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Painting
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Painting is the practice of applying paint, pigment, color or other medium to a solid surface. The medium is commonly applied to the base with a brush, but other implements, such as knives, sponges, Painting is a mode of creative expression, and the forms are numerous. Drawing, gesture, composition, narration, or abstraction, among other aesthetic modes, may serve to manifest the expressive, Paintings can be naturalistic and representational, photographic, abstract, narrative, symbolistic, emotive, or political in nature. A portion of the history of painting in both Eastern and Western art is dominated by motifs and ideas. In art, the term painting describes both the act and the result of the action, the term painting is also used outside of art as a common trade among craftsmen and builders. What enables painting is the perception and representation of intensity, every point in space has different intensity, which can be represented in painting by black and white and all the gray shades between. In practice, painters can articulate shapes by juxtaposing surfaces of different intensity, thus, the basic means of painting are distinct from ideological means, such as geometrical figures, various points of view and organization, and symbols. In technical drawing, thickness of line is ideal, demarcating ideal outlines of an object within a perceptual frame different from the one used by painters. Color and tone are the essence of painting as pitch and rhythm are the essence of music, color is highly subjective, but has observable psychological effects, although these can differ from one culture to the next. Black is associated with mourning in the West, but in the East, some painters, theoreticians, writers and scientists, including Goethe, Kandinsky, and Newton, have written their own color theory. Moreover, the use of language is only an abstraction for a color equivalent, the word red, for example, can cover a wide range of variations from the pure red of the visible spectrum of light. There is not a register of different colors in the way that there is agreement on different notes in music. For a painter, color is not simply divided into basic, painters deal practically with pigments, so blue for a painter can be any of the blues, phthalocyanine blue, Prussian blue, indigo, cobalt, ultramarine, and so on. Psychological and symbolical meanings of color are not, strictly speaking, colors only add to the potential, derived context of meanings, and because of this, the perception of a painting is highly subjective. The analogy with music is quite clear—sound in music is analogous to light in painting, shades to dynamics and these elements do not necessarily form a melody of themselves, rather, they can add different contexts to it. Modern artists have extended the practice of painting considerably to include, as one example, collage, some modern painters incorporate different materials such as sand, cement, straw or wood for their texture. Examples of this are the works of Jean Dubuffet and Anselm Kiefer, there is a growing community of artists who use computers to paint color onto a digital canvas using programs such as Adobe Photoshop, Corel Painter, and many others. These images can be printed onto traditional canvas if required, rhythm is important in painting as it is in music
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Leipzig
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Leipzig is the largest city in the federal state of Saxony, Germany. With a population of 570,087 inhabitants it is Germanys tenth most populous city, Leipzig is located about 160 kilometres southwest of Berlin at the confluence of the White Elster, Pleisse, and Parthe rivers at the southern end of the North German Plain. Leipzig has been a city since at least the time of the Holy Roman Empire. The city sits at the intersection of the Via Regia and Via Imperii, Leipzig was once one of the major European centers of learning and culture in fields such as music and publishing. Leipzig became an urban center within the German Democratic Republic after the Second World War. Leipzig later played a significant role in instigating the fall of communism in Eastern Europe, through events which took place in, Leipzig today is an economic center and the most livable city in Germany, according to the GfK marketing research institution. Since the opening of the Leipzig City Tunnel in 2013, Leipzig forms the centerpiece of the S-Bahn Mitteldeutschland public transit system, Leipzig is currently listed as Gamma World City and Germanys Boomtown. Outside of Leipzig the Neuseenland district forms a lake area of approximately 300 square kilometres. Leipzig is derived from the Slavic word Lipsk, which means settlement where the linden trees stand, an older spelling of the name in English is Leipsic. The Latin name Lipsia was also used, the name is cognate with Lipetsk in Russia and Liepāja in Latvia. In 1937 the Nazi government officially renamed the city Reichsmessestadt Leipzig, the common usage of this nickname for Leipzig up until the present is reflected, for example, in the name of a popular blog for local arts and culture, Heldenstadt. de. Leipzig was first documented in 1015 in the chronicles of Bishop Thietmar of Merseburg as urbs Libzi and endowed with city, Leipzig Trade Fair, started in the Middle Ages, became an event of international importance and is the oldest remaining trade fair in the world. During the Thirty Years War, two battles took place in Breitenfeld, about 8 kilometres outside Leipzig city walls, the first Battle of Breitenfeld took place in 1631 and the second in 1642. Both battles resulted in victories for the Swedish-led side, on 24 December 1701, an oil-fueled street lighting system was introduced. The city employed light guards who had to follow a schedule to ensure the punctual lighting of the 700 lanterns. The Leipzig region was the arena of the 1813 Battle of Leipzig between Napoleonic France and a coalition of Prussia, Russia, Austria and Sweden. It was the largest battle in Europe prior to the First World War, in 1913 the Monument to the Battle of the Nations celebrating the centenary of this event was completed. The railway station has two entrance halls, the eastern one for the Royal Saxon State Railways and the western one for the Prussian state railways
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Academy of Fine Arts Vienna
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The Academy of Fine Arts Vienna is a public art school of higher education in Vienna, Austria. In 1701 he was ennobled by Emperor Joseph I as Freiherr of the Empire, with his death in 1714, the academy temporarily closed. On 20 January 1725, Emperor Charles VI appointed the Frenchman Jacob van Schuppen as Prefect and Director of the Academy, hofakademie der Maler, Bildhauer und Baukunst. Upon Charles death in 1740, the academy at first declined, however during the rule of his daughter Empress Maria Theresa, a new statute reformed the academy in 1751. The prestige of the academy grew during the deanships of Michelangelo Unterberger and Paul Troger, in 1772, there were further reforms to the organisational structure. Chancellor Wenzel Anton Kaunitz integrated all existing art schools into the k. k. vereinigten Akademie der bildenden Künste, the word vereinigten was later dropped. In 1822 the art cabinet grew significantly with the bequest of honorary member Anton Franz de Paula Graf Lamberg-Sprinzenstein and his collection still forms the backbone of the art on display. In 1872 Emperor Franz Joseph I of Austria approved a statute making the academy the supreme government authority for the arts, a new building was constructed according to plans designed by the faculty Theophil Hansen in the course of the layout of the Ringstraße boulevard. On 3 April 1877, the building on Schillerplatz in the Innere Stadt district was inaugurated. In 1907 and 1908, young Adolf Hitler, who had come from Linz, was denied admission to the drawing class. He stayed in Vienna, subsisting on his allowance. Soon he had withdrawn into poverty and started selling amateur paintings, mostly watercolours, during the Austrian Anschluss to Nazi Germany from 1938–1945, the academy was forced to heavily reduce its number of Jewish staff. After World War II, the academy was reconstituted in 1955 and it has had university status since 1998, but retained its original name. It is currently the only Austrian university that doesnt have the university in its name. The Academy currently has about 900 students, almost a quarter of which are foreign students and its faculty includes stars such as Peter Sloterdijk. 110,000 volumes and its etching cabinet has about 150,000 drawings, the collection is one of the biggest in Austria, and is used for academic purposes, although portions are also open to the general public. Official website website of the Media Server Study in Austria, A Guide
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Johann Friedrich Overbeck
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Johann Friedrich Overbeck was a German painter and member of the Nazarene movement. Born in Lübeck, his ancestors for three generations had been Protestant pastors, his father Christian Adolph Overbeck was doctor of law, poet, mystic pietist and burgomaster of Lübeck. The young artist left Lübeck in March 1806, and entered as student the academy of Vienna, while Overbeck clearly accrued some of the polished technical aspects of the neoclassic painters, he was alienated by lack of religious spirituality in the themes chosen by his masters. After four years, their differences between his group and others in the academy had grown so irreconcilable, that Overbeck and his followers were expelled and he left for Rome, where he arrived in 1810, carrying his half-finished canvas of Christs Entry into Jerusalem. Rome became for 59 years the centre of his labor, Overbeck in 1813 joined the Roman Catholic Church, and thereby he believed that his art received Christian baptism. The subjects which fell to the lot of Overbeck were the Seven Years of Famine and Joseph sold by his Brethren, after ten years delay, the overtaxed and enfeebled painter delegated the completion of the frescoes to his friend Joseph von Führich. Overbeck was elected a Foreign Honorary Member of the American Academy of Arts and he was interred in the church of San Bernardo alle Terme. Portrait of the Painter Franz Pforra Vittoria Caldoni Christs Entry into Jerusalem, christus am Ölberg Italy and Germany Christs Agony in the Garden, in the great hospital, Hamburg. Lo Sposalizio, Muzeum Narodowe, Poznań, Poland, the Triumph of Religion in the Arts, in the Städel Institute, Frankfurt. Lamentation of Christ The Incredulity of St. Thomas, first in the possession of Beresford Hope, London, now in the Schäfer collection, Schweinfurt, the Assumption of the Madonna, in Cologne Cathedral. The Ascension of the Virgin Mary Christ Delivered from the Jews, tempera, the Seven Sacraments Baptism 1862–64, Neue Pinakothek, Munich Drawings for the frescoes for the Cathedral of St. Peter and St. Paul in Đakovo. His nephew Johannes Overbeck, a professor of archaeology at the University of Leipzig, was noted for his work in art history, in 1843 the Church of St. John the Baptist, Penymynydd, North Wales was built by the Glynne Family of Hawarden, Flintshire. The first vicar, Rev. Lionel Gossman, “Making of a Romantic Icon, The Religious Context of Friedrich Overbeck’s ‘Italia und Germania. ’” American Philosophical Society,2007. At dianepub. wordpress. com This article incorporates text from a now in the public domain, Chisholm, Hugh, ed. Overbeck. Thurston, H. T. Colby, F. M. eds, Johann Friedrich Overbeck in the History of Art Italy and Germany Reproduction Overbeck by J
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Joseph Anton Koch
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Joseph Anton Koch was an Austrian painter of Neoclassicism and later the German Romantic movement, he is perhaps the most significant neoclassical landscape painter. The Tyrolese painter was born in Elbigenalp and he early in his life he was tending cattle. Through the recommendation of Bishop Umgelder, he received training in the Karlsschule Stuttgart. In 1791, he ran away, and traveled through France and he arrived in Rome in 1795. Koch was close to the painter Asmus Jacob Carstens and carried on Carstens heroic art and he etched the pages of Carstens Les Argonautes, selon Pindar, Orphée et Apollonius de Rhode. After 1800, Koch developed as a landscape painter, in Rome, he espoused a new type of heroic landscape, revising the classical compositions of Poussin and Lorrain with a more rugged, mountainous scenery. In 1812, forced through inadequate income from his work, or in protest of the French invasion, he went to Vienna and he stayed in Vienna until 1815. During this period, he incorporated more non-classical themes in his work, in Vienna, he was influenced by Friedrich Schlegel and enthusiasts of old German art. In response, his style became harsher, Koch returned to Rome, and became a conspicuous figure in the German artists colony there. He wrote Moderne Kunstchronik oder die rumfordische Suppe gekocht und geschrieben von J. A. Koch which was directed humorously against unjustifiable criticism, kochs last years were spent in great poverty. He died in Rome, where he was buried in the Teutonic Cemetery and he contributed American landscape scenes to the works of Alexander von Humboldt. New Haven and London, Yale University Press, pp. 37–38, ISBN 0-300-02387-1 Attribution This article incorporates text from a publication now in the public domain, Rines, George Edwin, ed. Koch, Joseph Anton. This article incorporates text from a now in the public domain, Gilman. Thurston, H. T. Colby, F. M. eds
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Fra Angelico
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Fra Angelico was an Early Italian Renaissance painter described by Vasari in his Lives of the Artists as having a rare and perfect talent. He was known to contemporaries as Fra Giovanni da Fiesole and Fra Giovanni Angelico, in modern Italian he is called il Beato Angelico, the common English name Fra Angelico means the Angelic friar. In 1982 Pope John Paul II proclaimed his beatification in recognition of the holiness of his life and he is listed in the Roman Martyrology as Beatus Ioannes Faesulanus, cognomento Angelicus—Blessed Giovanni of Fiesole, surnamed the Angelic. Fra Angelico was born Guido di Pietro at Rupecanina in the Tuscan area of Mugello near Fiesole towards the end of the 14th century, nothing is known of his parents. He was baptized Guido or Guidolino, the earliest recorded document concerning Fra Angelico dates from October 17,1417 when he joined a religious confraternity or guild at the Carmine Church, still under the name of Guido di Pietro. The first record of Angelico as a friar dates from 1423, Fra, a contraction of frater, is a conventional title for a mendicant friar. According to Vasari, Fra Angelico initially received training as an illuminator, possibly working with his older brother Benedetto who was also a Dominican and an illuminator. The former Dominican convent of San Marco in Florence, now a state museum, the painter Lorenzo Monaco may have contributed to his art training, and the influence of the Sienese school is discernible in his work. He had several important charges in the convents he lived in, but this did not limit his art, according to Vasari, the first paintings of this artist were an altarpiece and a painted screen for the Charterhouse of Florence, none such exist there now. Between 1418 and 1436 he was at the convent of Fiesole, where he executed a number of frescoes for the church and the Altarpiece. A predella of the Altarpiece remains intact and is conserved in the National Gallery, London and it shows Christ in Glory surrounded by more than 250 figures, including beatified Dominicans. In 1436, Fra Angelico was one of a number of the friars from Fiesole who moved to the newly built convent or friary of San Marco in Florence, in 1439 Fra Angelico completed one of his most famous works, the San Marco Altarpiece at Florence. The result was unusual for its time, but in this instance, the saints stand squarely within the space, grouped in a natural way as if they were able to converse about the shared experience of witnessing the Virgin in glory. Paintings such as this, known as Sacred Conversations, were to become the major commissions of Giovanni Bellini, Perugino and Raphael. In 1445 Pope Eugene IV summoned him to Rome to paint the frescoes of the Chapel of the Holy Sacrament at St Peters, later demolished by Pope Paul III. Vasari claims that at this time Fra Angelico was offered the Archbishopric of Florence by Pope Nicholas V, the story seems possible and even likely. However, if Vasaris date is correct, then the pope must have been Eugene IV and not Nicholas, moreover, the Archbishop in 1446–1459 was the Dominican Antoninus of Florence, canonized by Pope Adrian VI in 1523. In 1447 Fra Angelico was in Orvieto with his pupil, Benozzo Gozzoli, among his other pupils were Zanobi Strozzi
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Fresco
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Fresco is a technique of mural painting executed upon freshly-laid, or wet lime plaster. Water is used as the vehicle for the pigment to merge with the plaster, and with the setting of the plaster, the fresco technique has been employed since antiquity and is closely associated with Italian Renaissance painting. Buon fresco pigment mixed with water of temperature on a thin layer of wet, fresh plaster, for which the Italian word for plaster. Because of the makeup of the plaster, a binder is not required, as the pigment mixed solely with the water will sink into the intonaco. The pigment is absorbed by the wet plaster, after a number of hours, many artists sketched their compositions on this underlayer, which would never be seen, in a red pigment called sinopia, a name also used to refer to these under-paintings. Later, new techniques for transferring paper drawings to the wall were developed. The main lines of a drawing made on paper were pricked over with a point, the paper held against the wall, if the painting was to be done over an existing fresco, the surface would be roughened to provide better adhesion. This area is called the giornata, and the different day stages can usually be seen in a large fresco, buon frescoes are difficult to create because of the deadline associated with the drying plaster. Once a giornata is dried, no more buon fresco can be done, if mistakes have been made, it may also be necessary to remove the whole intonaco for that area—or to change them later, a secco. An indispensable component of this process is the carbonatation of the lime, the eyes of the people of the School of Athens are sunken-in using this technique which causes the eyes to seem deeper and more pensive. Michelangelo used this technique as part of his trademark outlining of his central figures within his frescoes, in a wall-sized fresco, there may be ten to twenty or even more giornate, or separate areas of plaster. After five centuries, the giornate, which were nearly invisible, have sometimes become visible, and in many large-scale frescoes. Additionally, the border between giornate was often covered by an a secco painting, which has fallen off. One of the first painters in the period to use this technique was the Isaac Master in the Upper Basilica of Saint Francis in Assisi. A person who creates fresco is called a frescoist, a secco or fresco-secco painting is done on dry plaster. The pigments thus require a medium, such as egg. Blue was a problem, and skies and blue robes were often added a secco, because neither azurite blue nor lapis lazuli. By the end of the century this had largely displaced buon fresco
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Ludovico Ariosto
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Ludovico Ariosto was an Italian poet. He is best known as the author of the romance epic Orlando Furioso, Ariosto composed the poem in the ottava rima rhyme scheme and introduced narrative commentary throughout the work. Ariosto also coined the term humanism for choosing to focus upon the strengths and potential of humanity, Ariosto was born in Reggio nell’Emilia, where his father Niccolò Ariosto was commander of the citadel. He was the oldest of 10 children and was seen as the successor to the position of his family. From his earliest years, Ludovico was very interested in poetry, after five years of law, Ariosto was allowed to read classics under Gregorio da Spoleto. Ariostos studies of Greek and Latin literature were cut short by Spoletos move to France to tutor Francesco Sforza, shortly after this, Ariostos father died. After the death of his father, Ludovico Ariosto was compelled to forgo his literary occupations and take care of his family, despite his family obligations, Ariosto managed to write some comedies in prose as well as lyrical pieces. Some of these attracted the notice of Cardinal Ippolito dEste, who took the poet under his patronage. Este compensated Ariosto poorly for his efforts, the reward he gave the poet for Orlando Furioso, dedicated to him, was the question, Where did you find so many stories. Ludovico Ariosto and Leonardo da Vinci shared a patron in Cardinal Ippolito dEstes older sister the Marchioness Isabella d’Este, Isabella d’Este appears in Ludovico’s masterpiece, Orlando Furioso. She also appears in Leonardo’s, “Sketch for a Portrait of Isabella d’Este, “A statue no less jocund, no less bright, / Succeeds, and on the writing is impressed, / Lo. ”The cardinal went to Hungary in 1518, and wished Ariosto to accompany him. The poet excused himself, pleading ill health, his love of study, and his excuses were not well-received, and he was denied even an interview. Ariosto and dEste got into an argument, and Ariosto was promptly dismissed from service. The cardinals brother, Alfonso, duke of Ferrara, now took Ariosto under his patronage, by then, Ariosto had already distinguished himself as a diplomat, chiefly on the occasion of two visits to Rome as ambassador to Pope Julius II. On account of the war, his salary of 84 crowns a year was suspended, because of this, Ariosto asked the duke either to provide for him, or to allow him to seek employment elsewhere. He was appointed to the province of Garfagnana, then without a governor, situated on the Apennines, the province was distracted by factions and bandits, the governor had not the requisite means to enforce his authority and the duke did little to support his minister. In 1508 Ariostos play Cassaria appeared, and the next year I suppositi was first acted in Ferrara, a prose edition was published in Rome in 1524, and the first verse edition was published at Venice in 1551. The play was translated by George Gascoigne and acted at Grays Inn in London in 1566 and published in 1573, in 1516, the first version of the Orlando Furioso in 40 cantos, was published at Ferrara
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Munich
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Munich is the capital and largest city of the German state of Bavaria, on the banks of River Isar north of the Bavarian Alps. Munich is the third largest city in Germany, after Berlin and Hamburg, the Munich Metropolitan Region is home to 5.8 million people. According to the Globalization and World Rankings Research Institute Munich is considered an alpha-world city, the name of the city is derived from the Old/Middle High German term Munichen, meaning by the monks. It derives from the monks of the Benedictine order who ran a monastery at the place that was later to become the Old Town of Munich, Munich was first mentioned in 1158. From 1255 the city was seat of the Bavarian Dukes, black and gold—the colours of the Holy Roman Empire—have been the citys official colours since the time of Ludwig the Bavarian, when it was an imperial residence. Following a final reunification of the Wittelsbachian Duchy of Bavaria, previously divided and sub-divided for more than 200 years, like wide parts of the Holy Roman Empire, the area recovered slowly economically. In 1918, during the German Revolution, the house of Wittelsbach, which governed Bavaria since 1180, was forced to abdicate in Munich. In the 1920s, Munich became home to political factions, among them the NSDAP. During World War II, Munich was heavily bombed and more than 50% of the entire city, the postwar period was characterised by American occupation until 1949 and a strong increase of population and economic power during the years of the Wirtschaftswunder after 1949. The city is home to corporations like BMW, Siemens, MAN, Linde, Allianz and MunichRE as well as many small. Munich is home to national and international authorities, major universities, major museums. Its numerous architectural attractions, international events, exhibitions and conferences. Munich is one of the most prosperous and fastest growing cities in Germany and it is a top-ranked destination for migration and expatriate location, despite being the municipality with the highest density of population in Germany. Munich nowadays hosts more than 530,000 people of foreign background, the year 1158 is assumed to be the foundation date, which is the earliest date the city is mentioned in a document. The document was signed in Augsburg, by that time the Guelph Henry the Lion, Duke of Saxony and Bavaria, had built a bridge over the river Isar next to a settlement of Benedictine monks—this was on the Old Salt Route and a toll bridge. In 1175, Munich was officially granted city status and received fortification, in 1180, with the trial of Henry the Lion, Otto I Wittelsbach became Duke of Bavaria and Munich was handed over to the Bishop of Freising. In 1240, Munich was transferred to Otto II Wittelsbach and in 1255, Duke Louis IV, a native of Munich, was elected German king in 1314 and crowned as Holy Roman Emperor in 1328. He strengthened the position by granting it the salt monopoly
10.
Ludwig I of Bavaria
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Ludwig I was king of Bavaria from 1825 until the 1848 revolutions in the German states. Born in the Hôtel des Deux-Ponts in Strasbourg, he was the son of Count Palatine Maximilian Joseph of Zweibrücken by his first wife Augusta Wilhelmine of Hesse-Darmstadt, at the time of his birth, his father was an officer in the French army stationed at Strasbourg. He was the godson and namesake of Louis XVI of France and his father assumed the title of King of Bavaria on 1 January 1806. Starting in 1803 Ludwig studied in Landshut where he was taught by Johann Michael Sailer, on 12 October 1810 he married Therese of Saxe-Hildburghausen, the daughter of Frederick, Duke of Saxe-Hildburghausen. The wedding was the occasion of the first-ever Oktoberfest, as commander of the 1st Bavarian Division in VII Corps, he served under Marshal François Joseph Lefebvre in 1809. He led his division in action at the Battle of Abensberg on 20 April, on 14 October, Bavaria made a formal declaration of war against Napoleonic France. The treaty was passionately backed by Crown Prince Ludwig and by Marshal von Wrede, already at the 1815 Congress of Vienna, Ludwig advocated a German national policy. Until 1816 the crown prince served as governor-general of the Duchy of Salzburg and his second son Otto, the later King of Greece, was born there. Between 1816 and 1825, he spent his years in Würzburg and he also made numerous trips to Italy and stayed often in the Villa Malta in Rome, which he later also bought. Ludwig supported generously as a Philhellene the Greek War of Independence, in 1817 Ludwig was also involved in the fall of Prime Minister Count Max Josef von Montgelas whose policies he had opposed. He succeeded his father on the throne in 1825, Ludwigs rule was strongly affected by his enthusiasm for the arts and women and by his overreaching royal assertiveness. An enthusiast for the German Middle Ages, Ludwig ordered the re-erection of several monasteries in Bavaria which had closed during the German Mediatisation. He reorganized the regions of Bavaria in 1837 and re-introduced the old names Upper Bavaria, Lower Bavaria, Franconia, Swabia. He changed his royal titles to Ludwig, King of Bavaria, Duke of Franconia, Duke in Swabia, Ludwigs plan to reunite the eastern part of the Palatinate with Bavaria could not be realized. In 1815, Badens possession of Manheim and Heidelberg was confirmed, Ludwig founded the city of Ludwigshafen there as a Bavarian rival to Mannheim. Ludwig moved the Ludwig-Maximilians-Universität from Landshut to Munich in 1826, the king also encouraged Bavarias industrialization. He initiated the Ludwig Canal between the rivers Main and the Danube, in 1835 the first German railway was constructed in his domain, between the cities of Fürth and Nuremberg. Bavaria joined the Zollverein in 1834, as Ludwig had supported the Greek fight of independence his second son Otto was elected king of Greece in 1832
11.
Nibelungenlied
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The Nibelungenlied, translated as The Song of the Nibelungs, is an epic poem in Middle High German. The story tells of dragon-slayer Siegfried at the court of the Burgundians, how he was murdered, the Nibelungenlied is based on pre-Christian Germanic heroic motifs, which include oral traditions and reports based on historic events and individuals of the 5th and 6th centuries. Old Norse parallels of the legend survive in the Völsunga saga, the Prose Edda, the Poetic Edda, the Legend of Norna-Gest, in 2009, the three main manuscripts of the Nibelungenlied were inscribed in UNESCOs Memory of the World Register in recognition of their historical significance. The poem in its various forms was lost by the end of the 16th century. There are thirty-five known manuscripts of the Nibelungenlied and its variant versions, eleven of these manuscripts are essentially complete. The oldest version seems to be the one preserved in manuscript B, twenty-four manuscripts are in various fragmentary states of completion, including one version in Dutch. The text contains approximately 2,400 stanzas in 39 Aventiuren, the title under which the poem has been known since its discovery is derived from the final line of one of the three main versions, hie hât daz mære ein ende, daz ist der Nibelunge liet. Liet here means lay, tale or epic rather than simply song, the manuscripts sources deviate considerably from one another. This categorization derives from the signatures on the *A, *B, the Nibelungs lament, a sort of appendix to the poem proper, mentions a Meister Konrad who was charged by a bishop Pilgrim of Passau with the copying of the text. This is taken as a reference to Saint Pilgrim, bishop of Passau from 971–991, the search for the author of the Nibelungenlied in German studies has a long and intense history. Among the names suggested were Konrad von Fußesbrunnen, Bligger von Steinach, none of these hypotheses has wide acceptance, and mainstream scholarship today accepts that the authors name cannot be established. The original version began with the introduction of Kriemhild, the protagonist of the work. The second part deals with Kriemhilds marriage to Etzel, her plans for revenge, the journey of the Burgundians to the court of Etzel, the first chapter introduces the court of Burgundy. Kriemhild has a dream of a falcon that is killed by two eagles and her mother interprets this to mean that Kriemhilds future husband will die a violent death, and Kriemhild consequently resolves to remain unmarried. The second chapter tells of the background of Siegfried, crown prince of Xanten and his youth is narrated with little room for the adventures later attributed to him. In the third chapter, Siegfried arrives in Worms with the hopes of wooing Kriemhild, Siegfried leaves his treasure in the charge of a dwarf named Alberich. After killing the dragon, Siegfried then bathed in its blood, in spite of Hagens threatening stories about his youth, the Burgundians welcome him, but do not allow him to meet the princess. Disappointed, he remains in Worms and helps Gunther defeat the invading Saxons
This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Schnorr von Karolsfeld, Julius". Encyclopædia Britannica (11th ed.). Cambridge University Press.
This article incorporates text from a publication now in the 
Media related to Julius Schnorr von Carolsfeld at Wikimedia Commons
