House book (Wolfegg Castle)
The medieval house book of Wolfegg Castle is a handwritten compendium on various topics of practical knowledge useful for a nobleman and head of family, written and illustrated by several artists and scribes, presumably in the Middle Rhine region around 1480 . The house book is famous above all for its vivid pictures, the authors of which are an intensive discussion under the name of masters of the house book . The many figures drawings provide a lively insight into the everyday life at the transition from late Middle Ages and Renaissance .
About the term "house book"
As House books are written by scholars and well-known since the late 15th century manuscript collections professional or designated civil-related content. These writings were initially commissioned by the aristocratic upper class, and in the 16th century also by wealthy and educated citizens. A distinction is made between three different types of texts collected in the house books: the so-called house fathers literature , which is primarily about the correct management, the oikologia , of a house, the artesian literature with descriptions of weapons and warfare (such as in the medieval house book von Schloss Wolfegg are included) and the edification literature , the compilation of sacred texts for domestic use. In addition, there are also texts in the house books that relate to the biography of the client or deal with special events in this regard. House books are of great importance for both literary studies and history because, especially in their illustrations, they represent unique sources for an idea of late medieval life. At the end of the 16th century, when some printed works were also included in the house books , this type of font collection was discontinued, but the existing works were sometimes inherited and kept in private ownership.
Content and structure
Of the original 98 parchment sheets in Wolfegg's medieval house book , 63 sheets in 9 layers have been preserved. On them there are 47 (partially) colored pen drawings in the format 25 × 15 cm (full-page) or 35 × 26 cm (double-sided), most of which refer to the Latin and German texts and have been known since they became known in the 19th century were the focus of interest. Today they are assigned to at least three different draftsmen and different colourists or studio communities. Correspondences with the so-called master of the Amsterdam cabinet (who is therefore also called the master of the house book ) can be determined as well as correspondences with the great card game of the playing card master ES
The subjects of the illustrations range from two page-filling coats of arms and astrological images of the planets to aristocratic pastimes (tournaments, hunting, bathing houses and women's shelters, amorous scenes) to technical illustrations in the tradition of Bellifortis (household, craft and war equipment, mining technology as well military strategies). The collection units have different shapes, which include calligraphic texts, picture-text compositions or pure picture sequences.
The compilation is used as an argument that the character of the collection has changed in the course of its creation. If the first layers, still particularly adorned by the scribe, are laid out as splendid manuscripts and are conservative with their richly illustrated themes of aristocratic life , the parts laid out by another scribe in a simpler bastarda after the caesura show a stronger focus on the immediate thanks to the repeated coat of arms Usability, which is also used in the images, for example the passages on metallurgical engineering or the recipes. But there are also those who see a coherent program in the house book that has not been fully implemented.
Possible coat of arms of the client
The client of the house book is unknown. The book begins with a colored coat of arms (fol. 2r), which perhaps offers clues to a client. The shield shows a golden tree stump in blue with three branches, which in turn fork into two branches each; in the upper coat of arms a silver stech helmet and a griffin as a helmet ornament . On fol. 34v, i.e. roughly in the middle of the manuscript, the coat of arms is shown again on the full page - but now uncolored and with a sallet as a crest .
The (possibly " talking ") coat of arms could not yet be assigned to any family; the client remains unknown. An attempt in 1975 to assign the coat of arms with the branches to a family of Ast could not be verified. Other possible assignments would be the family names Klotz, Stange or Buchner.
A more recent work suggests Archbishop Berthold von Henneberg of Mainz as the client and Archduke Maximilian von Habsburg as the original addressee.
Artists
The full-page drawing on the following sheet (fol. 3r) shows eight jugglers and their spectators in a hilly landscape in front of five mountains fortified with castles. Many parts of the picture are copied from the master ES : The audience comes from a "Martyrdom of St. Sebastian", the jugglers from the "Four of People" from the "Great Card Game", one of the castles and a rider from the "Great Love Garden".
The miniature could be intended as an introductory illustration to the following chapters on the “liberal arts” of memory and astrology. The exact meaning cannot be clearly deciphered, however, since the original structure of the house book has not been conclusively clarified.
Daniel Hess assumes a different author for the juggler scene than for the other illustrations in the book and describes him as the "master of the jugglers scene in the house book".
Memory art
The first text in the house book is a Latin treatise on methods of memory art (ars memorandi). The plain text takes fol. 4r – 5v a. The remaining leaves of the first parchment layer (fol. 6r – 9v) are empty.
Planet pictures
The next section (fol. 10v – 17r) includes seven astronomical-astrological texts (cf. also the term “ Iatromathematische Hausbuch” ) on the five planets known at the time of their creation, the moon and the sun and the planet children assigned to each . Each text is accompanied by a full-page illustration showing the planet above as a tournament rider, surrounded by the symbols of the constellations ruled by the planet. The planet children and their activities are shown under the sky. In the accompanying text, the planet is presented in the first-person form and in verses rhymed in four parts, rhyming in pairs, and explains its “wurcken” ( work ). The images take up the information in the text and illustrate them using contemporary scenes and figures.
The planet pictures are considered to be the main work of the “ Master of the House Book ” (also known as the “Master of the Amsterdam Cabinet”). In a loving wealth of detail, they show estates, professions and scenes from everyday life in late medieval society. However, they are controversial as a source of cultural history. For example, Norbert Elias has supported his thesis of the civilization process, according to which the feeling of shame had only gradually developed since the Middle Ages, by means of a scene from the Venus sheet in which a woman climbs into the hot tub with a man. Hans Peter Duerr in turn strongly rejects this interpretation and points out that the sheet depicts moralizing properties of the planet children, but should not be understood as a representation of everyday life. Elias also overlooked the fact that such scenes only portray simultaneity apparently for the modern viewer, but clearly represent sequential processes for the viewer in medieval imagery.
According to the planet pictures, two layers (i.e. 8 sheets) of the manuscript are missing.
Noble life
This is followed by seven double-sided drawings (fols. 18v – 25r) which, without accompanying text, show scenes from a more or less fictional knightly life. Whether the pictures (all or some) come from the master of the house book or from another artist is controversial. Daniel Hess starts from the latter and calls this "master of genre scenes in the house book".
The cycle begins with the depiction of a bathhouse with a garden (fol. 18v – 19r). Entertainments and amusements are shown, from reading aloud, going for a walk in the garden to bathing both sexes together. On the left edge of the picture, a knight in a red robe, who is recognizable as a knight of the order of the jug through his white stole with the image of a vase , introduces a noble lady into this world. This knight also appears in all the other drawings in the cycle and leads the viewer through the knightly world, as it were. The bathhouse image hardly corresponds to the aristocratic everyday life of the late Middle Ages; rather an exaggerated description of a brothel business or a more allegorical interpretation is to be considered. For example, the monkey, which here lures the curious dog with the weight of its own ankle like a plaything, refers to vice in Christian iconography as a symbol of the sinner.
The double page fol. 19v – 20r shows a moated castle near a large city. In the moat, one figure chases one of the ducks, others fish with a trap. A boat comes in from the left edge of the picture, in which, next to a rower and two ladies, there is the Knight of the Order of the Can, who is catching a fish with his hand. The center of the picture is dominated by a pair of lovers who watch the huntings from the castle bridge.
The following drawings show two forms of late medieval joust tournaments. The first shows the preparation for the rather contemplative "Krönleinstechen" (fol. 20v – 21r), a sporty duel in which one knight in full armor will try to lift another from the saddle. The lances used are defused by a small “crown” at the top, the “sting helmets” that are worn limit the view very much, and the horses are also armored. The knight on the left is ready to fight, the knight on the right is being handed his lance; a rider (probably a referee) encourages him. The meaning of the striking letters on the horse saddle pads of the right knight is unclear. Among the numerous, festively dressed spectators are four lovers, each sitting together on a horse, but also individual riders (below on the far right a knight of the Order of the Can, who also accompanies a mounted lady), couples, individual spectators, children and a fool at the top left with tambourine and flute.
The double page fol. With the “Scharfrennen”, 21v – 22r presents the more dangerous and injurious form of the tournament, in which people fought in normal armor with sharp lances. The fight has just started, the horses are already running. Only warriors watch the scene; Ladies, children or festive robes cannot be seen here. Riders chase past in a horse race above the duel.
The first of two hunting scenes shows a "big game hunt" (vol. 22v – 23r). In the foreground, a hunting party of three riders with a lady and two individual riders (including the Knight of the Order of Pitchers) pursue the hunt for deer. In the background of this noble form of medieval hunting, a wide panorama shows life in the country. One of the rare overall representations of a medieval village can be seen under the castle on the top left. Several houses are grouped around a parish church and are equipped with various technical equipment. At the creek on the far left a mill, further down the creek a simple pedestrian bridge. The background of the right half of the picture shows a field with a plow pulled by two donkeys and a farmer making strange contortions (which the rider on the far right probably draws his companion's attention to), above a place of execution with an executed man hanging on the gallows, and one above on the right forest populated by hares, including a wayside shrine with two crosses.
The “small game hunt” (fol. 23v – 24r), on the other hand, takes place near a castle courtyard. On the right you can see a detailed castle with a draw well, horse stable and numerous servants. The hunt for small animals and birds is shown in the background on the left: one man is hanging upside down in a trap, another is hiding in the bushes. In contrast to the other pictures in the cycle, the “Small Game Hunt” shows a rather unnatural character, so that symbolic interpretations are even more imposing than with the other pictures. In this picture, as in other medieval pictures, the hunt is probably a symbol of wooing, which is also depicted here very directly: women lure the servants in the courtyard from two windows of the castle; In the foreground on the left, two tightly entwined couples of love (including the Knight of the Order of the Pitch) are enjoying themselves, in the center of the picture three women - one with an empty bird cage - go “hunting”.
The last scene of the cycle, the “obscene love garden” (fol. 24v – 25r), shows a fenced garden far in front of a town, in which two couples sitting at a table exchange caresses. Two ladies are dancing in front of the table with two buffoons. As in the courtyard of the bath house in the first picture of the cycle, an artistically designed fountain can be seen, a bagpiper enters the garden, a colorful peacock sits on the fence, the symbol of vanity . The table party, the dancing couple in the front left and the bagpiper entering are modeled on the copper engraving “The great love garden” by Master ES (see also illustration ).
Separated from this society by a raging brook and only accessible via a small bridge, a comparatively calm landscape appears in the right-hand half of the picture, dominated by a mountain to which a small path leads. There the Knight of the Order of the Jugs is walking with a lady. On the far right, a detailed representation of a water-powered pumping station leads to the next, technical part of the house book.
Recipes
The following sixteen pages fol. 26v – 33r contain various types of German-language prescriptions. The medical topics range from wound treatment with prescriptions for hemostasis to help against diarrhea, hemorrhoids, plague and other diseases to an aphrodisiac (“A confect ut mulier petat coitum”, fol. 31v) Recipes leading the collection. This is followed by recipes for iron hardening, the dyeing of fabrics, the stain cleaning ("Ein wasser zuo flecken"), which was practiced and published in the Bavarian region as early as 1400, tips on pest control and two cooking recipes (one recipe for "ein baked" and a recipe for curd egg pancakes). The key ingredients of the recipes are partially encoded in Hebrew script.
The recipe section of the house book is provided with only one illustration, the full-page drawing of a spinning wheel that was highly modern for the time of its creation (fol. 34r). The picture is the first representation of a hand-operated spinning wheel with a spinning wing (and an integrated distaff ), in which the spun yarn is automatically wound onto the bobbin via one of the wing arms with guide hooks. Two spare bobbins can be seen lying in the compartment of the spinning wheel bank.
Mining, metallurgy, coin
A repetition of the introductory full-page coat of arms (see above) begins a section on mining , metallurgy and coinage. A full-page colored drawing (fol.35r) gives an overview of medieval mining: it shows the work in the tunnels (in the mountain in the center of the picture) as well as the crushing and transport of the ore, a large (administrative) building. In the foreground in the middle a wild scuffle among armed men, on the right, on the other hand, the Knight of the Order of Pitchers, who seems to be explaining what has happened to a lady.
Texts and drawings on mining and metallurgy follow. Among other things, the Saiger process for smelting ore, several types of bellows, pump mechanisms and rams are shown. The drawings on pages 35v and 36r are considered to be the world's first depictions of a Seiger smelting works and have therefore attracted special international attention.
Fol. 40r – 41r contain recipes for smelting, in which alchemical symbols stand for the metals.
The following short text “Von der müntze” (42r) deals with coinage, wages and taxes. A detailed table helps to evaluate gold coins according to the gold content in carats . The conversions are given in Arabic numerals .
The short text with the rules for conversion, together with the tables, is considered unprecedented. The rules apply to a mint master who has mastered double-entry bookkeeping and provide him with sample calculations for cost-benefit calculations.
War technology
The last section of the house book from fol. 48r deals with war technology. Richly illustrated with images of artillery and other military equipment, a text about the defense of a castle, which also includes the psychological team management and is considered unique for military literature in this form, is illustrated. From fol. 57r follows a treatise on the art of gunsmithing.
A large fold-out display board (fol. 51v – 52r1) depicts an army train with three rows of wagons (in the middle the transport of provisions, outside armed wagons) followed by a group of riders. The standard of the entourage bears the Habsburg motto AEIOU
A fold-out drawing (fol. 53r – 53r1) shows a fictitious army camp in the form of a wagon castle . Many small scenes bring camp life to life: in the middle a meeting of generals who crowd around the imperial banner with the double-headed eagle, on the left at the gate beggars, on the right edge of the picture card players, underneath - outside the camp - some animal carcasses.
In numerous pictures, many types of guns are presented in detailed drawings in this section , which are assigned to the tradition of the gunsmith Hans Formschneider and thus also moved into the environment of the so-called Hussite War engineer and Konrad Gürtler .
The back of the army camp (fol. 53v – 53v1) shows a lathe and a scale climbing equipment for the siege , including a rope ladder and a massive climbing tree . The picture is particularly vivid thanks to three men who climb a round tower and a lady looks out of the window.
Ownership history
The client of the house book is not yet known (see section " Client's coat of arms ").
The entries of other owners of the house book have not yet been thoroughly researched, especially since the names mentioned are very common. It is not yet known who left what is probably the earliest entry: Dis Puech belongs to Joachim Hofen (fol. 65r). Another entry (fol. 65v) reads lu [dwi] g Hof der Jungs moved to Innsprugg .
In the 17th century, the house book came into the possession of the Reichserbtruchsessen Maximilian Willibald von Waldburg-Wolfegg , who was one of the most important art collectors of his time and who laid the foundation for the Wolfegger Kupferstichkabinett , one of the largest graphic collections in Europe. Since then, the book has been kept in Wolfegg Castle in Wolfegg , Upper Swabia .
Little is known to the public about the library holdings in Wolfegg; at the request of the owners, they were also not included in the handbook of historical book collections. The medieval house book of Wolfegg Castle was recorded as a national cultural asset under the number 01404 in accordance with the law for the protection of German cultural assets against emigration .
In February 2008, Waldburg-Wolfegg-Waldsee confirmed the sale to an undisclosed domestic buyer. It is said to be August von Finck junior . The purchase price was rumored to be 20 million euros. After political intervention by the Stuttgart state government, however, the purchase was temporarily canceled because the Tübingen regional council had not granted the approval required under the Fideikommiss resolution law. In May 2008 the sale was subsequently approved.
Publications and research
House books have been mentioned since the end of the 18th century, for example by the librarian Johann Christoph Adelung , but in the older research of the 19th century, which initially concentrated on the literary texts of the Middle Ages, little importance was attached to them because of their pragmatic orientation . Since the second half of the 20th century, they have been valued by academia as important sources, both with regard to literary and book studies as well as with regard to the personalities of clients and collectors.
The medieval house book of Wolfegg Castle was presented to the professional public in September 1855 by Konrad Dietrich Hassler at the meeting of the “General Association of German History and Antiquity Associations” in Ulm. In 1860, Ernst Georg Harzen first brought the house book into connection with the author of the copperplate engravings in the Amsterdam Cabinet (and made an unconvincing argument for the Ulm painter Bartholomäus Zeitblom as the author). Ever since the detailed description of each sheet by the Dürer researcher Ralf von Retberg in 1865 and the edition of the Germanisches Nationalmuseum Nürnberg in 1866, the house book has generally been regarded as the first-rate work of its genre. The drawings in the house book were not facsimile for the 1866 edition, but were engraved; it was sold out quickly, so that in 1887 August Essenwein , now director of the Germanic National Museum, launched a new edition. According to Essenwein in his foreword, the then Prince of Waldburg-Wolfegg had forbidden to look into the manuscript again because of the offensive nature of some of the revealing representations. Further scientific descriptions exist from 1912 in the introduction of the first and, until 1997, the only facsimile of the drawings in black and white and in 1997 in a detailed commentary volume on a new and now complete facsimile edition, and most recently in 1999 in an article by Gundolf Keil in the author's lexicon (2nd edition, Vol. 10).
The work was for the production of the facsimile edition released ; Before being re- integrated , the drawings were shown as single sheets in exhibitions at the Städel in Frankfurt am Main (1997), the Haus der Kunst in Munich (1998), the National Gallery in Washington (1998/99), and the Frick Collection in New York (1999) and in the Landesmuseum Württemberg in Stuttgart (1999/2000). On this occasion, a publication on Wolfegg's Medieval House Book was published in 1997 for a wider audience than the elaborate, annotated facsimile under the title Venus and Mars .
The exhibition catalog Amsterdam / Frankfurt 1985, the dissertation by Daniel Hess in 1994 and the contributions in the commentary on the facsimile edition from 1997 are considered to be more recent, extensive compilations of research aspects. Extensive overviews of older research and a discussion of key open questions can be found here.
expenditure
- Medieval house book. Illuminated manuscript from the 15th century with full text and facsimile illustrations . Edited by the Germanisches Nationalmuseum Nürnberg. With a foreword by August Essenwein . Brockhaus, Leipzig 1866. Digitized (2nd edition: Keller, Frankfurt am Main 1887; reprint of 2nd edition: Olms, Hildesheim 1986, ISBN 3-487-07721-3 ) machine-readable edition of the text in the 2nd edition available on Wikisource
- Helmuth Th. Bossert , Willy F. Storck (eds.): The medieval house book based on the original in the possession of the Prince of Waldburg-Wolfegg-Waldsee on behalf of the German Association for Art History . Seemann, Leipzig 1912
- Christoph Graf zu Waldburg Wolfegg (ed.), Together with Gundolf Keil, Eberhard König , Rainer Leng and Karl-Heinz Ludwig: The medieval house book from the collection of the princes of Waldburg Wolfegg . Volume 1: Facsimile, Volume 2: Commentary volume. Prestel, Munich / New York 1997, ISBN 3-7913-1838-1 .
literature
- Stephan Hoppe: The Wolfegger house book, the Bellifortis of Konrad Kyeser and the young Maximilian von Habsburg. Courtly book projects in a time of change . In: Maria Effinger, Stephan Hoppe, Harald Klinke, Bernd Krysmanski (Eds.) On analog and digital access to art Festschrift for Hubertus Coal for his 60th birthday. Heidelberg 2019, pp. 15–50. Online access .
- Christoph Graf zu Waldburg Wolfegg: caretaker . In: General Artist Lexicon . The visual artists of all times and peoples (AKL). Volume 88, de Gruyter, Berlin 2016, ISBN 978-3-11-023254-7 , p. 398 f.
- Gundolf Keil : Wolfegger house book . In: The German literature of the Middle Ages. Author Lexicon . 2nd Edition. Volume 10. De Gruyter, Berlin 1999, ISBN 978-3-11-015606-5 , Sp. 1322-1326
- Christoph Graf zu Waldburg Wolfegg (Hrsg.): The medieval house book [from the collection of the princes of Waldburg Wolfegg]. Commentary volume (With contributions by Gundolf Keil, Eberhard König, Rainer Leng, Karl-Heinz Ludwig and Christoph Graf zu Waldburg Wolfegg). Prestel, Munich and New York 1997.
- Christoph Graf zu Waldburg Wolfegg: Venus and Mars. The medieval house book from the collection of the princes of Waldburg Wolfegg . (On the occasion of the exhibition of the house book in the Städelschen Kunstinstitut and Städtische Galerie , Frankfurt am Main, September 18 to November 2, 1997, and in the Haus der Kunst , Munich, July 24 to October 11, 1998). Prestel, Munich and New York 1997, ISBN 3-7913-1839-X
- Daniel Hess: Master of the “medieval house book”. Studies on the caretaker question . Von Zabern, Mainz 1994, ISBN 3-8053-1656-9
- JP Filedt Kok (ed.): From life in the late Middle Ages. The caretaker or master of the Amsterdam Cabinet. Rijksmuseum Amsterdam March 14th - June 9th 1985; Municipal gallery in the Städelschen Kunstinstitut Frankfurt am Main September 5 - November 3, 1985. Amsterdam et al. 1985, DNB 210606932 .
- Maria Lanckorońska: The medieval house book of the Princely Waldburg collection. Client, reason for creation and draftsman . Eduard Roether, Darmstadt 1975, ISBN 3-7929-0008-2
- Johannes Graf zu Waldburg Wolfegg: The medieval house book. Reflections in front of an illuminated manuscript . (= Pictures from the German past; vol. 8). Prestel, Munich 1957.
- Dieter H. Meyer: house book . In: Reallexikon der Deutschen Literaturwissenschaft . Volume II. Walter de Gruyter, Berlin and New York 2000, ISBN 3-11-015663-6 , pp. 12-14
- Ralf von Retberg: Letters of cultural history. About a medieval house book from the 15th century from the princely Waldburg-Wolfeggische collection . Leipzig 1865 digitized
- Ernst Georg Harzen: About Bartholomäus Zeitblom, painter from Ulm, as a copperplate engraver . In: Naumann's archive for the drawing arts. 6th year 1860, pp. 97-124 digitized
Web links
- Images of the facsimile edition from 1912 (complete) with iconographic explanations, in the Warburg Institute Iconographic Database .
- National Gallery of Art, Washington: Love and War. A Manual for Life in the Late Middle Ages. The Housebook
- Information on sale
Individual evidence
- ↑ Real Lexicon of German Literary Studies . Volume II
- ↑ a b c Gundolf Keil : Wolfegger house book . In: The German literature of the Middle Ages. Author Lexicon . 2nd Edition. Volume 10, 1999, Col. 1323.
- ↑ On Bellefortis cf. for example Konrad Kyeser ( Memento from August 7, 2011 in the Internet Archive ).
- ↑ Unless otherwise referenced, the description of the units follows the exhibition book by Christoph Graf zu Waldburg Wolfegg: Venus und Mars. The medieval house book from the collection of the princes of Waldburg Wolfegg . Prestel, Munich and New York 1997
- ^ Gundolf Keil: Wolfegger house book . In: The German literature of the Middle Ages. Author Lexicon . 2nd Edition. Volume 10, 1999, Col. 1325.
- ↑ Hoppe 2019.
- ^ Maria Lanckoronska: The medieval house book of the princely Waldburg collection. Client, reason for creation and draftsman . Eduard Roether, Darmstadt 1975
- ↑ Chr. Waldburg-Wolfegg 1997, p. 13
- ↑ Hoppe 2019.
- ↑ a b Hess 1994, p. 12
- ↑ Norbert Elias: About the process of civilization . Volume 1. 1939
- ↑ Hans Peter Duerr: Nudity and Shame (= The Myth of the Civilization Process; Vol. 1). Suhrkamp, Frankfurt am Main 1994, ISBN 3-518-38785-5 , pp. 34-37 (paperback edition of the work published in 1988)
- ↑ Manfred Lurker (Ed.): Dictionary of Symbolism (= Kröner's pocket edition . Volume 464). 2nd, expanded edition. Kröner, Stuttgart 1983, ISBN 3-520-46402-0 , p. 6.
- ^ Lexicon of Christian Iconography (LCI). 1994/2004 volume 3; Col. 409-411
- ↑ Benedikt Fahrnschon: Courtly love - and obscene bustle . In: The Codex Manesse and the discovery of love (writings of the Heidelberg University Library 11), ed. v. Maria Effinger / Carla Meyer / Christian Schneider. Winter, Heidelberg 2010, p. 123
- ↑ Christian Tenner, Gundolf Keil: 'Fleckenreinigungs-Büchlein'. In: Burghart Wachinger et al. (Hrsg.): The German literature of the Middle Ages. Author Lexicon . 2nd, completely revised edition, Volume 2 ( Comitis, Gerhard - Gerstenberg, Wigand ). De Gruyter, Berlin / New York 1980, ISBN 3-11-007264-5 , Col. 747 f.
- ↑ a b Gundolf Keil : Wolfegger house book . In: The German literature of the Middle Ages. Author Lexicon . 2nd Edition. Volume 10 (1999) Col. 1324
- ↑ Chr. Waldburg-Wolfegg 1997, p. 12
- ^ Klaus Graf: Upper Swabian Aristocratic Libraries. Testimonies of the spiritual world of their owners . In: Nobility in Transition. Upper Swabia from the early modern era to the present . Ostfildern, Thorbecke 2006, Vol. 2, pp. 751-762; online (pdf) ( Memento from September 27, 2007 in the Internet Archive )
- ^ Rüdiger Soldt: House book submitted inFAZNet
- ↑ Real Lexicon of German Literary Studies. Volume II, p. 14
- ^ Konrad Dietrich Hassler: Report on a trip to Wolfegg (July 8, 1854). In: 9th and 10th report on the negotiations of the Association for Art and Antiquity in Ulm and Upper Swabia. Ulm 1855; see also Franz Trautmann: Art and applied arts from the earliest Middle Ages to the end of the eighteenth century. A handbook and reference book . Beck, Nördlingen 1869, p. 234
- ↑ August Essenwein: Medieval house book (1887); Preface , p. VI page: Medieval house book 1887 0006.jpg
