324:
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482:
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625:(a pantomime dance) or other post-tournament festivities with male courtiers, including the knights who had competed in the tournament, dressing up to dance in a variety of exotic costumes. Known as ‘mummeries’, these were a regular feature of the evening entertainment after tournaments. Although the illustrations usually depict dances — either
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combat; and a masquerade ball. Freydal competes in each tournament and almost always wins. Once all the tournaments are completed, Freydal receives a letter from one of the noble ladies who, it transpires, is a powerful queen; in the letter, she professes her love for him. The narrative ends with
Freydal setting out to search for her, and
431:
The narrative begins with three noble ladies asking
Freydal to compete in the tournaments. A description of sixty-four tournaments follows in a ritualised and repetitive pattern. Each is hosted by one of the finest courts in the land and comprises three events: two different types of jousting; a foot
231:
reflects
Maximilian's lifelong enthusiasm for jousting. He attended his first tournament at the age of 14 and was captivated by its traditions and spectacle. He staged many tournaments, with major ones held to celebrate his wedding to Mary of Burgundy in 1477, his coronation as King of the Romans in
819:
to model and enhance his public image. Traditionally, Maximilian is seen as doing this in a backward-looking and, even, in a delusional way, by harking back to a former age. As part of this view, his aim was perceived as making up for the limitations to his actual power by the use of media like
795:
illuminated manuscript is considered one of the most important and precious of this genre. As the largest surviving tournament book, it provides an unparalleled pictorial source of jousting from the late medieval period.} It is also the only one to depict spectacular falls. In addition to
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236:
in 1515. Unusually for a powerful ruler, Maximilian was himself a frequent participant in tournaments. The first tournament he is recorded as participating in was in 1485 when he was 26 and he continued until 1511, when he was in his 50s. His affinity for jousting contributed to his
505:
popular at the time, both on horse and on foot. Freydal features in each illustrated combat and his opponent is an historical figure with whom
Maximilian actually jousted. Each picture, in the lower margin, identifies the name of the opponent and the other courtiers depicted.
277:, meaning "white joyful young man". He appears to have begun planning the work in 1502 when he instructed his court taylor, Martin Trummer, "to have drawn in a book all those costumes as yet seen in mummeries organised by his majesty". A “mummery” was a late medieval courtly
428: – demonstrates his valour in combat in order to earn honour and fame and to win the hand of a princess. Freydal is the son of a “mighty prince” and he is born with “noble virtue”; his heraldic colours are white, red, and black, symbolising purity, fire, and bravery.
323:
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is half conceived, the largest part of which we have made in
Cologne". The work was never completed, however, and the text exists only in draft form. The manuscript text dictated to Treitzsauerwein, and corrected in Maximilian's hand, is held by the
673:
In each scene, all the men are dressed in the same costume and normally wear a mask. Women, however, are always shown wearing their usual court attire. In each of these post-tournament pictures, Freydal appears carrying a torch and wearing a mask.
843:, Maximilian was "the world's most powerful monarch at the time". Increasingly, his skilful use of new media, such as the printing press, for propaganda purposes is seen as part of his success in laying the foundations of future Habsburg power.
24:
828:) has said, the extent to which Maximilian employed this strategy meant that his court “literally existed on paper: to a large extent it was a virtual quantity”. However, the notion that Maximilian was an unsuccessful ruler who indulged in his
796:
illustrating the jousts themselves, it represents a remarkable catalogue of the weaponry used during tournaments and is the most extensive record of mummery, the early court masquerade, that exists. The manuscript has been recognised in
572:
increases the spectacle by attaching multiple triangular platelets to the shield which, when the shield is ejected, come loose and explode into the air like a firework display. Maximilian claimed to have invented this type of joust.
529:(Italian joust of peace) a board separates the jousters so that they can ride more closely to each other and strike their opponent frontally with greater force. This results in a spectacular splintering of the lances. In the
358:
illustrations derived from the miniatures. Although
Maximilian never succeeded in doing this, and the text remained only a draft, five of the illustrations were trial printed. These were from woodcuts made in about 1516 by
52:
in the guise of the tale's eponymous hero, Freydal. In the story, Freydal takes part in the tournaments to prove that he is worthy to marry a princess, who is a fictionalised representation of
Maximilian's late wife,
165:
scholars and artists to assist him in completing a series of projects, in different art forms, intended to immortalize his life and deeds and those of his
Habsburg ancestors. He referred to these projects as
2079:
343:
with gold and silver highlights over pen, pencil and leadpoint by two dozen anonymous court artists under the direction of the imperial master-taylor. All but one of the paintings are preserved in an
568:, the shield is held in place on the rider's breastplate with a complicated spring mechanism and when it is struck in the right place by the opponent it is ejected high into the air. The
107:, or ‘mummeries’, that took place at the end of the day after each tournament. It is the most extensive visual record of late medieval tournaments and court masquerades that exists.
781:
Tournament books were a feature of late medieval and renaissance courtly culture and provide a graphic record of jousting and its associated rituals. Notable examples include
2010:
2074:
463:
However, the tournaments described are based on encounters
Maximilian actually had. This is evidenced by a list of people involved in the story in the first seven
533:(joust of war with flying shields) the shield is shown loosely fixed to the rider's breastplate, the aim being to dislodge it. In contrast, the objective of the
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2049:
1536:
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The next development was the commissioning of planning sketches for the entire work, created over the following ten years. They were drawn in pen on
122:
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The male courtiers in the mummeries in the manuscript dress up, amongst other things, in costumes based on nationality or ethnicity, for example
374:
In modern times, the
Kunsthistorisches Museum illuminated manuscript tournament book has been published twice. A multi-volume edition, edited by
549:
where one rider wears the armour of a joust of peace but wields the lance of a joust of war and the other rider has the opposite combination.
1949:
1928:
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304:. Maximilian's instructions on the subjects to be illustrated as well as corrections, in his own hand, of some of the proofs have survived.
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In 1511, Maximilian dictated some of the text to his secretary, Max Trytssaurwein, (or Marx Treitzsauerwein) and the following year wrote "
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1663:
336:
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525:, or “jousts of peace”, are where the lance has a blunted tip. Within these two broad groupings, eleven sub-types are shown. In the
143:
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was intended to be not only an artistic work but also political propaganda. As part of what he called his ‘memorial projects’ or
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in the early 16th century. It was intended to be a romantic allegorical account of Maximilian's own participation in a series of
45:
339:, based on the planning sketches, were created between 1512 and 1515 to illustrate the text. These were painted on paper in
288:, using brown and black ink with watercolour over black chalk and leadpoint. A collection of 203 of these are housed in the
1644:
Ruling the Waves: Emperor Maximilian I, the Search for Islands and the Transformation of the European World Picture C. 1500
592:
In each of the tournaments, the participants are shown engaging in a foot combat. A variety of weapons are used, including
801:
110:
The written story and illustrations were never brought together in a single work, as Maximilian had originally intended.
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1673:"Die ritterspiel als ritter Freydalb hat gethon aus ritterlichem gmute – Das Turnierbuch Freydal Kaiser Maximilians I."
2069:
2054:
545:) jousts replicate skirmishes in war and the riders wear battlefield armour. The rarest type of joust depicted is the
368:
2084:
313:
61:
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projects either because he was fantatasist or to compensate for his weakness has been challenged. According to
763:
1815:
Schröder, Klaus Albrecht (2012). "Foreword and acknowledgements". In Michel, Eva; Sternat, Maria Luise (eds.).
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412:
348:
257:
233:
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28:
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are closely linked and together give an allegorical account of the events leading to Maximilian's marriage to
833:
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survives as three separate elements: a draft incomplete text, the planning drawings and the tournament book.
103:. These miniatures vividly record the different types of jousts that were popular at the time as well as the
838:
692:
476:
364:
289:
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64:. Over 200 high quality drawings were created to be used as planning sketches, 203 of which are held in the
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Based on the draft text preserved in the Austrian National Library, the story is an account of a series of
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85:
782:
419:
375:
209:
49:
2020:
1839:
Silver, Larry (2002). "Shining Armor: Emperor Maximilian, Chivalry and War". In Cuneo, Pia F. (ed.).
821:
162:
1776:
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The work reflects Maximilian's vanity, as exemplified by a poem which forms part of the draft text:
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1980:
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and creatures with bird's heads. In one masquerade illustrated, the male participants engage in
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in 1486; upon his father's death in 1493 he succeeded to the throne of the Holy Roman Empire.
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379:
2005:
1972:
1959:
Whaley, Joachim (2012). "Heinz Noflatscher, Michael A. Chisholm, and Bertrand Schnerb, eds.
825:
659:
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197:
69:
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382:), was published in Vienna in stages between 1880 and 1882. In 2019, the German publisher,
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is effectively a sequel in which the hero overcomes dangers on the journey to his wedding.
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The Tournament and its Role in the Court Culture of Emperor Maximilian I (1459-1519)
386:, published the entire tournament book in a single volume, edited by Stefan Krause.
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Foot combat with flails against Wilhelm Auer von Herrenkirchen zu Neudorf (fol.83)
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1664:"Freydal, the Tournament Book of Emperor Maximilian I: The Washington Manuscript"
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1621:
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1559:
204:, which is partly a tribute to Mary, the eponymous hero pursues his fair lady by
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The Medieval Tournament as Spectacle: Tourneys, Jousts and Pas d'Armes 1100-1600
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of little known court ceremonies, prize-givings and mock battles, for example a
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363:, albeit the cutting was somewhat rough. A sixth woodcut has been attributed to
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Artful Armies, Beautiful Battles: Art and Warfare in the Early Modern Europe
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424:
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23:
722:
35:
Illuminated manuscript: Freydal jousts with Veit von Wolkenstein (fol.133}
502:
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The miniatures in the tournament book manuscript illustrate the types of
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The text was never completed, although a manuscript draft is held by the
2030:
Freydal. Medieval Games. The Book of Tournaments of Emperor Maximilian I
1525:
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in Vienna. The remaining painting has been missing since at least 1600.
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Post-tournament festivities: grotesque-style dancers or mummers dance a
170:("memorial"), and included a series of stylised autobiographical works:
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1772:"Freydal: the 16th-century comic that captures the thrill of jousting"
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is to unseat the opponent and his shield is fixed to his armour. The
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of the draft text, and who are known to have been actual courtiers.
1976:
1537:"Power and Pageantry: The Tournament at the Court of Maximilian I"
575:
521:, or “jousts of war”, are where the lance has a sharpened tip and
480:
398:
322:
243:
121:
44:
is an uncompleted illustrated prose narrative commissioned by the
22:
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in which Freydal – a young knight and Maximilian's literary
1961:
Maximilian I. (1459–1519): Wahrnehmung — Übersetzungen — Gender.
1862:"Caesar Ludens: Emperor Maximilian I and the WAninf Middle Ages"
1620:
Jackson, William (2001). "Tournaments". In Jeep, John M. (ed.).
663:
621:
After each of the sixty-four tournaments is a scene depicting a
1678:
Kaiser Maximilian I: der letzte Ritter und das höfische Turnier
485:
Freydal in a “joust of war with flying and exploding shields” (
1490:
1488:
1486:
1007:
1005:
1920:
The Last Knight: The Art, Armor, and Ambition of Maximilian I
701: – joust of peace, against Sigmund von Hardegk (fol.106)
367:. One of the woodcut blocks has survived, and is held by the
1886:
Studien über die literarische Tätigkeit Kaiser Maximilian I.
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1471:
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84:
were created by court painters, and 255 are preserved in an
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2001:
Freydal. Des Kaisers Maximilian I. Turniere und Mummereien
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Freydal. Des Kaisers Maximilian I. Turniere und Mummereien
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1418:
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printing to maximize his imperial aura. As the historian
564:(joust of war with flying and exploding shields). In the
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633:— sometimes other types of mummeries are shown, such as
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Although the text was never finalised, 256 high quality
252:
while Freydal, in a mask and holding torches, looks on (
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Cultural depictions of Maximilian I, Holy Roman Emperor
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1311:
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1160:
1158:
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815:, Maximilian I used literary and visual works such as
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A small number of additional drawings are held at the
161:
During his reign, Maximilian commissioned a number of
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1752:
Music and the Exotic from the Renaissance to Mozart
552:One of the most spectacular jousts depicted is the
354:It was intended to print and publish the work with
1866:Cultural Visions: Essays in the History of Culture
1864:. In Sax, Benjamin C.; Gold, Penny Schine (eds.).
716: – joust of war with flying shields (fol.157)
580:Foot combat between Freydal and Claude de Vaudry (
269:Maximilian took a leading part in the creation of
200:in 1477. Mary died five years later, in 1482. In
72:, with a small number of others preserved in the
224:, which has more of the character of a tragedy.
441:
146:were part of what was to become a long line of
18:16th century uncompleted illustrated prose work
1798:Princes and Princely Culture: 1450-1650 Vol. 1
1530:(phd). University of Leeds White Rose eTheses.
1906:"The Legendary Tales of Emperor Maximilian I"
1448:
8:
2004:1880-1882 edition (Q.von Leitner, ed.) from
1252:
1139:
898:
1539:. In Murray, Alan V.; Watts, Karen (eds.).
1424:
2021:National Gallery of Art, Washington D.C.:
1941:The Cambridge History of German Literature
1666:. National Gallery of Art, Washington D.C.
556:(joust of war with flying shields without
517: – are depicted for each tournament.
2075:Paintings in the Kunsthistorisches Museum
1818:Emperor Maximilian I and the Age of Dürer
1796:. In Gosman, Martin; et al. (eds.).
1436:
1370:
1288:
1240:
1201:
1127:
1115:
1094:
935:
923:
871:
681:Scenes from the Kunsthistorisches Museum
1506:
1023:
1011:
220:has a comedic tone which contrasts with
2015:– Das Turnierbuch Kaiser Maximilians I.
1720:The Complete Woodcuts of Albrecht Dürer
1675:. In Haag, Sabine; et al. (eds.).
1355:
1331:
1063:
996:
975:
950:
852:
731: – Italian joust of peace (fol.14)
1738:Leitner, Quirin von, ed. (1880–1882).
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1409:
1397:
1385:
1343:
1319:
1300:
1276:
1264:
1216:
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471:Illuminated manuscript tournament book
1699:Das Turnierbuch Kaiser Maximilians I.
1228:
1166:
1038:
331:, National Gallery of Art, Washington
7:
2060:16th-century illuminated manuscripts
2050:Literature of the German Renaissance
436:then takes up the subsequent story.
1794:"The Court of Emperor Maximilian I"
459:His like will ne’er be seen again.
14:
1623:Medieval Germany: An Encyclopedia
1579:Clephan, Robert Coltman (1995) .
769:Cross-dressing mummery (fol. 207)
618:is also shown in the manuscript.
407:) with Wolfgang von Fürstenberg (
1938:Watanabe-O'Kelly, Helen (2000).
787:and the tournament books of the
762:
750:
738:
721:
706:
691:
232:1486 and on the occasion of the
128:Portrait of Emperor Maximilian I
1917:Terjanian, Pierre, ed. (2019).
662:costume, or as animals such as
80:. Based on these drawings, 256
46:Holy Roman Emperor Maximilian I
1944:. Cambridge University Press.
1923:. Metropolitan Museum of Art.
1755:. Cambridge University Press.
347:‘tournament book’ held by the
1:
1770:McLaren, Iona (25 May 2019).
1641:Kleinschmidt, Harald (2008).
1600:Freeman, Laura (4 May 2019).
802:Memory of the World Programme
745:Mummery festivities (fol.156)
489:) with Sigmund von Welsperg (
457:At tilt, at masks and ball...
403:Freydal in a “joust of war” (
1696:Krause, Stefan, ed. (2019).
1662:Krause, Stefan (2014–2015).
451:His virtues and his goodness
443:This did the gallant Freydal
1558:Barber, Richard W. (1974).
1291:, pp. 121, 122 note 2.
784:King René's Tournament Book
2101:
2011:Kunsthistorisches Museum:
1535:Anderson, Natalie (2020).
1524:Anderson, Natalie (2017).
509:Two types of joust –
474:
455:His many glorious triumphs
447:Thus rendering illustrious
369:Kupferstichkabinett Berlin
1792:Müller, Jan-Dirk (2003).
1681:. Schnell & Steiner.
445:In knightly deeds of fame
314:Austrian National Library
154:. Maximilian was elected
62:Austrian National Library
1749:Locke, Ralph P. (2015).
1626:. Taylor & Francis.
1582:The Mediaeval Tournament
670:and wear women's gowns.
570:Geschifttartschen-Rennen
562:Geschifttartschen-Rennen
487:Geschifttartschen-Rennen
449:The glories of his name.
349:Kunsthistorisches Museum
234:First Congress of Vienna
97:Kunsthistorisches Museum
29:Kunsthistorisches Museum
1883:Strobl, Joseph (1913).
1723:. Courier Corporation.
1671:Krause, Stefan (2014).
1585:. Courier Corporation.
1561:The Knight and Chivalry
834:Klaus Albrecht Schröder
477:Freydal tournament book
365:Lucas Cranach the Elder
290:National Gallery of Art
66:National Gallery of Art
2036:Catalogue (in English)
1860:Silver, Larry (2013).
1824:. Prestel; Albertina.
685:illuminated manuscript
589:
498:
461:
415:
345:illuminated manuscript
332:
273:, a name derived from
261:
136:
86:illuminated manuscript
36:
1965:Renaissance Quarterly
1717:Kurth, Willi (1963).
1602:"The joy of jousting"
1543:. The Boydell Press.
1497:, pp. 1237–1238.
1334:, p. 88, note 1.
887:Watanabe-O'Kelly 2000
641:between peasants and
579:
560:) and its variation,
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402:
326:
247:
125:
26:
1279:, pp. 172, 174.
1130:, pp. 120, 123.
453:Are manifest to all;
327:Planning sketch for
265:Creation and history
174:, the prose romance
50:jousting tournaments
2065:Medieval tournament
1904:Taschen Catalogue.
1480:, pp. 307–308.
1439:, pp. 120–121.
1346:, pp. 175–176.
1026:, pp. 104–105.
1014:, pp. 192–193.
862:, pp. 177–178.
612:) and daggers. The
281:or costumed dance.
241:the “last knight”.
148:Holy Roman Emperors
82:miniature paintings
2070:Miniature painting
2055:16th-century books
789:Electors of Saxony
590:
499:
416:
376:Quirin von Leitner
333:
262:
156:King of the Romans
137:
37:
1951:978-0-521-78573-0
1930:978-1-58839-674-7
1896:978-3-11-148391-7
1875:978-90-420-0490-0
1852:978-90-04-11588-0
1831:978-3-7913-5172-8
1807:978-90-04-13572-7
1762:978-1-107-01237-0
1730:978-0-486-21097-1
1709:978-3-8365-7681-9
1688:978-3-7954-2842-6
1654:978-90-6194-020-3
1633:978-1-351-66540-7
1592:978-0-486-28620-4
1571:978-0-85115-041-3
1564:. Boydell Press.
1550:978-1-78327-542-7
1449:Taschen Catalogue
1303:, pp. 63–64.
1253:Leitner 1880–1882
1140:Kleinschmidt 2008
899:Kleinschmidt 2008
729:Welsches Gestecht
527:Welsches Gestecht
152:House of Habsburg
105:court masquerades
27:A scene from the
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2085:Unfinished books
2006:Internet Archive
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836:
822:Jan-Dirk Müller
779:
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405:Antzogen-Rennen
397:
392:
302:Vatican Library
267:
180:, and the poem
142:and his father
120:
93:tournament book
78:Vatican Library
19:
12:
11:
5:
2098:
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2018:
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1994:External links
1992:
1990:
1989:
1977:10.1086/669392
1956:
1950:
1935:
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1895:
1889:Georg Reimer.
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1437:Terjanian 2019
1429:
1414:
1412:, p. 184.
1402:
1400:, p. 181.
1390:
1388:, p. 179.
1375:
1373:, p. 125.
1371:Terjanian 2019
1360:
1358:, p. 759.
1348:
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1289:Terjanian 2019
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1241:Terjanian 2019
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1144:
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1132:
1128:Terjanian 2019
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1116:Terjanian 2019
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1095:Terjanian 2019
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1068:
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1016:
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936:Terjanian 2019
928:
926:, p. 120.
924:Terjanian 2019
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872:Terjanian 2019
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668:cross-dressing
631:circle dancing
610:Turnierschwert
535:Antzogenrennen
475:Main article:
472:
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396:
393:
391:
388:
361:Albrecht Dürer
298:British Museum
266:
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133:Albrecht Dürer
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1744:. Holzhausen.
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1606:The Spectator
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1509:, p. 14.
1508:
1507:Schröder 2012
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1012:Anderson 2020
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256:ms. fol.164,
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227:The theme of
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144:Frederick III
141:
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34:
30:
25:
21:
16:
2022:
2012:
2000:
1968:
1964:
1960:
1940:
1919:
1885:
1865:
1841:
1817:
1797:
1781:. Retrieved
1775:
1751:
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1698:
1677:
1643:
1622:
1609:. Retrieved
1605:
1581:
1560:
1540:
1526:
1517:Bibliography
1502:
1456:
1444:
1432:
1405:
1393:
1356:Jackson 2001
1351:
1339:
1332:Clephan 1995
1327:
1296:
1284:
1272:
1260:
1248:
1236:
1224:
1135:
1123:
1078:, p. 4.
1071:
1064:Clephan 1995
1019:
997:McLaren 2019
976:Freeman 2019
951:Clephan 1995
931:
894:
867:
855:
829:
816:
812:
808:
806:
792:
783:
780:
777:Significance
728:
714:Scharfrennen
713:
698:
682:
672:
649:
644:Landsknechte
642:
620:
613:
609:
605:
597:
591:
581:
569:
565:
561:
553:
551:
546:
542:
538:
534:
531:Scharfrennen
530:
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510:
508:
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490:
486:
462:
442:
438:
433:
430:
423:
417:
411:ms. fol.17,
408:
404:
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228:
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193:
189:
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181:
175:
171:
167:
160:
140:Maximilian I
138:
126:
111:
109:
95:held by the
90:
59:
40:
39:
38:
32:
20:
15:
2017:(in German)
1963:". Review.
1495:Whaley 2012
1478:Müller 2003
1461:Barber 1974
1410:Silver 2013
1398:Krause 2014
1386:Krause 2014
1344:Krause 2014
1320:Silver 2002
1301:Silver 2002
1277:Krause 2014
1265:Krause 2019
1217:Silver 2002
1076:Strobl 1913
860:Krause 2014
837: [
639:pike battle
608:), swords (
598:Eisenkolben
547:Krönlrennen
543:Kampfrennen
420:tournaments
210:tournaments
2044:Categories
1229:Kurth 1963
1167:Locke 2015
1039:Locke 2015
847:References
830:Gedechtnus
813:Gedechtnus
660:Burgundian
635:burlesques
594:iron clubs
566:Bundrennen
554:Bundrennen
539:Feldrennen
434:Theuerdank
337:miniatures
286:laid paper
279:masquerade
239:soubriquet
222:Theuerdank
214:Theuerdank
194:Theuerdank
183:Theuerdank
177:Weisskunig
168:Gedechtnus
118:Background
1985:163874672
1868:. BRILL.
1845:. Brill.
1800:. BRILL.
1783:4 January
1702:Taschen.
1647:. Brill.
1611:9 January
807:However,
425:alter ego
395:Narrative
275:Freyd-alb
150:from the
2025:drawings
656:Venetian
606:Drischel
503:jousting
300:and the
206:jousting
163:humanist
76:and the
2034:Taschen
2023:Freydal
2013:Freydal
1910:Taschen
817:Freydal
809:Freydal
793:Freydal
699:Stechen
683:Freydal
652:Turkish
623:moresca
582:Freydal
523:Stechen
515:Stechen
491:Freydal
409:Freydal
390:Content
384:Taschen
356:woodcut
341:gouache
329:Freydal
309:Freydal
271:Freydal
254:Freydal
250:moresca
229:Freydal
218:Freydal
202:Freydal
190:Freydal
172:Freydal
135:, 1519.
112:Freydal
91:Freydal
41:Freydal
33:Freydal
1983:
1948:
1927:
1893:
1872:
1849:
1828:
1804:
1759:
1727:
1706:
1685:
1651:
1630:
1589:
1568:
1547:
798:UNESCO
791:. The
602:flails
558:bevors
519:Rennen
511:Rennen
465:quires
318:Vienna
101:Vienna
88:, the
1981:S2CID
1971:(4).
1822:(PDF)
841:]
615:mêlée
1946:ISBN
1925:ISBN
1891:ISBN
1870:ISBN
1847:ISBN
1826:ISBN
1802:ISBN
1785:2020
1757:ISBN
1725:ISBN
1704:ISBN
1683:ISBN
1649:ISBN
1628:ISBN
1613:2020
1587:ISBN
1566:ISBN
1545:ISBN
664:apes
541:(or
513:and
192:and
1973:doi
800:’s
658:or
629:or
627:row
600:),
586:KMW
495:KMW
413:KMW
316:in
292:in
258:KMW
208:in
131:by
99:in
68:in
31:’s
2046::
2032:,
1979:.
1969:65
1967:.
1908:.
1774:.
1604:.
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839:de
826:de
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380:de
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57:.
1987:.
1975::
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1933:.
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1267:.
1255:.
999:.
978:.
824:(
604:(
596:(
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497:)
378:(
260:)
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