e b r ä u c h e , " in Taschenbuch für die vaterländische Geschichte ( M ü n c h e n : N e u e Folge, 5. J a h r g a n g , 1 8 3 4 ) , p. 2 0 5 : " D i e N ü r n b e r g e r S c h ö n b a r t m a c h e r t r i e b e n m i t i h r e n L a r v e n u n d Visiren einen a n s e h n l i c h e n H a n d e l n a c h S p a n i e n u n d P o r t u g a l . — I n R u ß l a n d , S c h w e d e n , D ä n e m a r k w a r e n die s t ä r k e r e n , besseren gegen die K ä l t e s c h ü t z e n d e n N ü r n b e r g e r S c h ö n b ä r t e b e l i e b t e r als die leichteren f r a n z ö s i s c h e n . " 183 C f . Scheinpart-spruch, 11. 5 0 - 2 : " I r k h e i n e r h e t k h e i n p a r t . / Gleich s c h ö n e r j ü n g l i n g a r t / I r s c h e i n p a r t n a c h d e m b e s t e n . " T h e lack of a b e a r d s y m b o l i z e s t o H a n s Sachs t h e blind y o u t h of t h e rebels in 1348, cf. 11. 2 4 4 - 9 : " I c h s a g t : W a s d e u d t die a r t , / D a s k e y n e r h a t k h e i n p a r t ? / E r s p r a c h : D a s selb b e d e u d t : / J u n g unerfaren I e u d t / Inn der a u f f r u h r v e r b l e n d t / Bedachten nit das e n d t . " I t was, h o w e v e r , t h e f a s h i o n d u r i n g a t least t h e first half of t h e period of t h e Schembartlauf u n t i l 1490 f o r m e n t o g o w i t h o u t b e a r d s , cf. P. P o s t in Reallexikon zur deutschen Kunstgeschichte ( S t u t t g a r t : J . G. M e t z l e r , 1 9 3 7 ) , I , 1 4 7 1 - 5 ( i l l u s t r a t e d ) ; a f t e r 1490 d i v i d e d or p o i n t e d b e a r d s w e r e w o r n , cf. B o e h n ( M A ) , p . 2 3 0 ; B o e h n ( X V I ) , p . 116. I6< C f . S c h w a b i k , p. 8 1 , S p a m e r ( H a n d b u c h ) , A b b . 75, D ö r r e r , o p p . p . 4 ; t h e m a s k s of t h e " E n g e l s p r i t z e r " a n d of t h e " K ü b e l e - M a j e " in t h e I m s t f e s t i v a l a r e of t h i s n a t u r e also, cf. S c h w a b i k , pp. 77, 80. 165 C f . F e h r l e , A b b . 7 ; f o r a n artistic r e p r o d u c t i o n cf. Ilse S c h n e i d e r - L e n g y e l , Die Welt der Maske ( M ü n c h e n : R . P i p e r & Co., 1 9 3 4 ) , PI. 65.

THE

84

DANCERS

" N a r r o n i n " in t h e L a u f e n b u r g f e s t i v a l of f o o l s . 1 8 8 D i s g u i s i n g a s the opposite sex is a m e r r y p r a n k p e c u l i a r t o all c a r n i v a l s :

"Both

men a n d w o m e n c h a u n g e their w e e d e , the m e n in m a y d e s a r a y , " w r i t e s N a o g e o r g u s . 1 6 7 T h e Schembartläujer,

as w e shall see, in-

dulged in this c u s t o m m o r e t h a n once, a n d p a r t i c u l a r l y in t h e " V e n u s b e r g " Hölle

of 1 5 1 8 . T h e t h o u g h t s u g g e s t s itself that t h e

smooth, p i n k m a s k s w e see in t h e m i n i a t u r e s m a y originally h a v e been f e m i n i n e in c h a r a c t e r . 1 8 8 T h e m i n i a t u r e s p i c t u r e the L ä u f e r " f u l l y a r m e d , " w i t h

fireworks

in one h a n d a n d a staff in the other. T h e c a r r y i n g of s t a v e s in t h e festival

is

also

a

privilege

usually

p l a y e r s . 1 8 9 T h e s t a v e s of the Läufer

forbidden

other

carnival

a r e a b o u t t h e height of t h e

runners t h e m s e l v e s a n d a r e fitted w i t h crosspieces ( e x c e p t in 1 5 2 0 ,M

C f . Atlantis, X I (February, 1939), 109. The Popish Kingdome, p. 48a. In the Freydal we find three examples of feminine costume, cf. PI. 52, 64, 207. Cf. also Sebastian Franck, Weltbuch (1533, quoted by Schultz, p. 398): "stecken Larven vor die Gesichter, verkleiden sich und verstellen Alter und Geschlecht. Männer ziehen Frauenkleider, Frauenmasken an." Hans Sachs, Werke, X X I I , "Der mumerey anfang. Die romisch fasnacht" (1534), ascribes the origin of the carnival to the disguise of the Roman Clodinus as a woma n ; cf. p. 293, 11. 34-6: "Also durch diese m u m e r e y / Glaub ich, das auch aufkumen sey/ Unser fasnacht-scheinpart-vermumen." In the Nuremberg carnival of 1588 "fastnachtlustige Fleischergesellen" masqueraded as "Pfaffenköchinnen," cf. Vulpius, x, 399. Carnival customs include the Jungfern- or Weiberfastnacht, in which only women participate, cf. Rudwin, pp. 4off.; Fehrle, p. 47; Spamer (Handbuch), p. 49; and in this connection should be noted the running of the women in the so-called fifteenth-century Semperlaufen in Bautzen (Saxony); this seems to have been a fertility festival, cf. Köpping, "Muthmaßliche Erklärung der Frage: Was ist unter dem Rennen nach dem Semper, welches den Frauen in Budissin, in den Jahrbüchern des isten Jahrhunderts, zur Last gelegt wird, zu verstehen?" Neue Lausizische Monatsschrift (Januar, 1805), pp. 1-18. Here, p. 16, the derivation Semper'"r • (Wmfll .JfmrtjTrt riirtVl! ¿(ffiimutStf ijaprilftii^Vl-Vw^fv»tr tu ÖWfrAlWK WttuUlln *£>•»''»tt-C

FIG. 46. Hölle 1 5 1 5 .

FIG. 47. Hölle 1 5 1 6 . [ 22s ]

¿Wv&YH«Ct •*z. 6 fe* «•»« wwW! SiH dttfrV»ran iLV^M

jdlflty J »Hin- JafjHa^ivam &MW jJaftr jyiä ^Wot i«1 "!$c mi« Jf tvit #muuf fiifrft/.

FIG. 54. Hölle 1524.

FIG. SS. Hölle 1539.

[ 227 ]

[ "8]

INDEX Ablaßkrämer, 107-8, 14811 Absolution, 178 Achtbuch, 31 Allvater, 123, 125-6 Altweibermühle, 162 A m m a n , Jost, 17, i 4 5 n ; w o r k s : Frawenzimmer, I2n; Stände und Handwerker, g, i7n; Thierbuch, i4on, i46n, 150; Trachtenbuch, I2n; Wapen vnd Stammbuch, i2n, QQn Ansbach, 193 "Antics," 97 Antimasque, 97 Apothecary, 167, 168 Apotropaic customs, 75, 8on, 8sn, 87n, m n , n g n , 159 Arbors, 143, 163-4, 166, 169 Arlecchino, 87n, 102 Armorers, 167, 168, 189 Ashes, 87, 185 Ash Wednesday, 89, 92, 98n, 149 Astrologer, 177, 181 Astrology, 178 Augsburg, 18, 193 Babo (Thrace), 118 " B a b y l o n the Great," 156 B a c k g a m m o n board, 177, 178, 182 Ball of Fortune, I73n, i 7 s n Banquets, 40, 101, 139, 146, 149, 155 Basilisk, i 5 o f . Baskervill, Charles Read, 143 Basochiens, 180 Bathhouse, 117Í. Beards, 82, 83n, 98, 125, 127, 182, 190, 192 Beham, Barthel, is6n, i 7 2 n Beham, Sebald, 152, 155, 171 Beheim, Hieronymus, 18 Bells, 79-81, 96, 101, 106, 107, 110, h i , 114, 116, 126, 130, 131, I45n, 182 Bemhaupt, Pankraz, 16, 17, 20, 23 Bien-Advisé et Mal-Advisé, 174 Bird demon, h i , 177, 182 Bird-snare, 170-1 Black-face, 125 Bocksperger, Hans, 150 Brant, Sebastian, 8, S4. 73", 149, 150;

Das Narrenschiff, 8, 67n, 1480, 149, i S ° . 171, 174. I 7 7 n . i78n BrecBtel, Franz Joachim, 18, 86-7, i79n, 201 Briefe, die neueste Litteratur betrefjend, 4, i26n Brothel, 90, 92 Briiggemann, Fritz, 5-6, 7, 21, 68n, 75n, 76n, 134-s, 200, 201 Burghers, 9, 13, 55, 96, 156, i57, 158, 189 Burgkmair, Hans, 174 Burgl ( T y r o l ) , 118 Burlesque, 148, 157, 159, i62n, 186, 189, 191 Butchers' dance, 11, 26, 28, 29n, 3on, 33«. 34-7, 57. 91, 100, 128 Butchers guild, 3, 10, 26»., 30, 33, 36, 45> 57, 58, 92, " 8 Butzenbrechtl ( M u n i c h ) , 118 Cannons, 145, 159-60, 181 C a r d costume, 117 C a r l I V , 3, 26, 27, 3on, 32, 33 Carnival, 3, 14, 18, 29n, 40, 55n, s6n, 59n, 84n, 88n, 95, 97, I04n, io6n, 107, I09n, 114, 115, 117, 118, 124, i2Sn, 126, 129, 135, I36n, 139, 141, i$6n, i66n, i 7 9 n ; burial, i n , 139 Carpenters, 189, 191-2 Castle, 114, 142-5, 146, 163, 174 Castle of L o v e , 165 Castle of Perseverance, The, 143 Chambers, Sir E. K . , 35n, 54n, 6in, 63, 101, i3on, I42n Chestnut costume, io6f. Chronicles, 3, 10-11, 16, 20, 22 Clothmakers, 149, 189, 190-1 C o a t s of arms, 11, 14, 18, 63, 115, 116, "7 Collection of gifts, 89, 90, 99 Connards, 34n Corpus Christi plays, I49n, 155, 166, i79n Coopers dance, 118 Costume, 11, 12, 122-3; bells, 79-81, 114, 1 1 6 ; butchers' dance, 36; colors, 7 1 - 2 ; cost, 66; designers, 65-6; gloves,

[aag]

INDEX

230

77, 116, 125; grotesques, v. Grotesques; Gugel, 36, 68, 114, 1 1 7 ; hats, 68, 78, 116, 117, 120, 125, 18211; Läufer, 67-81; long hose, 68; mantles, 67; materials, 70-1, 116, 117, 119, 121; mi-parti, 71; mode, 67; padding, 69f.; patterns, 71-6, 116, n g - 2 1 ; Pluderhosen, 70; ruff, 69; Schamkapsel, 68; Schaube, 35, 125; shaggy costume, 102, 103, 104, 110, h i , 112, 113, i28ff.; shoes, 76, 116; short garments, 36, 67; slashing, 69; snood, 78, 116; Spanish, 69; symbolism, 75-6; trunk-hose, 69 Court of Love, 165 Crafts, 60, 62, i i 3 n Cranach, Lucas, i s s n Creizenach, Wilhelm, 38, et passim Croquesots, 102, 1 7 2 ! Culmbach, Hans von, 81 Cupid, i66n Cutlers guild, 189, 190 Dance, 3, 59, 88, Dance of Deichsler, I48f.,

10, 17, i8n, 26, 33, 34f.; 38, 92, 190, 191, 192 Death, 9, i77n Heinrich, 4 m , 74n, 13s, 140,

166

Demeter and Persephone, n o Demons, 30, 38, 102, 109-13, 114, 128, 130, 137, 147, 149, 162-3, 164, 169, 1 7 3 , 1 7 6 , 1 7 7 , 181-2 Dialogue, 89, 188 Dice costume, 120 Dionysus, 102, 119, 129 Doctor, 164, 167, 168, 176, 177, 179 Doll costume, 121 Dolls, 99, 104, 112, n s , !39. I S 1 , 160 Donkey, 161 Dragons, 140-2, 155-6 Dramatic action, 132, 138, 139, 168-9, 187, 188 Drescher, Karl, 5, isn, 30, i67n Driesen, Otto, 102, 103 Drummer, 88-9, 96, 167, 182, 190, 191, 192 Dürer, Albrecht, 8, 6in, 64n, 6sn, 66, 68n, i56n, 180 Dwarf, 99, 103 Eccius dedolatus, i75n Eckart, 164, 167, 169 Eggs, 55-6 Elephants, 145-6

Elephant-and-castle, 145-7, 176 Entremets, 101, 139, 143, 146, 149 Entry, 39, ssn, 57, 87, 95, 101, 135, 144, 146, 164, i66n, 175 Fastnachtspiel, 14, 28, 37, 40, 54n, 61, 62, 95, 97 n , 98, 101, 105, 124, 141, 158, i66f., i67n, 175, 187-8, 192 Father and son, 109-11 Fauvel, Le Roman de, i03n, 115, 154 Federhannes (Rottweil), 85 Feminine disguise, 83-4, 104, 167 Fertility customs, 35, 38, 7Sn, 8on, 84n, 85, 87, 88, 90, 101, 105, n o , i n , 119, 136, 149, i63n, 166 Fireworks, 86-7, 106, 114, 120, 126, 139, 141, 144, 14s, 160, i77n, 182, 183 Fischer-stechen, 189 Fischart, Johann ("Die Grille Krottestisch Mül zu Römischer frucht"), 162 Flags, 182, 192 Flötner, Peter, 171 Flugblatt, 14, 1 7 m , 174 Folk-customs, 35, 39, 85, 111, 115; v. also Apotropaic customs, Fertility customs Fools, 54-5, 57, 81, 85, 97, 102, 136, 1 3 7 , 1 4 2 , 1 4 7 , 148, 149, 1 5 1 , 1 S 6 , 1 5 7 , 158-9, 161, 162, 163, 164, 167, 168, 169, 170, 171, 172, 173, 175, 176, 177, 181, 183, 189, 191, 192 Fountain of Life, 154 Fountain of Love, 154 Fountain of Youth, 153-5, i66n Fowlers, 170, 171 Franck, Sebastian (Weltbuch), 77n, 84, i7on Frazer, Sir James, 8sn, et passim Freydal, i2n, 63n, 66n, 79n, 81, 84n, 88n, 95n, 112 Fugger, 66n, 119, 122 Garden of Love, 165, 171 Garlands, 191 Geiler von Kaisersberg, 8, 78n, 7gn Gengenbach, Pamphilus (Die Gouchmai), 167 Gertrude, (St.), 169L Geschlechter, v. Nuremberg Geschlechterbuch, 11 Gesellenstechen, 12, 18, 189 Giants, 38, 39n, 99, 100, 151, 162, 171 Glockendon, Jörg, 17 Goldenes Dachl, 81, 88

INDEX Goldsmiths, 167, j68, 181 Grail, 16511 Grasser, Erasmus, 80, 125 Cretel in der Butten (Munich), 1 1 8 Grinding fools, 173, 175, 176 Grimm brothers, 126, 127, 128, I34n, I54n Grotesques, 97ff.; Ablaßkrämer, 107-8; Altvater, 123, 125-6; Chestnut man, io6f.; Demon puppeteer, 1 1 4 - 5 ; Dice costume, 1 2 1 ; Doll costume, 1 2 1 ; Father and son, ioçf. ; "Indian," n 6 f . ; Knell-ringer, 1 1 1 ; Old Woman puppeteer, 1 1 7 - 8 ; Pig demon, 1 1 2 ; Pinecone costume, 120; Spiegelmann, 106; Wild Man, 98-104, 105; Wild Woman, 104-5 Guilds, 26, 29, 3 1 , 32f., 63, 91, 149, 179, 18g£f.; apprentices, 137, 1 9 1 , 192 Gypsy, 164, 167 Haller, 60, 62, 120, 122 Hampe, Theodor, i2n, 13, 16, 62, 132 Hänsele, 8on (Villingen, Rottweil), 83 (Villingen, Donaueschingen), 88 (Donaueschingen), 130 (Überlingen) Harlequin (Hercules, Herlechin, Herlekin), 102-4, 1 1 5 , i25n Heidt, Sigmund, 12, 20, 54n, 95n, 1 1 7 , i8gn, 198 Hell-mouth, 97, 103, 134, 139, i43 n > 1 5 m , 175, I78n Henngreifer (Switzerland), i n Heraids, 55-6, 182, 192 Herrmann, M a x , 5, 12, 19 Hobby-animals, 36-7, 128 Hobby-ship, 134, 136, 148-50, 176-7. 1 8 1 , 183 Holbein, Hans, I54n Hölle, v. Pageants Hohkleider (rauhe Kleider), 17, 96, 99, 102, 1 1 2 - 3 , 122, 128, 183 Hugo von Trimberg (Der Renner), 126 Huttierlaufen, 130 Illuminators, (Briefmaler), 17-8, 64 Immersion of fool, I75n, 176 Imst, v. Schemenlaufen ''Indian" costume, u 6 f . Indulgence, Letters of, 107-8 Initiation rite, 176, 191 Jack of Lent, i39n Jenichen, Balthasar, 162

Jeu de la Feuillie 103, 163, 173,

231 (Adam de la Halle), 174

Jews, 32, 90 Key symbol, 107, 177, 178 Kinderfresser, v. Ogre Kirchmeier, Thomas (Naogeorgus, The Popish Kingdome), 3gn, 40, 56n, 57n, 84, 85, 88, 98, 109, 136, I48n, i6gn, i7on Kleienkotzer, 1 6 1 Kleperer, Genns, 167, 168 Knecht Ruprecht, 153 Knell-ringer, m Knittelvers, 25, 98 Krell, 61 Kress, I4n, 60, 62, 120, I22n Läufer, 57ff., 139, 142, 147, 186; captains, 28, 43ft., 6 1 - 3 , 91, 94, 1 1 4 , 1 2 2 ; classes, 59-61, 62, i i 3 n ; costume, 63, 67-81; dance, 88; fee, 58, 60; fireworks "club," 18, 85-7, 106, 1 1 4 , 120, 182, 183; guards, 45, 57-8, 85, 9 1 ; masks, 8 1 - 4 ; miniatures, 64-5; names, 14, 47, 60-1, 62, 93n, 1 1 3 , 1 1 4 , 120, 122-3, i 8 i n , i 8 3 n ; number, 58-9; staves, 84-5, 96, 1 1 4 , 1 1 6 , 120, 147, 1 8 2 ; supernumeraries, 97, 1 1 3 - 2 1 Leinberger, Hans, 81 Livre de conduite du régisseur, 160 Lohengrin, i6sn Luther, Martin, 14 Maidens, 74, 156, 164, i66n Maisnée Herlekin, 102, 1 1 5 Männerbünde, 82n Mannhardt, Wilhelm, 85, et passim. Mansions, 135, i37f., 169 Manuel, Niklas, 6?n; " D e r Ablaßkrämer," 108, i48n; Totentanz, gn Manuscripts, 9, 193-200 M S Nor. K . 444, 7, 23ff.; chronicle poem, 25-9; contents, 50-3; date, 24-5; description, 23ff. ; language, 42; script, 42f.; text, 43ff. ; title-page, 25; water-marks, 24 Masks, 30, 37, 38, 39n, 57, 81-4, 89, gs, 98, 1 0 1 , 104, 106, 107, 109, 1 1 0 , I I I , 1 1 2 , 1 1 6 , 1 1 7 , 120, 123, 125, 126, 127, 1 5 1 , 177, 179, 182 Masque, 57, 59n, 84n, 1 0 1 , 163, 165, i89n Maximilian I, 9, 3gf., 62n, 8 1 , 1 5 6 ; v. also Freydal, Weisskunig

232

INDEX

Mayer, Moritz Maximilian, 4, 202 Meckenem, Israel von, 81 Medicine, 178 Meisterlin, Sigmund, 10, 30, 187 Messenger, 164, 167, 168 Metzgersprung (Munich), s6n, 129 Mill, 161-2 Mimes, 87n, 103, n o n , 112, i75n Mirrors, 35, 106, 191 Mock marriage, 138, 166 Mock sermon, 179 Mock tournament, 189 Monks, 148, 162, i69n, 173 Moors, 98n, 123-5, :4&> '5 Morris-dance, 36n, 55n, 59n, 80-1, 8sn, 88, 97, i24f., I25n, 129 Motifs, v. Altweibermühle, Astrologer, Ball of Fortune, Basilisk, Bird demon, Bird-snare, Cannons, Castle (Court) of Love, Costume (patterns), Dance of Death, Demons, Doctor, Dolls, Dragons, Eggs, Elephant-andcastle, Father and son, Fools, Fountain of Life, Fountain of Love, Fountain of Youth, Garden of Love, Giants, Grinding fools, Hobby-animals, Hobby-ship, Immersion of fool, Knell-ringer, Maidens, Mill, Mirrors, Moors, Nuts, Ogre, Old Man, Old Woman, Peasants, Pig demon, Pinecones, Planing the fool, Rejuvenation, Rose water, Schlag mit der Lebensrute, Storks, "Urine-gazer," Water of life, Water-throwing, Wheel of Fortune, Wheel of torture, Wild Hunt, Wild Man, Wild Woman, Windmill, Witch Müllner, Johannes (Annates), 10, 15, 19 Mummers' play, 89n, 98n, 100, 102, l i o n , u s , 130, 191 Mumming, 4on, 6in, 99, 101, 138, 139, 179-80 Murner, Thomas, 8, 8on; WORKS: Die 158; Die Mülle von Geuchmat, Schwindelßheim vnd Gredt Müllerin Jarzit, 161; Die Narrenbeschwörung, I46n, 158, 171; Die Schelmenzunft, I57n; Geistliche Badenjart, 86, 155; Von dem grossen lutherischen Narren, i3Ön Music, 35, 88-9, 164, 165, 169, 182, 189, 190, 191, 192 Mystery plays, 132, 135, 137, 149, i8on Narrenfresser, v. Ogre

Narrenschiff, v. Brant Narronin (Laufenburg), 84 Nerthus, 39 Neudorfer, Johann, i6f. Kicoll, Allardyce, 102, 103, 152 Nudity, I53n, i63n, i64n, 169, 170 Nuremberg, 10, 12, 13, 16, 31, 3gn, 87, 9°, 95. 99, " 5 , " 8 , 137, 140, 144, 160; Burg, 91, 92, 160; Burggrafen, 32; chronicles, 10-11, 22; Council, 3, 14, 16, 18, 31, 32, 33, 49ff., 61, 81, 90, 93, 94. 95, 96, 123. " 5 , «26, I79n, i8on, 184; Fleischbriicke, 92; Hauptmarkt, 91, 92, 95; Karlsbriicke, 91; Patricians (Ehrbare, Geschlechter), 13, 16, 17, 31, 59-60, 62, 90, 95; police orders, 57, 87, gg; Rathaus, 16, 91, 92, 95; Ratsverlasse, 33n, 34, 4in, 57, 58, 81, 82, 84n, 87, 88, g2n, 99, 100, i i s n , i24n, I33n, 187; scribes, 10, 12, 15 Nuts, 55, 57, 106-7 Ogre, 151-3, 162; Kinderjresser, 151-3, 163, 172; Narrenfresser, 151, 162, I7I-3 Olaus Magnus, i38n Old Man, 176 Old Woman, 114-5, 117-9, 159, 160, 162-3 Osiander, Andreas, 18, 178-9, 182 Oven, 158-9 Pageantry, 3gn, 57, 94, 101, 105, i24n, 138, 144, 146, 149, 155, 156, 160, i62n, 166, 192 Pageants (Hollen), 45, 46, 47, 132ft. (i475, " 7 ; 1493, 129; 1495, 131; iS°3. 132; 1504. 133; 1506, 134; 1507, 137; 1508, 138; 1510, 140; 1512, 143; 1513, 144; 1514, 146; 1515. 147; 1516. 149; 1517, 150; 1518, 151; 1520, 156; 1521, 157; 1522, 158; 1523, 160; 1524, 162; 1539, 163), 135, 1491 burning, 139, 144, 151, I76n; bushes, 135-6, 153, 158, 159, 160, 162, 163, 164, 169-70; construction, 137-8, 145; definition, 13 2n; figures, 138-9; form, 133-9; Holle (meaning), 133-5; "horsing," 137, 181; miniatures, 132-3, 136; slaves, 136-7; storming, 139, 142, 147, 176, 177, 181, 182; walls, 135, 142, MS. i 7 i , 173

INDEX Parzival (Wolfram), 79 Passion play, 11, 39, 97, 102, 143, 149, 160, 162, 175, i8on Patricians, v. Nuremberg Peasants, 13, 123-4, 138, 156, 167, 173, 1760, 192 Perchtenlauf, 82n, m n , 129-31, I53n Pfänder, 13, 33, 61, 98n, i8on Pig demon, 112 Pine-cone costume, 120 Piper, 35, 88-9, 96, 167, 182, 190, 191, 192 Planing the fool, 175-6, 192 Plautus (Rudens), 152 Prester John, i54n Pritschmeister, 126 Processions, 38f., 109, 134, 139, 149, 169, I74n Puppeteers, 114-5, 117-8, 119 Puppets, 115, 117, 138, 139, 160 Pyramid, 191 Rauchtschegetten (Switzerland), 129 Reformation, 108, 179 Reiftanz, 190-1 Reigen, 34f. Rejuvenation, 153, 159, 162 Renaissance, 8, 12, 20, 25, 70, 76, 116, 121, 154, 156, 166 Revolt of 1348, 26-33; documents, 33; Geisbärte, 26, 33; prose chronicle, 29n; verse chronicle, 26-9 Rimes, 9, 97, 98, 104, 106, 107, n o , i n , ii2, 174, i79n, 187 Roller (Imst), 83, 88n, 106 Rose water, 55, 56, 57n, issn Rosenplüt, Hans (Des Türken vasnachtspil), 95 Rotten, 40, 58, 93, 123, 127 Rudwin, Maximilian, 134 Rugsamt, 32 Sachs, Hans, 3, 8, 9, i7n, 30-1, 69n, 92, 102, 113, I27n, 131, 139, 141, 144, i49n, 17m, 180, 187; WORKS: "Das hobeln der groben manner," i75f.; Das hoffgesindt Veneris, i66f.; "Das narrn-bad," 159; "Das narrenschneyden," i72n; Der hörnen Sewfriedt, 14m; "Der junkprunn," i s s n ; "Der kram der narrenkappen," 157; "Der mumerey anfang," 84n; "Der narrenfresser," 162, 172; "Der scheinpart-spruch," v. Scheinpart-spruch;

233

Die Daphne, 14m; "Die wittembergisch nachtigall," 108; "Gesprech zwischen dem somer und dem winter," 163; "Historia von dem kayserlichen sieg in Aphrica," i44n, 160; "Kayserlicher mayestat Caroli der V einreyten zu Nürnberg," i44n; "Klag der wilden holtzleut über die ungetrewen weit," 101; Perseus mit Andromede, 14m; Stulticia mit irem hofgesind, 97n, 124, 139 St. George, 141 St. Sebald (Church), 181 St. Urban's ride, 57, is6n Santa Claus, 153 Satum, 152 Scharmützel, v. Schembartkrieg Schau, 181 Schedel, Hartmann (Liber chronicarum), 10, 30, 31 Schedtner, Hanns, 15 Scheinpart-spruch, 3, 20, 30, 4 m , 6on, 62n, 7on, 77n, 7gn, 8on, 82n, 83n, 85, 86, 8gn, 91, 93, 99, 113, 131, 133, I34n, i8of. Scheller (Imst), 85 Schembart (meaning), 4, 82n, 126-8, 131 Schembartbuch, 4, 5, 6, 7, 10, 11, 13, 188, 189; artists, 11, 13, 17-19, 188; authors, 14, 15-17; chronicle, 11, 13, 41, 43ft.; classification, 21-2; covers, 19, 20; dates, 14, 19-20; families, 21; festivals, 189-92; miniatures, 11, 12,13, 19, 25n, 64-5, 115, 133, 183, 188, 189; number, 13; origin, 3, 11, 13-14; paper, 2of.; scribe, 14, 15, 126; script, 20, 21; title-pages, 15, 19, 25n; Urbild, 13 Schembartlauf, 3, 4, 5, 6, 7, 37f., et Passim.; banquet, 90; course, 90-2; dance, 88; dates, 11, 41; days, 92; gifts, 55, 57, 89-90, 165; music, 88-9; origin, 3, 10, 26ff., 187; prohibition, 18, 179; revival, 180; rimes, 98; spectators, 48, 55, 56, 95, 96; Vorlauf, 54-7; v. also Grotesques, Läufer, Pageants Schembart privilege, 3, 26, 28, 29, 30, 33, 49, 93, 95, 96, 179 Schembartkrieg (Scharmützel), 15, 23, 47-50 (text), 93-6, 112 Schemberlied, 87 Schemenlaufen (Imst), 56n, 78n, 8on, 83, 85, 88, 106, i2on, I24n, i6on

234

INDEX

Schlag mit der Lebensrute, 85 Schlüsselamt, 178 Schoen, Erhard, 81, 160, 1 7 m , 173, 176 Schreinertanz, 191-2 Schwenter, Pankraz Bernhaupt, 16-17, 2on, 23!., 96 Semperlaufen, 8411, 8911 Ship-car, 134, 149 Shooting-match, 16 Shrovetide players, 40, 92, 187 Shrove Tuesday, 91, 92, 95 Skin costume, 55n, 101-2, 109, n o , i n , 1 1 2 , 128-30, 1 3 1 Sleighs, 132, 13s, 136-7, 189 Spiegelmann, 106 Spinnstube, 189 Springenklee, Michael, 167, 168 Spruchsprecher, 13M., 167, 168 Staudacher, Johann Caspar, i s , 17 Staves, v. Läufer Stimmer, Tobias, 162 Storks, 142, 161 Sun-wheel, i74n Sword-dance, 80, 8sn, 88, 97, n o n , 129, 190 Symbolism, 75-6, 137 Tableaux, 136, I38n, 155, 174 Tändelmarkt, 157 Tannhäuser, 164, i6sn, i66n, 1678. Taverns, 6sn, 91, 96 Tooth-drawing, 191 Tournament, 39, 101 Tower of Limbo, 143 Trachtenbuch, 12, 13, 65, 69n Tresterer (Pinzgau), 131 Triumphs, 13s, 138, 144, 149 Tucher, 60, 6in, 62, 120, 122 Turks, 93, 94-6, 144. 147. 160, 169, 193

Turnierbuch,

n , i2n, 22, 26n

"Urine-gazer," 177 Valenciennes passion (Cailleau's miniature), i49n, 160, 175 Valentine and Orson, 100 Vegetation spirits, 38n, 109, n o , 1 1 2 , 124 Venus, 164, 165, 166 Venusberg, 84, 164-6, i67n, 169 Vischer, Peter, 16, 17 Vries, J a n de, 38n Vulpius, Christian August, 4, 202 Wagenseil, Johann Christoph, 3 Wandereisen, Hans, 18 Wappenbuch, i2n, 63 Water-throwing, 56 Weiditz, Christoph, i2n, 1 1 6 Weiditz, Hans, 73n, 152 Weigel, Hans, 17 Weisskunig, 9, i43f., 146, issn, is6n Wells, i3sn, 158 Wheel of Fortune, 173-5, 176 Wheel of torture, 175-6 Whifflers, 85n, 87 Wickram, Georg (Das narrengiessen), I36n, 175 Wild Hunt (Wildes Heer), 102, iogn, 131 Wild Man, 87, 98-103, 105, 127, 1 5 1 , 152, 183; literary tradition, 100-1 Wild Woman, 99, 1 0 1 , 104-5, 1 5 1 , 160 Wilde-Mann-Spiel, 1 0 1 , n o Will, Georg Andreas, 4, 30, 126, 202 Windmill, 160-1 Winnowing-fan, n 8 f . Witch, i42n, 1 5 1