South Tyrol?, around 1430
This epic of the grail in Middle High German, describing “aventiure" and courtly love was highly popular up to the end of the late Middle Ages. This codex with its comprehensive picture cycle in high-quality opaque-colour painting together with the today lost first volume is a very representative copy of the work. Elements from Bohemian illumination adapted via intermediary steps of Vienna and Regensburg art, are present in addition to very strong Northern Italian influences. Very early on in the 15th century, the main master of the manuscript copied nature studies by Northern Italian artists such as Giovanni de Grassi as well as other works. His unusually naturalistic representations of horses with extreme shortening and various twists and views of their bodies are compelling.
Fols. 2v: The Munich Titurel manuscript starts with the second journey of Tschionatulander to the Orient, to the caliph of Baghdad. The miniature shows the caliph and his wife in their magnificent, gold-brocaded garments, riding to meet Tschionatulander, followed by the caliph's household with riders in full armour and court ladies. The striking representation of the horses in various movements documents the early reception of Northern Italian nature studies.
Fol. 3r: The caliph of Baghdad and his wife Klarissilia and all their household welcome Tschionatulander and his companion. At the caliph's request, Klarissilia accords the hero kneeling in front of her a particular privilege: She puts her hands in his, thus inverting the gesture of the covenant of loyalty.