Documentation for the Miniature “German Minnesang”

 

Introduction

This entry is a miniature in the style of the German high medieval books “Große Heidelberger Liederhandschrift”, also known as Codex Manesse (The Great Heidelberg Songbook) and the “Weingartner Liederhandschrift” (The Konstanz-Weingarten Songbook).

The original idea was only to write a poem in the style of the German Minnesang. However, after the poem was written, the question of an adequate presentation arose, and after some research of period forms of presentation, it became clear that the only suitable form would be that of the two great medieval German “Liederhandschriften”.

The poem itself is entered into this contest in the category “creative writing”, whereas the presentation in the form of a miniature is entered into the contest in the category “Calligraphy and Illumination”.

The two entries are meant to be judged separately, although they are related to each other in a very intimate way and could be seen as one piece of art.

 

 

History of the Minnesang

The German Minnesang had its highpoint between the late 12th century and the beginning of the 14th century.

The expression is a construction of the two Middle High German words “Minne” (Love) and “Sang” (Song, Poem), and thus means “Love song” or “Love poem”. In fact, in those times, the poems were mostly presented in the form of a song..

 

The roots of the German Minnesang lie in Southern France, where the local Troubadours or Trouvères sang their “Love songs” since the mid 11th century. From there it spread to other parts of Europe. Especially the time of the second crusade in the mid 12th century brought frequent contacts between the different European cultures, as knights and their entourage from various corners of Europe came together for the war in the Holy Land.

At first, the French songs of the Trouvères were just translated into German, and then the form, themes and melodies were used with original German lyrics.

But soon, a distinctive and genuine form developed, and at the end of the 12th century the German Minnesang had emancipated itself from the French origins – it had become an independent and authentic art form of medieval Germany.

 

 

Die große Heidelberger Liederhandschrift or Codex Manesse (The Great Heidelberg Songbook)

This is the main representative of art of the high middle ages in Germany.

On 852 pages in the format 35.5 x 25 cm (appr. 14 x 10 inches) it contains 137 miniatures of German Minnesänger with depictions of their typical clothes, accessories and environments, as well as the poems they wrote.

The pictures show mostly scenes of every day life of the Minnesänger, be it at tournaments, in war, at court or with the female targets of their love lyrics.

The Codex was written in the first quarter of the 14th century in the vicinity of Zurich (in modern Switzerland). It was commissioned by a group of nobles and church dignitaries, who wanted to assemble a complete collection of all Minnesänger and their poems between 1160 and 1330.

The miniatures were painted by four different illustrators. The main portion of 110 paintings was done by the so-called “Grundstockmaler” (Basic Painter) between about 1300 and 1315. He used very bright colors, whereas the three painters, who illustrated an additional 27 miniatures between 1315 and 1330, used more subdued colors. They also decorated the frames with ornamental flowers, branches or spheres, whereas the original painter used mainly simple geometric patterns.

 

 

Example

 

 

Die Weingartner Liederhandschrift (The Konstanz-Weingarten Songbook)

This book is considered the “little sister” of the “Große Heidelberger Liederhandschrift”. It consists of 179 pages in the format 15 x 11.5 cm (appr. 6 x 4.5 inches), with pictures of 25 Minnesänger and the texts of their poems.

It was written in the same general time frame as the Codex Manesse, between 1315 and 1320 in the southern region of Germany in the vicinity of Lake Konstanz.

The style of the illustrations is much more simple than in the Codex Manesse and lacks the artistic sophistication.

Examples

 

   

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

 

Differences and similarities between the two Liederhandschriften

 

 

Codex Manesse

Weingartner Liederhandschrift

Format

14 x 10 inches

6 x 4.5 inches

Pages

852

179

Pictures of Minnesänger

137

25

Contents of Pictures

Scenes from the Life of the Minnesänger, many battle scenes (“comic strip” like)

Portraits of the Minnesänger; only a few scenes, no battles

Text of the Poem(s)

On separate page opposite the illustration of the Minnesänger

Like Codex Manesse, but with two pages containing both text and illustration

Coloring

Use of shading

Solid color without shading

Minnesänger

All 25 Minnesänger in the Weingartner Liederhandschrift are also found in the Codex Manesse

Symbolism

The symbols used to depict the rank and class of the Minnesänger are the same in both books

 

 

The contents of the miniatures of the Weingartner Liederhandschrift

The task at hand was to find a form to present the poem written by Falko von der Weser for this A&S competition in an adequate manner.

The Codex Manesse divides the picture of the Minnesänger and his poem(s) into two separate pages, whereas in the Weingartner Liederhandschrift, the text of the poem is in two cases on the same page as the illustration of the Minnesänger (see below).

Because the illustration should mainly serve as a “vehicle” to put the poem in a period context, we choose the style of the Weingartner Liederhandschrift, although the original is considered to be inferior to the more elaborate and sophisticated artwork of the Codex Manesse.

 

Burggraf von Riedenburg Otto von Botenlauben

 

 

The miniatures consist of the following main parts:

a)      The text of the poem in Mittelhochdeutsch (middle high german); each stanza (strophe) begins with an illuminated letter (In the Codex Manesse, each poem begins with an illuminated letter). The verse lines within the strophes are written consecutively one after the other, separated by a period or dot. (Remark: Only two pages in the book have the poem text and the illustration on the same page)

b)      Title and Name of the Minnesänger; in this case the titles are “Burggraf” (Burggrave) and “Graf” (Count); “Herr” (Lord) is sometimes abbreviated “h” or “H”, as is “von” as “v” (Example: “Herr Ulrich von Guteburg” is written as “H·ULRICH·V·GUTEBURG”)

c)      The framing; simple geometrical ornamentation in green and gold and sometimes purple or simple double framing without ornamentation in blue, gold, green and red; when the picture contains trees or flowers, the border ornamentation is also done with floral motifs

d)      The Minnesänger; he wears typical garb and has always blonde hair; very few have beards, but almost all have either a circlet or a crown (depending on their rank) on their heads (except the Knights who wear helmets and the Travellers, who wear travel attire)

e)      Symbol of Rank and/or Status; pictures of Knights have a sword in it, learned men and teachers hold tablets, judges sit with crossed legs, the Emperor holds a scepter; many hold a scroll to depict their prominence as Minnesänger

f)        Artistic Details like trees, benches, horses or mounds

g)      The coat of Arms of the Minnesänger; slanted to the dexter side, either with the crest on top of it or to the sinister side of the shield

 

 

Application of the period style to this entry and discussion of its contents

This entry is not meant to be a mere reproduction of a page from the Weingartner Liederhandschrift or the Codex Manesse, but to be an “extension” of both books into the context of the SCA.

The style of the poem, the calligraphy and the illustration is consistent to the original period artwork, but the text of the poem as well as the depicted Minnesänger is genuinely from the modern SCA time period.

The poem is written in Mittelhochdeutsch (middle high german), which was the language used by most of the Minnesänger. It is already described in the aforementioned entry into the “creative writing” contest, so the description below deals only with the calligraphic and illuminatory aspects of the entry.

Shown here is Herr Falko von der Weser, the writer of the poem, in his best attire. In his hands he holds a tablet as a sign of his literacy and that he is well learned and teaches.

He wears a circlet on his head, which illustrates that he received an AoA.

The tree he sits under is a decorative detail, illustrating his closeness to nature.

Because the style of the Codex Manesse is more sophisticated and intricate, it was used here instead of the more simple style of the Weingartner Liederhandschrift. This deviates somewhat from the original, because it merges two elements (text and illustration on the same page; use of shading of the colors), which are not found together in either of the two books. But again, this is not meant to be a 1:1 reproduction, but a logical extension – this minor deviation could have very well happened in period, too.

The coat of arms is the registered Device of Falko von der Weser, together with a crested helmet he is allowed to carry in addition to the device because of the AoA, consisting of a pair of Bull’s Horns and a mantle.

The calligraphy is in the same style as in the Weingartner Liederhandschrift and the Codex Manesse. It is called “Gotische Minuskel” and was the favorite “font” at this time.

The poem begins with an illuminated letter, the verse lines within the strophes are written consecutively one after the other, separated by a dot.

 

Used Paper Type and Colors

·        Paper: Springhill Brown

·        Colors: Reeves Gouache

 

Sources

1)      Gotische Buchmalerei – Minnesänger; R.Pieper & Co Verlag, München 1978; ISBN 3-492-02393-2

2)      Codex Manesse – Die Miniaturen der Großen Heidelberger Liederhandschrift; Insel Verlag, Frankfurt 1988; ISBN 3-458-14385-8

3)      www.minnesang.com

This German website is maintained by Dr.Lothar Jahn (PhD in Music Science), who is the director of the medieval theater group DINGO (a not for profit society).

The website has a very extensive library of Minnesongs. It also delivers useful information about ca. 40 of the more prominent German Minnesänger, as well as some facts about the history of the Minnesang. It also delivers a very good insight into the themes of the poems, and also has some sound samples of Minnesongs.

 

The sources that were used to assemble this site consist of the following publications: