 Mae'r gwahau maen nhw hefyd yn ymddych chi'n ddim yn teimlo'n holl o'r ddweithio'r sgwrs. Ond mae'n ddweithio'r ddweithio'r holl o'r gwahau a'r holl o'r holl yn deimlo'n holl, sy'n ddweithio'r holl o'r holl o'r holl o'r holl i gydag gwahodd yma yn eich gwahodd. Rwy'n meddwl i'n meddwl, mae'n meddwl i'n meddwl i'r gwahodd yma, ac mae'r idea yw'r cyffredin iawn i'r cyffredin iawn i'r cyffredin iawn i'r cyffredin iawn. First we need to look at the word itself, but I promise you that after that technical discussion there will be a fine display of the objects and materials relating to magnificence, as well as a gallery of the people who created it from kings to cooks, artists and musicians. Magnificence is a word coined by Aristotle in his book on ethics in the fourth century BC. Unlike his numerous volumes on natural science, the ethics is concerned with the philosophy of human affairs. In it he outlines a system of moral virtues which should guide our behaviour. There are eleven virtues and surprisingly to us today the fourth of these virtues is magnificence, which consists in the doing of great things in a virtuous fashion. He offers as his example a wealthy public spirited Athenian citizen who spends his money on things for the common good, building temples or trioriums or endowing theatre performances. To do this a man must have money that a poor man could not afford it and he must be modest because the object is not to display wealth but to use it wisely. Aristotle sees magnificent actions as the hallmark of the personal virtue of magnificence. Now Aristotle, with the rest of Greek learning, was forgotten in the early Middle Ages when only a very few scholars could read Greek. It was not until the 13th century in the early heady days of the University of Paris that his ethics were studied again. His works on science were well known, but the ethics were a problem and were the last book to be translated into Latin. Here was a moral system which owed nothing to the Church, yet it was founded on reason and reason was part of God's creation. This, radical scholars argued, gave the ethics authority in theological matters and it was the balance between those secular morals and the traditions of the Church which occupied great thinkers like St Thomas Aquinas. The arguments were heated and it was one of Aquinas's pupils, Giles of Rome, who put forward a large number of radical propositions based on Aristotle in the 1270s. There was, of course, a backlash. In 1277, Giles's ideas figured largely among the 219 propositions condemned by the Archbishop of Paris as being heretical. Giles was forced to leave the University, apparently he also left Paris. Rather surprisingly, at some point in the next seven years, the French king, Philip III, commissioned him to write a manual on how to govern for his son and heir, the future Philip IV. Giles's, on the government of princes, became a bestseller. It survives in no less than 300 manuscripts, one of the most common manuscripts of surviving for the Middle Ages. It was widely influential on later writers and yet there has been no printed edition of it since the 17th century. Giles uses Aristotle's system of virtues as the framework of his book. He calls Aristotle simply the philosopher and he cites him endlessly. When it comes to the virtue of magnificence, Giles tells his royal pupil something which is not an Aristotle. Firstly, he repeats Aristotle as it is crucial for the king to show magnificence that he works for the common good, which is fair enough, but he continues, it is the king's task to show magnificence towards his own person and towards persons close to him. This injunction is the key to the concept of magnificence in the 14th and 15th centuries. Before Giles of Rome, magnificence is a relatively rare word. By the end of the 15th century, magnificence is everywhere. And note that this is before the Renaissance with which magnificence is usually associated. Following his advice, many kings chose to make the splendour of their appearance, their entourage and their surroundings, their first priority. It must hardly put it, who seems most kingly is the king. First of all then, we will look at the king's person and here is Richard II in what is perhaps the ultimate magnificent portrait. The scholars of Paris were not the only people who read Aristotle. Alfonso X of Castile wrote a massive treatise on law about 1265, which is in fact a fascinating guide to the whole of Spanish society. Alfonso tells us that the ancient sages established the rule that kings should wear garments of silk adorned with golden jewels in order that men might know them as soon as they saw them. Alfonso had already put into place laws ensuring that no-one except the royal family could appear in that kind of clothing. By an extraordinary chance, garments belonging to Alfonso's son Fernando had survived, preserved in the royal tombs in the monastery of Las Huelgas at Burgos. The embroidered cap and the belt give a very good idea of the brilliant colours of royal dress. The cut of Ferdinand's mantle is that of a simple tunic and clothing of the late 13th century relied heavily on the richness of the materials and of the embroidery. Alas, we have only the description from the royal accounts of Edward III in his Christmas gown for 1337. The hood alone depicted tigers held in court made from pearls and embossed with silver and gold with a castle and a man riding towards it and moreover, between each tiger a tree of pearls and a tree of gold. The charteric clerks obviously enjoyed writing up these elaborate details but alas, there are no images in account books. What I can of you is instead is a little image of an Old Testament king wearing a very avant-garde pattern on an embroidered tunic as part of an English ecclesiastical cope dating to around 1320. In the early 14th century the invention of a sleeve and of buttons revolutionised the possibilities of dress and later royal clothing is distinguished not only by silks and satins but by fashion and design. By the middle of the century these fashions could be extreme. Witness this image of Louis a member of the French duquel family of Anjou who claimed to be king of Naples and Sicily and Jerusalem. He married the queen of Naples in 1352. This picture of him is from the statutes of the Order of the Holy Ghost which he founded the following year. The length of the hood and the totally impractical sleeves are combined with a body-hugging short tunic made of white samite a cloth particularly reserved for kings and bishops and it is all in the latest court style. At the same time exotic materials were imported from as far afield as China. Chinese silk has been found in a London excavation dated to around 1325 and the Chinese silk woven with dragons and serpents was part of the truso of Edward III's daughter Joan in 1348. St Edmund, one of Richard II's patron saints and the famous Wilton Diptych painted in the last quarter of the 14th century was a similar Chinese silk again in blue and gold. Next we look at portraits. The first realistic portraits of kings are surprisingly late. If you saw someone dressed magnificently he was probably a king. But how did you know which king? Magnificence alone did not enable you to identify an important person you had never seen before. Portraits in the broadest sense are the modern way by which we identify people we don't know. But it is not until the early 14th century in Italy that portraits appear as realistic images. This picture on Robert I of Naples on the left is part of an altarpiece by Simone Martini of about 1317. The image of John of France on the right is also probably the work of an Italian painter about 20 years later. We also know that Charles V of France in 1370s had portraits of his uncle the Emperor Carl IV his father John II and Edward III of England on a folding panel in his study so that the idea of the portrait painting was firmly established by then. Now we come to the most important figure in today's talk. He was Carl IV sometimes called Charles IV because he was half French but he was Holy Roman Emperor and as that's a German title I use his German name from 1348 to 1378 he had extensive domains stretching from the Baltic to the Adriatic he seems to have used portraits as a methodical means of making himself familiar to his subjects no less than 70 portraits of him survive. Here are two of these and we shall see more shortly. He can't be described as handsome with a long, bulbous nose, heavy eyebrows and a generally slightly uncouth expression but it is an unmistakable face and Carl IV was a remarkable character brought up in the French court his mother was a French princess he was tutored by Pierre Roger a famous theologian who became Pope Clement VII he was crowned five times twice as king of the Romans twice as king of Bohemia and finally as emperor he was a successful general an astute politician and a deeply religious man who wrote his autobiography at the age of 33 two aspects of his magnificence his public magnificence magnificence was extended to the king's surroundings, to his family to his court and courteous and to his artists and musicians to the whole ambience of royalty magnificent buildings such as castles and palaces which Aristotle would have acknowledged as part of magnificence were still included but as an aspect of the king's personal prestige everything about the king's family his companions, his surroundings and even his personal beliefs could contribute to his magnificence which in turn reinforced his person position and his title to his to his position Carl IV as Holy Roman Emperor represents the magnificence of an established ruler Bohemia, his first kingdom was the heart of his operations Prague itself was a modest capital with a palace and ruins when Carl first came there in 1333 as his father's deputy Carl created over the next 40 years a new town larger than the existing city endowed it with a university both a palace and a cathedral on the Chradgani hill which overlooks a city the plan for the new town included a processional way leading from the southern entrance to the Chradgani processions might be held when the emperor returned to his city or when he displayed a newly acquired religious relic he accumulated over 600 such relics during the course of his reign when he acquired the body of St Vitus the patron saint of Bohemia from the town of Pavia in 1355 he sent ahead a triumphal letter to Prague announcing its forthcoming arrival there and it was duly born in procession along this route the most spectacular event was the procession with the imperial regalia when Carl acquired them in 1380 the crown was symbolically and visually the most dramatic of these nearly 400 years old it had been remodeled in various ways the base was and is essentially in its original form it owes something to Byzantine crowns notably the four enamel plaques around the base this view is of the front of the crown with the most massive of the jewels the arch and the cross were added in the 11th century one day I would love to give a talk entirely about this object the coronation mantle of Roger II it was made in Sicily by Arab embroiderers who left a note of their names and the date 1133 inside the lining this was only discovered during a late 20th century restoration having been unseen for 8 centuries the two lions attacking camels symbolised the Norman conquest of Sicily and a Byzantine style clasp at the top you can see where it would fasten round the neck has patterns representing the relationship of the heavens and the earth so it was a highly symbolic garment it was used as imperial coronations until the 15th century a replica was then made on such occasions and the original carefully preserved as a relic which is why it's so resplendent today now we move to I think what was the major discovery for me when preparing this book and talk it relates to Karl's private magnificence his private passion for the collection of relics and it relates to the castle of Karlstein 30 miles outside Prague if Prague is Karl's public monument Karlstein is his private place one writer called it his castle of spiritual delights it is magnificent in a very different way a fabled treasure house to which only the very privileged were allowed access the castle seems to have begun as a summer retreat it then housed the imperial regalia before becoming a very focused religious centre the two massive towers at the heart of the castle are perhaps reminiscent of the imperial treasury at Triffells in the Rhineland in their design security when you arrive at Karlstein the journey from the secular apartments at the foot of the first tower to the chapel of the Holy Cross at the summit of the second tower is dramatic in the extreme the first staircase leads to the quarters of the college of cannons in the first tower whom Karl had established there to serve his new sanctuary the chapel is relatively spacious and wall paintings here depict Karl being given relics by the kings of France and Cyprus on the right he is putting them into the Holy Cross which was a crucifix which doubled as a reliquary and was designed to hold all the relics from the crucifixion which he had collected from this first tower a narrow wooden footbridge is all that connects you to the second tower the staircases too become narrow they are brilliant with wall paintings honouring the royal dynasty and Karl's favourite saints as you mount the stairs the ceiling colour changes first from red to blue and then from blue to the starry deep blue vault of heaven before we come to the entrance of the Holy Cross chapel this is a space which has to be experienced it is almost impossible to provide an adequate two-dimensional image of it the entry is made all the more dramatic by a small alloch chamber before you step into this dazzling space a gold and semi-precious stones hosts of the saints and holy kings and queens look down from the more walls the ceiling is guilt guess of the walls are decorated with semi-precious stones simply cut in half and very large pieces of semi-precious stone the ironwork is all gilded and as the chief relic is the crown of thorns which was the crown which Saint Louis brought back from Byzantium which was worn by Christ at the crucifixion the decoration is of thorns and on the top of the ironwork what makes it even more dramatic is the painter who produced this there is nothing quite like it in western art that I know of master theodric is a greek name we know very little about him he is simply there as the king's painter and he produces with his assistants 130 of these portraits most of them with these remarkable eyes which follow you as you move through the space it is a magical and very little visited place because there is no connection to Prague you have to hire a taxi and go out there and that enhances the extraordinary feeling of remoteness and distance in time our next kind of magnificence is different is competitive magnificence we move only 20 years forward to France within the space of four years from 1377 to 1380 the three greatest rulers of Europe all died edryd the third in England and his nephew Charles V in France by the end of the century both Richard II of England and Wenceslas heir to the emperor had been deposed Charles VI of France was 12 when his father died leaving the royal finances in a healthy state Charles however the younger Charles was excessively fond of festivals and tournaments and planned lavish ceremonials such as that for the coronation of his wife Isabelle Bavaria at Notre Dame in 1389 the chronic Lejeune François got wind of it and went specially to Paris to see the spectacle this is a later miniature but is accurate in that it shows the citizens of Paris parading in their traditional half red half green costumes and the queen born on a litter Charles VI went dramatically mad on August 25th 1392 he was leading his army on campaign and was startled by a sudden noise he believed he was under attack and drew his sword killing five of his own men and wounding his brother the Duke of Orleans he recovered from this but the illness recurred the following year now he imagined himself as made of glass and liable to chatter at any moment and the illness continued at intervals until the end of his life Isabelle who was a remarkable character in her own right became queen regent and she therefore assumed the king's role of magnificence Isabelle undoubtedly loved rich dress and spent substantial amounts on it she encouraged new fashions for women such as wearing the male garment of the hooploond a long gown with flat sleeves and a trading skirt again I'm sorry not to have an image but the hooploond of Philip de Bold one of the dukes on the regency crownsor for a festival in 1398 consisted of cloth of gold with seven spiral ribbons of different colours which ran round the body it's almost difficult to imagine it Isabelle also introduced new hairstyles satirised by the poet Eustach Deschamps as Alibora which evolved into the horned headdress known as the henna shown in this picture of Isabelle with the poet Christine de Pysel it was perhaps not surprising that her magnificence combined with her love of fashion should lead to attacks on her by her opponents for extravagance it is noticeable that male rulers were exempt from this kind of criticism the problem was that Isabelle and the three royal dukes were almost equal in power they had substantial lands and substantial followings which we shall come to but the politics of the next 20 years were extremely complicated and she steered her way through them they were further complicated by extraordinary extravagance on everybody's part we come to New Year's gifts now this is a very famous miniature the tradition of New Year's gifts goes back to the strenua exchanged at the Roman New Year there were a record of relatively modest gifts of this kind at the Court of Edwin III of in England this was nothing as to what was happening in the French court the illustration for the month of January in the famous Très Récheur of John Duke of Berry has been interpreted recently as showing the duke's clients queuing up to offer him presents while his court fool encourages them with cries of a prosche a prosche a prosche and the court fool beckoning him on between 1401 and 1416 the royal accounts report 7000 gifts on New Year totaling half a million tornoir pounds or rather more than the annual income you could bargain dear at the time sadly little of the jewellery which is usual form of such offerings survives because it was so often treated as a form of bullion and melted down while the precious stones were put into store for reuse by 1422 when Charles VI died the French treasury was exhausted and this was many pieces of Goldsmith's work were melted down the one surviving masterpiece and the French goldsmiths of the period were unsurpassed in their skills is a so-called little golden horse which was given by Isabel to Charles VI in 1400 the king nears on the left you can see the enlargement and beside him is his heraldic beast the tiger on the right is his squire holding his helm and below is the royal groom waiting with the king's horse a wonderful harmony of golden white the enameling on the sweeping curves of the clothing was a totally new technique and if the jewellery representing the rose garden surrounding the virgin may seem over that elaborate today the design as a whole is wonderfully executed now as I've mentioned an intense rivalry developed between the dukes on the royal council this rivalry became a kind of competition in magnificence marked by personal badges which were the means of expressing both splendour and marking one's followers when one duke adopted a knotty club as his badge his rival adopted a carpenter's plane saying he would shave off the knots with it this illustration shows the king reclining on a daybed his dress has a pattern of peacock feathers one of his badges and his hangings have another sprigs of brun around the top is his motto in modern French jamie never and I can't remember exactly what it refers to but these motos run through later magnificence right to the Elizabethan period at which point a commentator writes the obscure motos of which the meaning is impossible to divine the ferocity of the quarrels between the dukes was such that two of them were assassinated firstly the Duke of Orleans by 1407 in 1407 by John the Fearless son of Philip Duke of Burgundy and John the Fearless in his turn in revenge in 1419 this is a frontispiece to a pamphlet supporting John the Fearless and his actions which shows their heraldic animals fighting in front of the royal tent the wolf Olyon is reaching for the French crown and is struck down by the lion of Burgundy Burgundy brings me to my last type of magnificence which is ambitious magnificence Burgundy's first Duke was Philip the Bold in the 1380s now that's the Duchy of Burgundy that he started with he married Margaret of Flanders and the two were united on his death at 1405 and that inheritance passed to John the Fearless who in a brief reign only added a few small parts but the real expansion came with Philip the Good and then finally with Philip the Good son Charles the Bold it's a huge state running right down the middle of Europe the rise of the Duchy of Burgundy was made possible by the weakness of the French crown and particularly during the French rule from Paris after the Treaty of Croix which had passed the French succession to the English kings and the English ruled again with a regency in the name of Henry VI in Paris Philip the Good was wealthy enough to have by 1450 the most admired court in Europe he was far wealthier than the contemporary French kings and in any case Louis XI known as the Universal Spider was far more interested in intrigue than display John Paarston of the Paarston letters was sent on an embassy there in 1468 his odd description to his mother back in rural Suffolk is typical of the response of visitors As for the Duke's Court I never heard of one like it for lords, ladies and gentle women knights, squires and gentlemen except for King Arthur's Court I have not the wit nor memory to write to you of half the noble events here we know a great deal about these noble events from the memoirs of Olivier de la Marche who began as a page and rose to become master of ceremonies to Philip and his son Charles he wrote a description of Charles of Bode's household as well as lengthy accounts of the marriage of Charles and Margaret of York which he organised and which was the precursor to the field of the cloth of gold and of the three great feasts held by Philip now I've looked at a very large number of medieval manuscripts and consulted other people all the wonderful miniatures in them I only know one which begins to give you some idea of what a feast really looked like really looked like I put on the left a typical illustration of a feast that's what they managed to run to three people at a table with a rather bare tablecloth and it's amusing because it actually illustrates the paragraph on magnificence in a treatise of the 14th century on the right hand side you have a bit more of an idea of what it was like because the medieval feasts had interludes which gradually developed into full blown dramatic performances and this was a feast given by Charles V to his uncle Carl IV in 1377 at which they re-enacted the first crusade you can see the crusaders' boat arriving bottom left that was the end of the first interlude and the second interlude was the siege of Jerusalem and scaling of the castle and they would have built a model castle in the hall and literally as a theatre set and that in fact is much more what the later feast festivals are about In 1454 the most famous feast of all Philip the Good wanted to make it the apogee of his achievements it was called the feast of the pheasant because of a curious habit of taking vows on pheasants I'm trying to remember what the other things are cranes various birds seem to be the object of vows and the crusading vow was curiously taken on the pheasant The feast was intended to launch a full scale crusade in revenge for the disastrous Nicopolis in 1397 which had led to his father John Duke of Burgundy being captured by the Muslims but there is no visual record of the feast of the pheasant We have descriptions of the interludes from Olivier de la Marche but we have to imagine the moment when a figure representing Jerusalem entered the hall on the back of an elephant and sang a countertenner aria lamenting the city's fate The figure is said to have been La Marche himself On the tables there were other musicians an entire choir in a chapel and a pasty with 24 fiddle players in it very probably the origin of the 4 and 20 black puppet birds of the English nursery rhyme There are instructions in the cookery books as how to build a pastry to contain musicians One other feature of the feast which I can show you a little on is the buffet Now a modern buffet derives a very long way round from it but the buffet was the place where you displayed your best plate Now that's a very modest buffet as we shall hear but it gives you an idea of a table and centre with plate on it and here are some of the plate you might find on it such as the wonderful Royal Go Cup in the British Museum the Ewer from Copenhagen the Huntsman salt in the Ashmolean and a Flemish beaker in the Metropolitan but those would be the kind of objects which you must imagine when I read you Olivier Del Marche's description of the wedding of Charles de Beld and Margaret of York in 1468 In the middle of the hall was a high and rich buffet in the shape of a lozenge The base of the buffet was enclosed like the list in a tournament for security and the whole of it was covered in tapestry with the Duke's arms From the base upward there were steps loaded with plate with the largest pieces at the bottom and the richest and most delicate at the top so at the bottom were the great silver gilt pieces and the top were the gold pieces set with jewels of which there were a great many and at the very top of the buffet there was a rich dueled cup and in the corners there were large unicorn horns very large and beautiful and none of the plate on the buffet was used to serve food that day implying that the Duke had enough to do both things at once Such lavish occasions reflected the way in which Philip the Good had made Burgundy into a major power He was certainly regarded as the equal of kings in power and influence In 1430 he founded the Order of the Golden Fleece which he was wearing in this portrait It was soon regarded as the most prestigious night they order after the Order of the Garter In 1447 the Emperor Frederick III anxious to obtain Philip's support suggested that he might be created King of Brabant, one of his provinces within the empire while remaining technically Frederick's Vassal which would have satisfied Philip's by then well-known admission to become king in some to obtain the title of king However, nothing came of it It was left to his son Charles Bold to make another attempt at this Charles renewed the idea of kingship in 1472 suggested that his only child, Mary would marry Maximillian, Frederick III's son In return Frederick would make Charles king of the Romans heir to the Holy Roman Emperor So on Frederick's death Charles would be emperor and Maximillian would become king of the Romans Maximillian would then succeed to the imperial title and to the Burgundian lands Duke and Emperor met at Trier on 30 September 1473 Frederick had intimated that he was rejecting the scheme but Charles set out to dazzle the emperor and indeed the whole of Europe He arrived with a retinue of over 1,000 men in the most luxurious livery The total cost of the clothing alone was almost 39,000 pounds If you think in the terms of 39 million today you're getting somewhere in the other mark We have an image of the feast at Trier Unfortunately it's a German artist working in the style of the time which has nothing of the impact it's pen and wash and it has nothing of the impact of the French miniatures but it does correspond to the description and it made a huge impression on those who took part in it A small book on the magnificence of Burgundy was the title of a tract written by an eyewitness and it was so much in demand that it was quickly translated from Latin into German and Dutch At the feast which Charles gave in the Emperor's honour there were three tables and everything on them was of golden of silver His Imperial Majesty Majesty sat in the middle of the first table and on his right the Archbishop of Maint the Archbishop of Trier the Bishop of Leage and the Bishop of Utrecht On the other side sat the Highborn Prince Duke Charles of Burgundy Maximilian Archduke of Austria the Emperor's son and the Three Dukes of Bavaria In the first place 13 dishes were presented and served ushered in by 16 trumpeters and 12 princes dressed in cloth of gold Besides these 12 princes were another hundred princes, lords, knights and noblemen all clared in cloth of gold and silver and according to his rank Frederick III was not susceptible to this kind of display By 23 October Charles realised he was getting nowhere lowered his sights and demanded merely some concessions political concessions from the Emperor This was in public In private the Emperor reluctantly offered to make the county of Burgundy a kingdom Preparations were made for the Emperor to crown Charles at Trier itself before the end of November But it all came to a sudden end Frederick II announced on 24 November that he was leaving immediately and went to his ship on the river One of Charles's councillors tried to delay him so that the Duke could at least bid him a formal farewell The Emperor waited on his galley for half an hour for the Duke to appear and then ordered his rows to start This diplomatic insult to the great shame and humiliation of the Duke caused a deep rift between the two countries The Germans were offended by the Popeson ceremonious language of the Duke which they took for pride The Burgundians were offended by the Emperor's entourage and poor clothes Ducal magnificence was less powerful than imperial intransigence Throughout these negotiations Charles was making plans to re-bury his parents, Philip the Good and Isabelle in the morcelium which his father had created at Champ Moll near Dijon This ceremony was probably seen and remembered by more people than any other event during the existence of a medieval Duchy of Burgundy It involved journeys from Bruges in northern France of a total of 870 miles 30 kilometres The Buddies were taken in solemn possession from Bruges and from Gosne in northeast France with torches blazing, a military escort and chanting monks walking alongside Bellos were rung in every place through which they passed on their journey They struggled through torrential rain and floods The costs of the re-burial were huge and a vast number of people involved At each stop hundreds of candles were used on occasion perhaps as many as a thousand There were formal entries into towns such as Namur and Valetienne and Dijon itself In these and other times elaborate burning chapels or catafelks with heraldic devices were erected in the churches where the coffins laid overnight Why should this re-burial which had long been planned suddenly be put into effect postponed several times then carried out in the depths of winter The clue is that the operation was originally to have begun on November 20 two days after the date set in the negotiations at Traia for the coronation of Charles as King of Burgundy After the rebuff from the emperor the whole thing was delayed and the journey finally began on the 2nd of January in the worst possible weather The intention had been that it should be Charles's first royal act Unexpected as this form of magnificent seams was actually the most effective or could have been in terms of propaganda If it had been combined with his coronation it would have been a truly dramatic opening to his reign Four years later Charles lived up to his nickname usually translated as a bold The French word is Temeraire as in temerity and it implies full hardiness Charles has got entangled in a war with the Swiss and outside Northsea in January 1477 he attacked the army of the Swiss and their allies with 5,000 men The enemy outnumbered Charles's men by at least four to one and the conclusion was to be expected but the route was so chaotic that it took two days to find the Duke's mangled body The chronicles remembered Charles by his magnificence shown on the left seated in cloth of gold but after his death they wrote out his 12 magnificences and this is where the magnificence had got to at the end of the Middle Ages Maximilian of course inherited the Emperor because a marriage with Mary of Burgundy went ahead it was united with the Habsburg domains and Burgundy disappeared from the map so at Northsea medieval magnificence came to an end and the way was paved for a different kind of magnificence in the Renaissance Thank you