A few words about the education of a woman of noble birth may not be amiss. The difficult arts of writing and reading were more generally acquired by noble ladies than by their knights. While the great Wolfram von Eschenbach, though possessing all the social culture of his time, could not read, and Ulrich von Lichtenstein had to keep an epistle of his lady unread for ten days, as his secretary was absent, ladies generally studied those branches which appear to us now quite rudimentary. Heinrich von Veldeke, we learn, lent the manuscript of his Emit, before it was quite finished, to the Countess of Cleve, to read and to see (_i. e._, the pictures). The noble maidens, whose instructors were usually the castle chaplains, learned early to sing minnesongs, to sing and say the ancient sagas and legends; they often even composed songs and poems; they learned music, which was part of a liberal education, played the fiddle, zither, and harp. Isolde, according to Gottfried von Strassburg, knew Irish, French, Latin, and played the Welsh fiddle. Fine handiwork belonged to a noble lady's occupations. The laws of courtesy were, as we have mentioned, codified into a perfect science for use under all conditions: at the court, at home, at the dance and play, on the street, to control conduct toward high and low, men and women; minute directions were provided for all occasions. Even the conversation in society, at the banquet table, is prescribed; noble ladies must show grace and measure in the favorite ball play, ride horseback, chase with falcons, blush, and nod their heads courteously at the tournaments. The reception of guests and their hospitable entertainment is their business, and the social savoir-faire constitutes ladylike courtoisie or moralitas. Religion toward God and the world, churchgoing, all are strictly regulated; and we see women in all their aspects, as we pass in review the vast literature of the time. The arts of adornment, of painting the cheeks and lips, are highly developed; the men seem to have been even more eager to adorn and decorate their persons than were the women. Male garments are adorned with symbolic colors; coats of arms of silk embroidery appear on the most ridiculous parts of knightly dress. Superficiality and superstition widely prevail. There is a strong belief in magic or love potions, as we learn, e. g., from a bit of poetry by Veldeke: "No thanks to Tristan that his heart had been Faithful and true unto his queen; For thereto did a potion move More than the power of love: Sweet thought to me, That ne'er such cup my lips have prest; Yet deeper love, than ever he Conceived, dwells in my breast: So may it be! So constant may it rest! Call me but thine As thou art mine!"