_Teuerdank_, the other great prose-epic of Maximilian, is rather a fairy tale than a history, describing, under a highly allegorical form, the difficulties which opposed themselves to the Burgundian marriage. A fabulously wealthy King has an only daughter, a miracle of virtue and beauty, who is to belong to the most gallant and distinguished of her many suitors. King Romreich dies before a decision has been come to, but Princess Ehrenreich sees from his will that only Ritter Teuerdank is worthy of her hand. She summons him and he promptly sets forth to join her, accompanied by his trusty comrade Erenhold. But he is continually detained and led astray by the Evil One, who urges him to follow his natural instincts, and throws every kind of adventure in his way. Moreover, the envious magnates of Ehrenreich's Court enlist against him three captains, who endeavour to lure him to destruction. Fürwittig represents the vain ambition of youth, to give proof of its strength and skill and glory, merely for its own gratification; Unfalo, the fascination for the noble youth, which lies in travel and adventure by sea and land; while Neidelhard personifies the deadliest of unseen enemies, Jealousy, that foe who leads the young Prince into the most difficult entanglements. But the gallant Teuerdank comes scathless through every ordeal, thanks to his innate virtue and to the powerful genius of Love. But even then his trial is not at an end. At the request of Ehrenreich, and the exhortation of a heavenly messenger, he conducts a campaign against the infidels, who consent to become his {109} vassals. At length he is free to return, covered with glory and honour, to the Court of Ehrenreich, when the marriage is duly celebrated. This extravagant romance, which, with all its sentiment, is inclined to be wooden and tedious, was actually composed by Melchior Pfinzing, Provost of St. Sebald's, Nuremberg, though Maximilian directed its whole tone and substance. It also was elaborately illustrated by Beck, Burgkmair, and others, but its woodcuts are much inferior in interest and in execution to those of _Weisskunig_. In 1517 the whole work was privately printed upon parchment, but in 1535 it was published to the world in an edition which is famous for its sumptuous style. The _Ehrenpforte_ and _Triumphzug_, the _Genealogie_ and _Wappenbuch_ lend additional force to the argument that Maximilian's enthusiasm owed part of its vigour to motives of self-glorification. The most important of these works have already been referred to in connexion with the Augsburg artists and with Dürer.[135] But some mention must here be made of the recently discovered _Gejaid Buch_, which was written for Maximilian during 1499-1500, by his Master of the Game, Carl von Spaur, and adorned with rich illuminations, dealing with the Emperor's sport on the mountains of North Tyrol. This book contains such minute information, that he