d the troubadours. In this picture the singer
is seen to be accompanying himself before the king, whereas in
plate 28 we see two troubadours in the lists, their _jongleurs_
playing or singing the songs of their masters, while the latter
engage each other in battle. In order to give one more example
we will take the pictures of Conrad, the son of Conrad IV,
and the last of the Hohenstaufens (plate 11). He was born
about 1250, and was beheaded in the market place at Naples in
1268. The story of Konradin, as he was called, is familiar;
how he lived with his mother at the castle of her brother,
Ludwig of Bavaria, how he was induced to join in a rebellion
of the two Sicilies (to the crown of which he was heir) against
France, his defeat and execution by the Duke of Anjou, himself
a well-known troubadour. The text accompanying his picture
in Hagen's work describes him as having black eyes and blonde
hair, and wearing a long green dress with a golden collar.
His gray hunting horse is covered with a crimson mantle, has a
golden saddle and bit, and scarlet reins. Konradin wears white
hunting gloves and a three-cornered king's crown. Above the
picture are the arms of the kingdom of Jerusalem (a golden
crown in silver ground), to which he was heir through his
grandmother, Iolanthe. One of his songs runs as follows, and
it may be accepted as a fair specimen of the style of lyric
written by the minnesingers:

The lovely flowers and verdure sweet
That gentle May doth slip
Have been imprisoned cruelly
In Winter's iron grip;
But May smiles o'er the green clad fields
That seemed anon so sad,
And all the world is glad.

No joy to me the Summer brings
With all its bright long days.
My thoughts are of a maiden fair
Who mocks my pleading gaze;
She passes me in haughty mood,
Denies me aught but scorn,
And makes my life forlorn.

Yet should I turn my love from her,
For aye my love were gone.
I'd gladly die could I forget
The love that haunts my song.
So, lonely, joyless, live I on,
For love my prayer denies,
And, childlike, mocks my sighs.

The music of these minnesingers existing in manuscript has been
but little heeded, and only lately has an attempt been made to
classify and translate it into modern notation. The result so
far attained has been unsatisfactory, for the rhythms are all
given as spondaic. This seems a very improbable solution o