|
By
Billie Ann Lopez
|
 |
His songs and
poems were known as hoefische Dorfpoesie (courtly folk poetry) of
which his irreverent Violet Prank is one of the most profane.
Billie Ann Lopez
Click on
picture for larger version |
Fragments of 14th
century wall frescos found beneath the crumbling plaster of an old
apartment in the heart of Vienna, depict a popular medieval cycle of
songs of the 13th century minnesinger, Neidhart von Reuental.
In the very late 14th century, Michel Menschein, a wealthy Viennese
council member and cloth merchant, commissioned local artists to
paint the stories in Neidhart's songs on the walls of his Festsaal
(banquet hall).
Although far from
complete now due to their great age and almost 600 years of living by
owners and tenants in the apartment, the restored frescos provide
visitors a unique peek into medieval humor, and at the same time, a
peek into the taste of a medieval man.
Minnesingers were
12th and 13th century court poets of the Austrian and German
nobility. By and large, these poets confined their themes to
the expression of idealized love and adoration of a knight for a
lady. The word Minne meant chivalrous love. Neidhart von
Reuenthal, who was considered one of the twelve masters of song and a
precursor of the Meistersinger (Master Singers), broadened his genre
to include comic and rather earthy descriptions of village life to
entertain the court. His songs and poems were known as
hoefische Dorfpoesie (courtly folk poetry) of which his irreverent
Violet Prank is one of the most profane.
Next to a window
of Mr. Menschein's Festsaal, time-scarred fragments of the Violet
Prank fresco depict Neidhart's parody of an old Viennese custom.
According to legend, the Babenberg Dukes, who ruled Austria from the
10th to the 13th century, set aside their affairs of state each year
to join the Viennese in the countryside to celebrate the first spring
violet. The man who found this symbol of spring first, covered
his treasure with his hat and then raced to report his find to the
Duke's Court. The lucky man was then awarded the honor of
dancing with his choice of maidens at the Festival of Violets
Neidhart von
Reuenthal composed a lyric, based on this Viennese rite of spring, in
which he himself discovers the violet and places his hat over
it. On his return, accompanied by the Duke and his Court, he
lifts his hat only to discover that a practical jokester befouled the
violet in his absence. Unfortunately, the segment of the fresco
depicting the actual lifting of the hat has not survived.
The Theft of the
Mirror fresco depicts a bit of crude groping beneath the skirts of a
reclining woman by a courtly oaf. Such a depiction hardly reflects
the idealized Age of Chivalry still dominating the times, A
"mirror", by the way, was a euphemism for virginity back
then. The Doerperkampf (peasant brawl) fresco is thought to
reflect Neidhart's disdain for the growing wealth and power of the
peasant classes.
There are ten
frescos in all. Mr. Menschein's choice of Neidhart's songs to
decorate his walls is evidence that he was a man of humor, a man of
fun who delighted in entertaining his guests. While looking at
the frescos one by one, the viewer can easily imagine the past
pleasures of Menschein's family and friends who partied here.
The nudges and laughter of his many guests undoubtedly delighted
their host as well, as he and they danced the nights away so long
ago. Surely, a good time was had by all.
It would be
pleasing to report that Mr. Menschein lived out his days here.
Sad to say, that was not to be. Financial difficulties
eventually forced Mr. Menschein to mortgage his beloved home and move
out. He died a few years later in greatly reduced circumstances.
The Neidhart
Frescos may be seen in all their splendid fun in the original
Festsaal located in the now Baroque-styled building at Tuchlauben 19
in the First District of Vienna. Telephone
535 90 65 for opening hours. |
