German Society at the Close of the Middle Ages. Bax Ernest Belfort
all. The clergy were to be limited to one benefice apiece. The monasteries and ecclesiastical foundations were to be curtailed, and their superfluous property confiscated. All feudal dues were to cease.
The strange and almost totemistic superstition that the mediæval mind attached to symbolism is here evinced by the paramount importance acquired by the question of the banner. A banner was costly, and the Bundschuh was poor, but the banner was the first necessity of every movement. In this case, it was obligatory that the banner should have a Bundschuh inscribed upon it. Artists of that time objected to painting Bundschuhs on banners; they were afraid to be compromised. Hence it was, above all things, necessary to have plenty of money wherewith to bribe some painter. Kilian Mayer gave five vats of wine to a baker, also one of the brotherhood, in Freiburg, to be sold in that town. The proceeds were brought to Joss as a contribution to the banner fund. Many another did similarly; some of those who met on the Hardmatte, however, objected to this tax. But ultimately Joss managed, by hook or by crook, to scrape together what was deemed needful. Joss then called upon a "brother" from a distant part of the country, one known to no one in Freiburg, to repair to the latter city and hunt up a painter. The "brother" was in a state of dire apprehension, and went to the house of the painter Friedrich, but at first appeared not to know for what he had come. With much hesitation, he eventually gasped out that he wanted a Bundschuh painted. Friedrich did not at all like the proposal, and kicked the unfortunate peasant into the street, telling him not to come in future with such questionable orders. The artist instantly informed the Town Council of Freiburg of the occurrence; but as the latter did not know whence the mysterious personage had come, nor whither he had gone, they had to leave the matter in abeyance. They issued orders, however, for all true and faithful burghers to be on the look-out for further traces of the mischief.
After this failure, Joss bethought him that he had better take the matter in hand himself. Now, there was another artist of Freiburg, by name Theodosius, who was just then painting frescoes in the church at Lehen; to him Joss went one evening with Hans Enderlin, a person of authority in the village, and Kilian Mayer. They invited him to the house of one of the party, and emptied many a measure of wine. When they had all drunk their fill, they went to walk in the garden, just as the stars were beginning to come out. Joss now approached the painter with his project. He told him that there was a stranger in the village who wanted a small banner painted and had asked him (Joss) to demand the cost. Theodosius showed himself amenable as regards this point, but wanted to know what was to be the device on the banner. Directly Joss mentioned the word Bundschuh, the worthy painter gave a start, and swore that not for the wealth of the Holy Roman Empire itself would he undertake such a business. They all saw that it was no use pressing him any further, and so contented themselves with threatening him with dire consequences should he divulge the conversation that he had had with them. Hans Enderlin also reminded him that he had already taken an oath of secrecy in all matters relating to the village, on his engagement to do church work, a circumstance that curiously enough illustrates the conditions of mediæval life. The painter, fearful of not receiving his pay for the church work, if nothing worse, prudently kept silent.
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