This is the
talk page for discussing improvements to the
Freydal article. This is not a forum for general discussion of the article's subject. |
Article policies
|
Find sources: Google ( books · news · scholar · free images · WP refs) · FENS · JSTOR · TWL |
Freydal has been listed as one of the
Art and architecture good articles under the
good article criteria. If you can improve it further,
please do so. If it no longer meets these criteria, you can
reassess it. Review: April 16, 2020. ( Reviewed version). |
A fact from Freydal appeared on Wikipedia's
Main Page in the
Did you know column on 1 February 2020 (
check views). The text of the entry was as follows:
|
This article is rated GA-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | |||||||||||||||||||||||||
|
Really interesting topic - I may be able to take on the GAC review later, but I do not have time right now. There are at least a few handbooks/encyclopedias/edited collections cited in which you cite the editor as the author rather than citing the particular author and chapter (as you currently do with the Larry Silver source, for instance). This should be fixed. Routledge Revivals: Medieval Germany (2001): An Encyclopedia and The Cambridge History of German Literature jump out at me, but there may be others. Josh Milburn ( talk) 19:21, 3 February 2020 (UTC)
GA toolbox |
---|
Reviewing |
Reviewer: Usernameunique ( talk · contribs) 02:08, 3 April 2020 (UTC)
Lead
It is the most extensive visual record of late medieval tournaments and court masquerades that exists.— Is the part about this being the most extensive record of medieval tournaments anywhere in the body? I do see the part about it being the most extensive record of masquerades.
Creation and history
Maximilian appears to have begun planning Freydal (a name derived from Freyd-alb, meaning "white joyful young man") in 1502— This sentence could probably be split in two: one about the date, one about the name.
The remaining painting has been missing since at least 1600.— Any further details?
A sixth woodcut has been attributed to Lucas Cranach the Elder.— So were there five woodcuts, or six?
Content
Each is hosted by one of the finest courts in the land and comprises two different types of jousting; a foot combat; and a masquerade ball— I edited this sentence to make clear (as it seemed to me) that the "two different types" means two types of jousting, in addition to a foot combat, not one type of jousting and one foot combat. Just want to confirm that this is correct as now worded.
Illuminated manuscript tournament book
Maximilian claimed to have invented this type of joust.— Claimed in this work, or at some other point?
Overall
Here I clarify my position a bit.
From reading some of his works on Maximilian, I do see that Jan-Dirk Müller's perception of Maximilian is that of a ruler who tried to do many things at the same time (and the scholar seems to adopt the Austrian approach that the major goal of Maximilian's chief political undertakings was building the greatness of the House of Austria/Habsburg) and that he tended to fail politically, and thus relied on arts in general (Freydal in this case) to compensate. This belongs to an older approach, although English-speaking art scholars are likely still more familiar with it.
The more recent approach tends to present an effective ruler (although he did not succeed in all his undertakings, certainly) who left considerable legacies to both his dynasty and the Empire, or in Klaus Albrecht Schröder 's words, in his time he was already the "mightiest monarch of Christianity" (and still he wanted more) Schröder . Here Joachim Whaley, in reviewing Larry Silver's work, also comments on this problem (gaps of perception between art historians and political historians regarding this particular matter). Whaley on Silver
Prof.Peter Schmidt of University of Hamburg summarizes these positions as such:
Maximilian ist eine schillernde Figur. In der Rezeption wurde er fast durchweg als Fürst an einer Zeitenwende gesehen – allerdings unter verschiedenen Vorzeichen: Entweder als der „letzte Ritter“, eine Figur mit anachronistischen Zügen, oder (eine jüngere Sicht) als ein medienbewusster Fürst, der ein effizientes Herrschafts- und Repräsentationssystem unter konsequenter Anwendung innovativer Kommunikationsstrukturen etablierte.
or
Maximilian is a dazzling figure. In reception, he has almost always been seen as a prince at a turning point in history - although under different omens: either as the "last knight", a figure with anachronistic traits, or (a more recent view) as a media-conscious prince who established an efficient system of rulership and representation with the consistent application of innovative communication structures.
Certainly, artworks and "artworlds" presided over by Maximilian or originating from his court aimed at many purposes. To create a connection with things he aspired to gain but did not able to do it (yet), yes. To defend older cultural values that he was attached to personally while aggressively pushing a modernizing agenda as a ruler, yes ( Silver seems to lean towards this trend lately Propaganda, memoria, pleasure, technical functions etc
If one wants to discuss the matter in details, the topic might go far beyond Freydal. Yet if we use a (certainly respectable) scholar who belongs to the older trend here, we should avoid making his position look even more extreme than what it looks like in his article. Deamonpen ( talk) 04:56, 7 July 2022 (UTC)
@ Deamonpen: regarding this. The main point is that the sentence is almost incomprehensible. But also, it's a strange mix of WP:CLOSEPARAPHRASE and stating more than Mueller actually claims. Please discuss here rather than reverting per WP:BRD. DeCausa ( talk) 07:29, 7 July 2022 (UTC)
This is the tenor of all Maximilian’s self-portrayals: his distinction from all others. With this he anticipated absolutism. in which the ruler is the embodiment of sacral authority. In this style the court literati, too, speak of the adoratio of the divus Maximilianus. Majesty is a quasi-religious arcanum, and it is not only the person of the ruler that is made sacral, but his entire dynasty, the house of Austria, the noblest lineage in Christendom. By means of genealogical research, reaching back to the biblical forefathers, Maximilian’s court historiographers tried to prove that the house of Austria united all noble blood since the creation of the world. The ultimate focal point of Maximilian’s 'court' and his government was the idea of the superiority of the House of Austria as represented by himself; however, this claim only became reality after his death, thanks to the marriage alliances entered into during his reign. Maximilian tried to compensate for his factual powerlessness and the lack of centralisation of his court by displaying his image and the symbols and claims of his rule as often and in many places as possible.
factual
in British English (ˈfæktʃʊəl IPA Pronunciation Guide) ADJECTIVE 1. of, relating to, or characterized by facts 2. of the nature of fact; real; Virtual
factual in American English (ˈfæktʃuːəl) ADJECTIVE 1. of or pertaining to facts; concerning facts factual accuracy 2. based on or restricted to facts a factual report
He made use ot'the print medium. by which he could be present within the Empire in diverse ways and in many places, in mandates and memoranda, war reports and proclamations, portraits, arms and insignia of royalty. In his territories he added durable forms of representation, such as monuments, pictures and sculptures. His coat of arms could be found everywhere, on churches, castles, secular buildings, on fumiture and other items of everyday use. This demonstrated the power that he actually exercised as well as the power that he claimed.
What kept these different groups of people together and drew them in towards a common centre was not the force exerted by any institution but rather the person of the ruler himself. His charisma had to be significantly greater than that of all the other princes. His monstrous Gedechtnus [memory] project was aiming at this by consciously modelling his image for both contemporaries and posterity.35 In the knights Freydal and Theuerdank and the young Weisskunig he created literary figures, who, hardly disguised, were meant to portray him and his astonishing exploits. it is said about Theuerdank that ‘he is but a human being’ [Er ist ein mensch vnd doch nit mer], but this is said in utmost admiration of Maximilian's supematural deeds: no one should attempt to copy them, for such an ambition would be bound to end in disaster.36 Such imaginations raised the hero (and his idol) above the level of any ordinary man. This is the tenor of all Maximilian’s self-portrayals: his distinction from all others. With this he anticipated absolutism, in which the ruler is the embodiment of sacral authority. In this style the court literati, too, speak of the adoratio of the divus Maximilianus. Majesty is a quasi-religious arcanum, and it is not only the person of the ruler that is made sacral, but his entire dynasty, the house of Austria, the noblest lineage in Christendom.37 By means of genealogical research, reaching back to the biblical forefathers, Maximilian’s court historiographers tried to prove that the house of Austria united all noble blood since the creation of the world.38 The ultimate focal point of Maximilian’s ‘court’ and his government was the idea of the superiority of the House of Austria as represented by himself; however, this claim only became reality after his death, thanks to the marriage alliances entered into during his reign.
Maximilian tried to compensate for his factual powerlessness and the lack of centralisation of his court by displaying his image and the symbols and claims of his rule as often and in as many places as possible. He made use of the print medium, by which he could be present within the Empire in diverse ways and in many places, in mandates and memoranda, war reports and proclamations, portraits, arms and insignia of royalty. In his territories he added durable forms of representation, such as monuments, pictures and sculptures. His coat of arms could be found everywhere, on churches, castles, secular buildings, on furniture and other items of everyday use. This demonstrated the power that he actually exercised as well as the power that he claimed.39 Moreover, Maximilian’s image represented the many roles which he wished to assume: sometimes it depicted the ruler in his majesty, sometimes also the private man, the commander, the knight, the father of the family, etc.; he was thus often stylised as Hercules, as St George, or in the guise of another saint. In this way Maximilian, even when physically absent, sought to be present in as many places as possible, and in this fashion he tried to maximise his imperial aura.
Link to page 307 of Müller's article- Deamonpen ( talk) 13:04, 7 July 2022 (UTC)
Service to the Emperor (who was the most powerful prince in the southeast and southwest of the Empire) often opened up access to lucrative ecclesiastical benefices: bishoprics, prebends, canonries, etc.
make up for his actual powerlessnessto
make up for the limitations to his actual power. DeCausa ( talk) 14:29, 7 July 2022 (UTC)
This is the
talk page for discussing improvements to the
Freydal article. This is not a forum for general discussion of the article's subject. |
Article policies
|
Find sources: Google ( books · news · scholar · free images · WP refs) · FENS · JSTOR · TWL |
Freydal has been listed as one of the
Art and architecture good articles under the
good article criteria. If you can improve it further,
please do so. If it no longer meets these criteria, you can
reassess it. Review: April 16, 2020. ( Reviewed version). |
A fact from Freydal appeared on Wikipedia's
Main Page in the
Did you know column on 1 February 2020 (
check views). The text of the entry was as follows:
|
This article is rated GA-class on Wikipedia's
content assessment scale. It is of interest to the following WikiProjects: | |||||||||||||||||||||||||
|
Really interesting topic - I may be able to take on the GAC review later, but I do not have time right now. There are at least a few handbooks/encyclopedias/edited collections cited in which you cite the editor as the author rather than citing the particular author and chapter (as you currently do with the Larry Silver source, for instance). This should be fixed. Routledge Revivals: Medieval Germany (2001): An Encyclopedia and The Cambridge History of German Literature jump out at me, but there may be others. Josh Milburn ( talk) 19:21, 3 February 2020 (UTC)
GA toolbox |
---|
Reviewing |
Reviewer: Usernameunique ( talk · contribs) 02:08, 3 April 2020 (UTC)
Lead
It is the most extensive visual record of late medieval tournaments and court masquerades that exists.— Is the part about this being the most extensive record of medieval tournaments anywhere in the body? I do see the part about it being the most extensive record of masquerades.
Creation and history
Maximilian appears to have begun planning Freydal (a name derived from Freyd-alb, meaning "white joyful young man") in 1502— This sentence could probably be split in two: one about the date, one about the name.
The remaining painting has been missing since at least 1600.— Any further details?
A sixth woodcut has been attributed to Lucas Cranach the Elder.— So were there five woodcuts, or six?
Content
Each is hosted by one of the finest courts in the land and comprises two different types of jousting; a foot combat; and a masquerade ball— I edited this sentence to make clear (as it seemed to me) that the "two different types" means two types of jousting, in addition to a foot combat, not one type of jousting and one foot combat. Just want to confirm that this is correct as now worded.
Illuminated manuscript tournament book
Maximilian claimed to have invented this type of joust.— Claimed in this work, or at some other point?
Overall
Here I clarify my position a bit.
From reading some of his works on Maximilian, I do see that Jan-Dirk Müller's perception of Maximilian is that of a ruler who tried to do many things at the same time (and the scholar seems to adopt the Austrian approach that the major goal of Maximilian's chief political undertakings was building the greatness of the House of Austria/Habsburg) and that he tended to fail politically, and thus relied on arts in general (Freydal in this case) to compensate. This belongs to an older approach, although English-speaking art scholars are likely still more familiar with it.
The more recent approach tends to present an effective ruler (although he did not succeed in all his undertakings, certainly) who left considerable legacies to both his dynasty and the Empire, or in Klaus Albrecht Schröder 's words, in his time he was already the "mightiest monarch of Christianity" (and still he wanted more) Schröder . Here Joachim Whaley, in reviewing Larry Silver's work, also comments on this problem (gaps of perception between art historians and political historians regarding this particular matter). Whaley on Silver
Prof.Peter Schmidt of University of Hamburg summarizes these positions as such:
Maximilian ist eine schillernde Figur. In der Rezeption wurde er fast durchweg als Fürst an einer Zeitenwende gesehen – allerdings unter verschiedenen Vorzeichen: Entweder als der „letzte Ritter“, eine Figur mit anachronistischen Zügen, oder (eine jüngere Sicht) als ein medienbewusster Fürst, der ein effizientes Herrschafts- und Repräsentationssystem unter konsequenter Anwendung innovativer Kommunikationsstrukturen etablierte.
or
Maximilian is a dazzling figure. In reception, he has almost always been seen as a prince at a turning point in history - although under different omens: either as the "last knight", a figure with anachronistic traits, or (a more recent view) as a media-conscious prince who established an efficient system of rulership and representation with the consistent application of innovative communication structures.
Certainly, artworks and "artworlds" presided over by Maximilian or originating from his court aimed at many purposes. To create a connection with things he aspired to gain but did not able to do it (yet), yes. To defend older cultural values that he was attached to personally while aggressively pushing a modernizing agenda as a ruler, yes ( Silver seems to lean towards this trend lately Propaganda, memoria, pleasure, technical functions etc
If one wants to discuss the matter in details, the topic might go far beyond Freydal. Yet if we use a (certainly respectable) scholar who belongs to the older trend here, we should avoid making his position look even more extreme than what it looks like in his article. Deamonpen ( talk) 04:56, 7 July 2022 (UTC)
@ Deamonpen: regarding this. The main point is that the sentence is almost incomprehensible. But also, it's a strange mix of WP:CLOSEPARAPHRASE and stating more than Mueller actually claims. Please discuss here rather than reverting per WP:BRD. DeCausa ( talk) 07:29, 7 July 2022 (UTC)
This is the tenor of all Maximilian’s self-portrayals: his distinction from all others. With this he anticipated absolutism. in which the ruler is the embodiment of sacral authority. In this style the court literati, too, speak of the adoratio of the divus Maximilianus. Majesty is a quasi-religious arcanum, and it is not only the person of the ruler that is made sacral, but his entire dynasty, the house of Austria, the noblest lineage in Christendom. By means of genealogical research, reaching back to the biblical forefathers, Maximilian’s court historiographers tried to prove that the house of Austria united all noble blood since the creation of the world. The ultimate focal point of Maximilian’s 'court' and his government was the idea of the superiority of the House of Austria as represented by himself; however, this claim only became reality after his death, thanks to the marriage alliances entered into during his reign. Maximilian tried to compensate for his factual powerlessness and the lack of centralisation of his court by displaying his image and the symbols and claims of his rule as often and in many places as possible.
factual
in British English (ˈfæktʃʊəl IPA Pronunciation Guide) ADJECTIVE 1. of, relating to, or characterized by facts 2. of the nature of fact; real; Virtual
factual in American English (ˈfæktʃuːəl) ADJECTIVE 1. of or pertaining to facts; concerning facts factual accuracy 2. based on or restricted to facts a factual report
He made use ot'the print medium. by which he could be present within the Empire in diverse ways and in many places, in mandates and memoranda, war reports and proclamations, portraits, arms and insignia of royalty. In his territories he added durable forms of representation, such as monuments, pictures and sculptures. His coat of arms could be found everywhere, on churches, castles, secular buildings, on fumiture and other items of everyday use. This demonstrated the power that he actually exercised as well as the power that he claimed.
What kept these different groups of people together and drew them in towards a common centre was not the force exerted by any institution but rather the person of the ruler himself. His charisma had to be significantly greater than that of all the other princes. His monstrous Gedechtnus [memory] project was aiming at this by consciously modelling his image for both contemporaries and posterity.35 In the knights Freydal and Theuerdank and the young Weisskunig he created literary figures, who, hardly disguised, were meant to portray him and his astonishing exploits. it is said about Theuerdank that ‘he is but a human being’ [Er ist ein mensch vnd doch nit mer], but this is said in utmost admiration of Maximilian's supematural deeds: no one should attempt to copy them, for such an ambition would be bound to end in disaster.36 Such imaginations raised the hero (and his idol) above the level of any ordinary man. This is the tenor of all Maximilian’s self-portrayals: his distinction from all others. With this he anticipated absolutism, in which the ruler is the embodiment of sacral authority. In this style the court literati, too, speak of the adoratio of the divus Maximilianus. Majesty is a quasi-religious arcanum, and it is not only the person of the ruler that is made sacral, but his entire dynasty, the house of Austria, the noblest lineage in Christendom.37 By means of genealogical research, reaching back to the biblical forefathers, Maximilian’s court historiographers tried to prove that the house of Austria united all noble blood since the creation of the world.38 The ultimate focal point of Maximilian’s ‘court’ and his government was the idea of the superiority of the House of Austria as represented by himself; however, this claim only became reality after his death, thanks to the marriage alliances entered into during his reign.
Maximilian tried to compensate for his factual powerlessness and the lack of centralisation of his court by displaying his image and the symbols and claims of his rule as often and in as many places as possible. He made use of the print medium, by which he could be present within the Empire in diverse ways and in many places, in mandates and memoranda, war reports and proclamations, portraits, arms and insignia of royalty. In his territories he added durable forms of representation, such as monuments, pictures and sculptures. His coat of arms could be found everywhere, on churches, castles, secular buildings, on furniture and other items of everyday use. This demonstrated the power that he actually exercised as well as the power that he claimed.39 Moreover, Maximilian’s image represented the many roles which he wished to assume: sometimes it depicted the ruler in his majesty, sometimes also the private man, the commander, the knight, the father of the family, etc.; he was thus often stylised as Hercules, as St George, or in the guise of another saint. In this way Maximilian, even when physically absent, sought to be present in as many places as possible, and in this fashion he tried to maximise his imperial aura.
Link to page 307 of Müller's article- Deamonpen ( talk) 13:04, 7 July 2022 (UTC)
Service to the Emperor (who was the most powerful prince in the southeast and southwest of the Empire) often opened up access to lucrative ecclesiastical benefices: bishoprics, prebends, canonries, etc.
make up for his actual powerlessnessto
make up for the limitations to his actual power. DeCausa ( talk) 14:29, 7 July 2022 (UTC)