Chronicle of the Council of Constance

Chronicle of the Council of Constance

Ulrich von Richenthal (died c. 1438) immortalized himself with his firsthand account of the Council of Constance (1414–18) and a large mural depicts him writing the work in the Oldtown of Constance today. While other accounts of this historic event exist, most are dry records written by clerics in Latin and none paints a picture as rich and as detailed as von Richenthal’s vernacular chronicle. The modern reader is transported to the scenic shores of Lake Constance in the early 15th century thanks to the detailed records and gorgeous illustrations of the work. As such, it is not merely a historical record but a slice of life from a prosperous late medieval city.

A Firsthand Account with Biases

The now-lost original manuscript appears to have been a collection of documents from the Council of Constance, illustrations, and von Richental’s own notes and observations. Its anti-clerical character and later association with the Reformation resulted in lasting interest in the work. There is a clear sympathy for Jan Hus (ca. 1372–1415) and reformers in general and a critical attitude toward the papal curia and its delegation. On the one hand, illustrations of Jan Hus are iconographically juxtaposed with those of the Passion of Christ, while on the other, the pope’s displays of splendor are contrasted with the gestures of humility made by King Sigismund (1368–1437). More attention is paid to secular events and imperial dignitaries than to ecclesiastical matters, which is evidenced by the number of coats of arms from the city’s burghers and nobleman and the relatively large number of secular addresses that are recorded.

A Wealth of Miniatures

The text of this historic work is adorned by 98 gorgeous pen and ink and 804 coats of arms. There is evidence of at least three and possibly even five hands participating in the rich illustration of this important text. The pen and ink drawings were mostly designed as double-page miniatures or form multi-page sequences of pictures, e.g. the pope’s entry into Constance (fol. 11r–12v) or the Corpus Christi procession (fol. 49v–53r). These illustrations are remarkable for their vivid realism and demonstrate a knowledge of early-15th century Dutch works of art through their dynamic movements, complex spatiality, detailed architectures, and differentiated gestures and physiognomies. It has been hypothesized that the master leading this team of artists was Konrad Witz (ca. 1400/10–1445/46), who was born in nearby Rottweil, is believed to have spent time in the Netherlands as a youth, and worked in Basel, which was upriver from Lake Constance. The rich illumination of the manuscript makes the events and personalities it describes come to life in a most artful manner, which greatly contributed to the lasting popularity of von Richental’s account of the Council of Constance.