The so-called Medieval Housebook is a collection of more than 500-year-old drawings and texts on parchment, which thanks to favourable circumstances and book-loving owners has been preserved to our days, earliest mentioned as part of the library of Maximilian Willibard, Reicherbtrusess, Freiherr von Waldburg, Graf zu Wolfegg (1604-67). It is still owned by descendants of this family at Schloss Wolfegg in the south of Germany.

A very interesting part of the collection is a number of pen-and-ink drawings illustrating contemporary military and courtly life in a style ´livelier than life´ that is quite unique for its time. Several drawings deal with war technology, others with e g mining. Another group illustrates the astrological meanings of the planets, often with a characteristic sense for humour. These drawings were originally ascribed to one single so-called Master of the Housebook, also thought to have executed paintings, e g the famous Gothaer Liebespaar (Schlossmuseum, Gotha), designs for stained glass and some very original prints, thought to be drypoints. Today this œuvre is interpreted to be partly by different hands. All the drypoints have, however, up to now normally been ascribed to the main artist. Only 122 impressions are known, 80 of them in Rijksmuseum, Amsterdam. They are printed from a weak metal that allowed only small editions, of which probably the greatest part has vanished.

There is today an extremely rich literature dealing with this fascinating and enigmatic œuvre. Comprehensive exhibitions have been arranged in Amsterdam 1985 and 1997/98, in Frankfurt am Main 1985 and 1997, in Munich 1998, in Washington 1998/99 and in New York 1999, presenting and commenting most of the discussed works. The Housebook is since 1997 published by Christoph Graf zu Waldburg Wolfegg in a numbered facsimile edition, with contributions by several other scholars. Surveys of the researches have newly been published in books by Christoph Graf zu Waldburg Wolfegg (1998) and T M Husband (1999). Thanks to that a lot of new knowledge has come to light. The once obviously well-known and so originally creative main artist has, however, up to now remained as anonymous as he was when the admirable scholar M Lehrs presented his Geschichte und kritischer Katalog des deutschen, niederländischen und franzözischen Kupferstiche im XV. Jahrhundert (9 vol., Vienna 1908-34). About a dozen of names have during the years been suggested for him, some of them well-known, all of them more or less seriously rejected. The mostly accepted conclusion, deduced with the help of suppositions, that his activity should have been based in the region of Middle Rhine, ´including Mainz and Heidelberg´, is maybe a main reason for his so long anonymity.

No signed or dated work has been found. There is of course the year 1480 on a dedication portrait of Count Palatine Philip of Pfalz in J of Soest’s book Die Kinder von Limburg (Universitätsbibliothek, Heidelberg). The numerals are, however, drawn so big that one may suspect that the year refers to the presentation of the book, and that the wonderful portrait of the young epicure may have been drawn in another connection or even could be a copy. What we see here is a not too clever boy who history has made famous for intellectual interests that probably essentially were what his chancellor the Worms bishop Johann of Dalberg, der grösste der humanisten von Mittelrhein, used as steps of his career. The author J of Soest has been added floating in the air a couple of feet over the ground in a way that creates doubt about the authorship of the Housebook Master himself.

One firm date has been known since long: that the double-page of the Encampment in the Housebook illustrates a scene in the war that the Roman German Emperor Frederick III had declared against Burgundy, since Duke Charles the Bold in 1474 had laid a siege to Neuss, a city on the Rhine opposite Düsseldorf. Interpreters have tried to make it probable that the main figure of the group in the middle of this drawing, a bearded man, might be meant to show Eberhard I of Württemberg, or maybe Frederick III. The so-called Eberhard im Bart had, however, in spite of the attribute that history has given him, a beard only a short period of his life, during a sickness, and he was probably, quite as Emperor Frederick, still at a meeting with Charles the Bold at the moment we see represented in the drawing.

It is in my opinion more likely that we here see Albrecht Achilles of Brandenburg, the commander of the army, just at the historic moment when he, probably on 26 June 1475, is receiving a roll from his son Friedrich telling that Duke Charles has accepted to withdraw and that the war is over. The rather big man riding in the foreground may then be Johann Cicero, the commander’s eldest son, equipped with a cane for the flogging of slow soldiers. The very respected Albrecht Achilles, Elector of Brandenburg since 1470, is mentioned to have been pock-marked all over his body, surely a good reason for the growing of a beard. In the correspondence between him and his wife there is mentioned an earlier representation of a military encampment that he asked her to send him, maybe later of some use also for the artist. It is not possible to identify the owners of all the coats of arms on the tents. There is also reason to suspect that some of them may have been added or changed in the sixteenth century for a reason that I will discuss in the following.

Beside the supposed Albrecht Achilles of Brandenburg there stands in the central group a smartly dressed man, who I guess may be meant to show Elector Friedrich I, der Siegreiche, of Pfalz; he was probably not wanted at the peace conference owing to certain ties to Charles the Bold. The young man a little behind this böse Friedrich would then be his already mentioned nephew Philip of Pfalz, also here seemingly represented with irony, dressed in a coat quite too big for him. Another group which in all modesty dominates the right part of the double-page may be of special interest for a right understanding of the Housebook drawings. A man dressed in a kind of unconventional short trousers is at a gambling table receiving in the air some dice from an older man dressed as a nobleman. The same self-conscious man seems to be recognizable in at least one more of the drawings in the Housebook, pointing at the possibility that these representations ought not to be interpreted just as ´genre´ scenes of courtly life.

It was early observed that parts of the content of the Housebook seem to refer to the stubborn Emperor Frederick III of Austria, an often powerless ruler who is also known as a fantast and a great collector of different things. As victorious at the confrontation at Neuss he is of course a likely commissioner of the drawing of the Encampment. He may, however, have commissioned and once owned also other of the drawings in the Housebook, e g the astrological planet drawings and the famous drawings of courtly life, which in reality at least partly may be reports from festivities in high-ranked families, at which the emperor was not present himself but wanted information from.

The emperor’s son Maximilian seems to be recognizable in among else a drawing of a proceeding military contingent, probably the one that started from Augsburg towards Neuss in 1474. The then not yet 15-year-old Maximilian was, however, not allowed to follow all the way and had to return back from Frankfurt am Main. This and several other of the military drawings may have been commissioned for use in the education of Maximilian. The Master of the Housebook may also have served Frederick III as a kind of reporter from other events of interest for the emperor and his family, e g as a kind of spy at important festivities, where the young and adventurous Maximilian was present.

Frederick III can, however, not have owned the Housebook in the form it has now, as the introductory coat of arms is not his. Several circumstances make it probable that parts of what we see in the present version of the book may be copies of what the Master of the Housebook originally created, maybe even composed from different sources. Fortunately some of the owners of the book have left a few written signs of themselves, very few indeed but yet enough to make identifications of them possible, especially as those who have engaged in the assembling of these manuscripts must have been highly educated nobles in the circles of Frederick III and Albrecht Achilles of Brandenburg.

Several specialists have tried in vain to identify the family, that obviously once used the coat of arms with the asts of which the Master of the Housebook has drawn the excellent black-and-white variant that is now seen in the middle of the book. It seems likely that this version has once prefaced an earlier formed part of the manuscripts. The handcoloured variant that now prefaces the book is an artistically weaker drawing in a style seemingly found acceptable by another owner.

When looking at reproductions of old heraldry I observed some curious ceremoni helmets decorated with asts, interpreted to date from the period 1440-80 and connected to the later so famous Zollern (Hohenzollern) family at Sigmaringen. The Zollern coat of arms is, however, well known and has no likeness to those in the Housebook. The mentioned connection to the Zollern family happened, however, to be of help when trying to identify possible owners of the manuscripts. Looking for members of this old family that had been present at Neuss I found, that the originally dressed man at the gambling table in the Encampment might be a certain Count Jos. Niclas of Zollern, and that his gambling partner might be his father-in-law Bishop Johann of Werdenberg. Both these men are known to have been in the service of Emperor Frederick, among else as diplomats. There is of course also the possibility that the man dressed as a nobleman instead may be identified with the bishop’s brother Count Georg of Werdenberg, who was in command of the contingent from Augsburg.

The somewhat highbrow young man at the right of the group could then be Jos. Niclas’s son Eitel Friedrich II of Zollern, mentioned to have been present at Neuss. He was later to become one of the future Emperor Maximilian’s near friends and one of his highest entrusted officials. The wrangling younger children could be meant to show a couple of Jos. Niclas’s three younger sons, all later killed in Maximilian’s wars. The eldest of Jos. Niclas’s sons, Friedrich, became a well-reputed bishop of Augsburg. The only daughter, Helene, was in 1484 married to Johann, Truchsess of Waldburg. The first surely known owner of the Housebook was, as already mentioned, a later Truchsess of Waldburg, and it is in this family that the book has been preserved as long as until our days.

Although parts of the drawings in the Housebook most likely originally were commissioned by Emperor Fredrick III, there is in the now preserved book also manuscripts that may have been collected for personal use by e g Count Jos. Niclas of Zollern and by his father-in-law Bishop Johann of Werdenberg. The last-mentioned was continually used as a diplomat in the service of Frederick III and may for that reason have had a special interest in the part of the Housebook that deals with the art of memory. And the part of the book that deals with mining may have been of special interest for Jos. Niclas, who in 1471 obtained the right to stamp coins.

Frederick III was of a complicated nature, mentioned to have been secretly studying among else astrology, alchemy and even sorcery, things about which he had formed a big collection of literature. In his late sick years he is said to have paid his young pages generously for helping him to while away the time. Before his death in 1493 he had arranged to have some of his books and manuscripts burnt, while another part, carefully locked in, was left for Maximilian. The new emperor’s confided friend Eitel Friedrich II of Zollern is mentioned to have assisted at the taking over and was maybe allowed to keep some parts for himself.

A few years earlier, in 1486, Bishop Johann of Werdenberg had died and maybe left some manuscripts to his nephew Eitel Friedrich II. When also Jos. Niclas of Zollern died in 1488, his son probably could inherit further manuscripts. It may have been now, if not already before, that Eitel Friedrich II formed a manuscript collection of his own ending with fol. 25v; the signature on this page may be interpreted as EF. It is a reasonable guess that it is Eitel Friedrich II, wearing Frederick III’s Order of the Jug, that we see represented on the preceding fol. 25r together with a lady who may be his wife Magdalene of Brandenburg (deceased in 1496).

Maximilian probably kept from his father’s collections especially the parts that were of personal interest for him, like a series of drawings from his travel to Burgundy and marriage in 1477 to his very much loved wife Mary of Burgundy, who had been deadly wounded already in 1482 at a riding accident. We are reminded of such a probably once existing series of Housebook manuscripts by a beautiful illumination attributed to the anonymous so-called Master of the Rouen Échevinage (Master of the Geneva Latini), which seems to have been inspired by a representation in the style of the Housebook Master. It is a hunting scene centred around an elegant young couple on the same horse, showing resemblance to Maximilian and Mary. They are accompanied by a lady who may be the bride’s mother Margaret of York. This miniature is part of P Choisnet’s book Le livre des trois âges de l’homme, now in Bibliothèque Nationale in Paris, once owned by Louis XI of France. One may guess that Maximilian carried with him in the Netherlands some drawings from his marriage and that he happened to loose these pages during one of his campaigns, somehow making it possible for an artist to paint a paraphrase.

Count Jos. (Jodokus, Jost) Niclas (Nikolaus) I of Zollern was born in 1433 and inherited the Countship in 1443. He married in 1448 Agnes of Werdenberg, a daughter of Count Johann in Sigmaringen and Heiligenberg. His father Count Eitel Friedrich I of Zollern, who in 1432 had married Ursula of Räzüns, died already in 1439. The widow remarried to Count Sigmund of Hohenberg, under whose guardianship Jos. Niclas spent some of his early years. Jos. Niclas’s father had driven away his elder brother Friedrich XII. About this uncle, known as ´der Öttinger´, the following is remembered in short: Nachdem er sein Leben in Bruderzwist und Fehde mit aller Welt verbracht hat, die über ihn selbst die Reichacht, Jahrelange Gefangenschaft, sowie die Zerstörung der Stammburg Hohenzollern (Mai 1423) hebeiführten, irrte er als heimatloser Flüchtling durch die Welt und kam bei dieser Gelegenheit im Jahre 1443 nach dem heiligen Lande, von wo er nicht wieder heimkehrte.

Jos. Niclas became by his marriage to Agnes of Werdenberg closely connected to a big and important family. His wife’s eldest brother Johann was Domherr in Augsburg, Constance and Strasbourg, later Bishop of Augsburg from 1468 until his death in 1486. He was an efficient diplomat in the service of Emperor Frederick and is known as a collector of books. Another brother of Agnes, Haug of Werdenberg, was during many years Emperor Frederick’s trusted councillor and, like Johann, travelling diplomat. There is an until now unidentified excellent portrait of Agnes’s aunt with the same name in the National Gallery of London, there called Woman of the Hofer Family. On this portrait we find the added words GEBORNE HOFERIN, which has confused interpreters to guess on a family called Hofer.

This elder Agnes, maybe born c. 1405, was first married to Count Ludwig XI of Öttingen, who was an important councillor and Hofmeister at the court of Emperor Sigismund. Count Ludwig, who died in 1440, had the younger brother Friedrich, who had a son Ulrich, first married to Countess Elisabeth, a daughter of Reichshofmeister Johann of Schaunberg, later to Barbara of Kunstad and Podiebrad, and in a third marriage to Barbara of Thengen and Nellenberg. Ulrich of Öttingen was Domherr in Eichstätt. We will later meet his son Reichsgraf Joachim of Öttingen as one of the owners of the Housebook manuscripts.

Jos. Niclas of Zollern may have got a thorough education, probably guided by his later father-in-law Johann of Werdenberg and Albrecht Achilles of Brandenburg. The last-mentioned had already in 1445 arranged that Jos. Niclas in Constance was engaged to Agnes of Werdenberg. In early years he was sent to be raised at the court of Albrecht of Austria, a brother of Emperor Frederick III. In the Chronik der Grafen von Zimmern, a manuscript ended in 1556 and printed in different editions, he is mentioned several times with respect. Under the protection of Albrecht of Austria he rebuilt the destroyed Zollern castle. The foundation-stone was laid in 1454, celebrated with a tournament. He added new parts to his Countship, and collaborated or was sometimes in conflicts with rulers like Sigmund of Austria and the dukes of Württemberg. He is in 1460 mentioned as bailiff in Bregenz and as member of a group that negotiated in Constance. He commanded a troop that in 1464 seized and destroyed the fortress Schalksburg. From 1465 he was closely connected to the imperial court, although not formally a councillor. Together with his stepfather Count Sigmund of Hohenberg he founded in 1472 a church at Hechingen (later replaced with a new).

In 1473 it was planned that he should be a member of a group going to Hungary for negotiations. In 1474 he became councillor of Johann Cicero of Mark Brandenburg, the eldest son of Albrecht Achilles. It was probably in this service that he was present at Neuss and may be seen in the Encampment at a game of dice together with his father-in-law, who was there with 100 horses, 36 foot-soldiers and 12 waggons, probably part of what we see among the drawings in the Housebook. The following year he is mentioned as councillor of Duke Sigmund of Austria, in 1478 of Duke Albrecht of Bavaria. As a diplomat he followed his father-in-law e g to France in 1480, commissioned by Emperor Frederick to try to make peace between King Louis XII and Burgundy. As a commander in war he assisted Maximilian in the Netherlands. He is remembered as a collector of e g documents and as an original man, who die welsche und newe hofweis und ceremonien nit gebraucht. He died in 1488.

His son Eitel Friedrich II of Zollern (Eitelfritz) was born in 1452, raised at the court of Albrecht Achilles of Brandenburg in Ansbach and educated together with his elder brother Friedrich at the universities of Freiburg im Breisgau and Erfurt in the late 1460s. From 1471 he was during several years in the service of Brandenburg and then of Johann Cicero’s Mark Brandenburg. At the war against Charles the Bold in 1474-75 he was part of the troop of Ulrich of Württemberg. Engaged since 1479 he was on 17 February 1482 married in Berlin to Magdalene of Brandenburg, a daughter of Markgraf Friedrich der Fette. From 1487 he was mostly in the service of the imperial court. He made a splendid career as a near friend of the Roman German King and Emperor Maximilian, serving both as councillor and diplomat and as a commander in wars. He became Kammerrichter in 1492, Hofmeister in 1502 and possessed from 1505 the Reicherbkämmeramt. At his death in 1512 he was Groshofmeister and Geheimerrath. His eldest son Franz Wolfgang died already in 1517, leaving a son, Christoph Friedrich, who was not of age. The government was taken over by the last-mentioned’s uncle Joachim of Zollern, who at his death in 1535 was followed by his son Jos. Niclas II of Zollern.

The already mentioned Reichsgraf Joachim of Öttingen has on page 65r presented himself as owner of the Housebook with his handwritten words Dis Pueck gehört Joachim Hofen and with the remark gannz gannz main. He had obviously a great wish to get hold of the manuscript collection, which may indicate a relationship to some of the portrayed in the Housebook. He was born in 1478 and thus not of age in the 1480s, when at least most of the drawings and the other manuscripts must have been completed. In 1496 he married Princess Dorothea of Anhalt, a daughter of Fürst Albrecht V of Köthen. The same year he is working together with Friedrich of Zollern, Bishop of Augsburg, for the reformation of convents. He was a well-organized person whose book-keeping has been the subject of scientific studies for the knowledge of how people lived at this time. From his handwriting to judge it was he who made the now existing numbering of the folios of the Housebook that ends with number 66.

On his way back in the summer of 1520 from a meeting in Augsburg with Schwäbischer Bund, of which he was Hauptmann, Joachim was in the neighbourhood of Donauwörth attacked by a notorious Hans Thomas of Absberg and deadly wounded. This happened the same year as the military hero Georg III, Truchsess of Waldburg (Bauernjörg) - married to Joachim’s daughter Maria Hof - was appointed councillor by Emperor Maximilian’s grandson Charles V. The younger of Eitel Friedrich II’s two sons had the not very common name Joachim and may have inherited the Housebook when he took over the government of the Countship. Perhaps he gave it as a present to Joachim of Öttingen, whose godfather ha may have been.

Joachim’s son Ludwig of Öttingen, who on fol. 65v presents himself as Ludwig Hof der Junger and tells us that he zog zu Innsprugg, obviously became the new owner of the manuscripts, probably in connection with his father’s death on 7 July 1520. Ludwig died unmarried and without children on 20 August 1549. Among his still living sisters it may have been the already mentioned Maria Hof, married Truchsess of Waldburg, who got the Housebook. She survived her husbond during several years. It is possible that the Housebook from her was inherited in right line to the known owner Maximilian Willibald, Truchsess of Waldburg, and from him also in right line to the present owner.

Already before the Housebook manuscripts reached Joachim of Öttingen the colourful coat of arms, that is now on the introducing fol. 2r, may have been part of the collection. This coat of arms is painted by a less talented artist, who is also responsible for the brightly-coloured fol. 3r, on which some figures - copied from the anonymous Master E S - perform before a group of spectators, most of these also copied from an engraving by E S. Maybe it is meant to show how the young Maximilian receives fencing and wrestling instructions, in the presence of his father the emperor. One of Jos. Niclas’s sons was raised together with Maximilian, probably Friedrich Albrecht, who may be the one we see as the future emperor’s opposite. Among some men entertaining the onlookers there is one fire-swallower and, most interesting, one man catching snakes with his bare hands. One reminds here of the fact that Count Jos. Niclas of Zollern in Chronik der Grafen von Zimmern is mentioned with the epithet ´der Natterer´, which may refer to some known connection with snakes, although it is said that he was called so wegen seines schwurs.

For the identification of the mysterious coat of arms this leads us back to the near Zollern family and someone interested in its fame. As mentioned before Jos. Niclas had as a child lost his father in 1439, and the widow Ursula of Räzüns had remarried to Count Sigmund of Hohenberg. The coat of arms of the Räzüns family has no likeness to the one with asts in the Housebook. This leaves us to guess that the asts may refer to the old Hohenberg family, and that the both drawings can have been commissioned by Count Sigmund and Jos. Niclas for different parts of collected manuscripts. In Chronik der Grafen von Zimmern it is mentioned that Jos. Niclas had from an artist commissioned a painting with representations of himself and several others, which later was acquired by a member of the Öttingen family. Maybe the same artist has designed the at Sigmaringen preserved ast helmets, which are manufactured from leather and linen and decorated with engravings.

Among the interesting parts of M Lanckorónska’s Das mittelalterliche Hausbuch der fürstlich Waldenburgschen Sammlung (1975) is that she in Württembergian archives in Stuttgart had found the name of a Siegmund von Ast. This Burgvogt Ritter is in 1447 mentioned for the first time in the service of Württemberg. In 1457 Count Ludwig II certified that Siegmund was ´mit seinen Gut zu Tübingen von Steur, Wacht und anderen Beschwerungen befreit´. In the following year it is mentioned that he will settle down ´mit seiner Frau Anna hinter ihm zu Waldenbuch´. In 1465 he is Vogt und Burgvogt in Nürtingen in the service of Count Ulrich V. Two years later he was appointed Burgvogt in Schalksburg, a big fortress once owned by members of the Zollern family. Schalksburg was, as already mentioned, seized and destroyed in 1464 by Jos. Niclas of Zollern. It was then rather soon rebuilt.

M Lanckorónska has interpreted the Housebook rather freely. Yet, she may be correct in pointing at the possibility that reminiscences of the Schalksburg might be seen among the Housebook drawings, because it seems rather sure that her Siegmund von Ast is the same person as the here discussed Count Sigmund of Hohenberg, the man who probably used the coat of arms with the asts and who is likely to have owned at least some of the preserved Housebook documents. It is a mistake, however, that he in 1458 should have settled down in Waldenbuch with his ´wife´ Anna hinter him. He is in a pedigree mentioned together with his Muhme Anna. It can here not be the question of his Aunt Anna of Kirchberg, probably dead already in 1421 as priorin in Reuthin. She was from 1412 the widow of Count Friedrich X of Zollern, from 1417 the widow of her second husband Count Konrad VII of Kirchberg. But her daughter Anna of Kirchberg, also a nun, is in 1440 directly referred to as Sigmund’s Muhme.

Some other available facts about Count Sigmund of Hohenberg (e g in Monumenta Hohenbergiana, edited by L Schmid in 1862) present him as a very respected and competent man. As Schultheiss von Thalheim he judges in 1441 together with 10 other officials in a dispute that concerned the monastery Reuthin. In 1450 he is mentioned as Hauptmann zu Balingen in the service of Württemberg. Together with his stepson Jos. Niclas of Zollern he judges in 1459 in an inheritance case. In 1463 Count Ulrich of Württemberg confirms Sigmund as Pfandherr of the city Ebingen and of the village Winterlingen with the right for him, his wife Ursula and descendants to all Steüren, Zinssen, Renten, gülten und diensten bis off einen widerkauff. Two years later, and again in 1472, he is arbitrator in cases concerning religious institutions. In 1477 he makes a donation to the monastery Reuthin in connection with the death of his wife Ursula.

The fact that the coat of arms with the asts exists in two different versions in the Housebook, commissioned from two different artists, ought to have an explanation. It is easy to forget that women also in medieval times often took very active part not only in household occupations. Jos. Niclas of Zollern’s mother Ursula of Räzüns, widowed already in 1439, is of course the one who was most interested in her son’s career. As remarried to Count Sigmund of Hohenberg, a man with military commands at different places, she may have assisted in taking care of as many documents of interest as possible, maybe she even commissioned the version of the coat of arms that is now on fol. 34v. Some time after her dead in 1477 Count Sigmund seems to have been able to add further documents to the collection and in this connection to have commissioned another coat of arms to be placed at the beginning. At his dead in 1486 this version of the Housebook may have been inherited by Jos. Niclas of Zollern, who died two years later and probably left the whole to his son Eitel Friedrich II. Also during the last-mentioned’s time further pages seem to have been added.

At some rather late moment the two representations on fol. 3r of the supposed Maximilian and that of the main onlooker have been purposely nearly washed out, maybe when Maximilian as the new Roman German emperor was in conflict with the actual owner of the manuscripts. A possible reason for that may have been that Maximilian had refused to punish his councillor Felix of Werdenberg - a nephew of the here before discussed Johann, Haug and Agnes of Werdenberg - who in 1511 had arranged the murdering of Andreas Sonnenberg, Truchsess of Waldburg, as a revenge for some scornful words at Ulrich VI of Württemberg’s marriage to Sabine of Bavaria. This violent crime caused a several-year-long controversy between the Werdenberg and Waldburg families, in which especially Wilhelm, Truchsess of Waldburg, a grandson of the murdered Andreas, and his cousin the well-known Georg, Truchsess of Waldburg (Bauernjörg), were active in vain for the punishment of Felix of Werdenberg, who at last also he one day was found murdered (1530). It was probably as a result of this conflict that some owner of the Housebook arranged to have several coats of arms of the Werdenberg family erased on the drawing of the Encampment and replaced by the not identified one that we see now on six places.

Copyright © 2001-2007 Knut Andersson. All rights reserved.