Books

[Colophon on A8v:] Nuremberg: Johann Schönsperger, [1517]., 1517. folio. 353 x 248 mm. [ff. 290, incl. blank P5]. xylographic title. 118 large woodcuts in the text. A very nice tall copy bound in 19th century antique-style blind-stamped morocco by Clarke & Bedford, all edges gilt (some wear to edges & joints but binding solid, p6, t1 & the 8 leaves of the last gathering remargined & possibly supplied from a smaller copy, occasional light spotting, scattered tears & paper defects skilfully repaired - these are mainly marginal but in a few instances the text is slightly affected, on t4 with some letters supplied in pen facsimile, & on m8 & x5 with parts of some letters supplied in pen facsimile). mezzotint portrait (foxed) of Pfintzing inserted. the Huth-Boies Penrose copy, with leather ex-libris & bookplates. First Edition of one of the most celebrated German woodcut books of the sixteenth century. This allegorical poem of knight-errantry celebrates the heroic exploits of the Emperor…

"Theuerdank" is an epic poem that stands as a monument to chivalric romance, commissioned by none other than the Holy Roman Emperor Maximilian I. Authored by Melchior Pfinzing at Maximilian's behest, this literary work was published in 1517, embodying the ideals, ambitions, and the persona of the emperor himself. The narrative, rich in allegory and symbolism, recounts the adventurous journey of its eponymous hero, Theuerdank (a thinly veiled representation of Maximilian), as he overcomes various perils to win the hand of his betrothed, Princess Ehrenreich (symbolizing Mary of Burgundy). This essay explores the thematic depth, historical context, and literary significance of "Theuerdank," highlighting its role in the propagation of Maximilian's legacy and its standing in the canon of early modern European literature. "Theuerdank" is more than just a chivalric epic; it is a carefully crafted piece of Habsburg propaganda, designed to glorify Maximilian's reign and his personal virtues. Melchior Pfinzing, the principal author, was a cleric and a close confidant of Maximilian, who meticulously wove the emperor's real-life exploits and aspirations into the fabric of the narrative. The text is accompanied by a series of woodcuts, attributed to the likes of Hans Burgkmair and Leonard Beck, among others, which are as integral to the work as the prose, providing visual dramatization of Theuerdank's journey and trials. The narrative structure of "Theuerdank" follows the hero's quest motif, a staple of chivalric literature, but imbues it with a complexity that mirrors the political and personal challenges faced by Maximilian himself. The perils that Theuerdank encounters are allegorical representations of the obstacles Maximilian navigated in his own life, including political alliances, warfare, and the quest for dynastic marriage. The hero's ultimate triumph is a metaphor for Maximilian's successful marriage to Mary of Burgundy, a union that expanded Habsburg influence and laid the groundwork for the future European hegemony of the Habsburg dynasty. "Theuerdank" occupies a unique place in the history of European literature. It is among the last major works of the chivalric tradition, a genre that would soon give way to the humanist and realist narratives of the Renaissance. Its publication, featuring innovative typography and an unprecedented integration of text and woodcut illustrations, represents a milestone in the history of the printed book. Furthermore, "Theuerdank" is a testament to the power of literature as a tool for political and personal myth-making. Through its pages, Maximilian I immortalized his idealized self-image and political vision, crafting a legacy that would endure well beyond his reign.

The first edition of "Theuerdank" can be identified by the presence of 118 woodcut illustrations and the printer's mark of Johann Betz of Augsburg.