Picturing the Flute of Maximilian I: A Study of the Transverse Flute and its symbolic use as a political instrument in the Mummeries of Freydal

Abstract

The mummeries, or masked dances, of Freydal (1512–1515), one of Maximilian's allegorical autobiographies, are a realistic portrayal of a flamboyant form of courtly entertainment denounced by the Church, and its colorful miniatures reveal thirty-five transverse flutes with diverse sizes, bore-widths, and colors, reflecting a transitional decade in the history of the flute. Noble ladies hosted these mummeries in their Frauenzimmer, where flutes and drums were also important for dance practice. The flutes of Freydal appear mostly in ensemble with drum, but also with trombone, other flutes, and singers, and historical records list dance and military flutes separately, suggesting that the quality of Maximilian's flute-and-drum music was closer to the revered alta capella than the military duo. Flutists, who were likely multiinstrumentalists capable of doubling and reading notation, wear black silk masks and matching costumes with Freydal's dancers, indicating an elevated social standing. By attaching himself to transverse flutes in his paper propaganda, Maximilian evokes the glory of crusade, local German tradition, and sensual, humanist ideals, thus marketing himself as "the merriest king."