The musician’s wagons in the so-called Triumphzug of Maximilian I represent
the organization of the music at Maximilian’s court and also provide
valuable organological information. However, it is known that this is a highly
idealized depiction in a form that lies beyond the actual possibilities of Maximilian,
who was often plagued by financial problems. An analysis of the
genesis and transmission of the Triumphzug shows the limitations that have
to be taken into account when interpreting this source. By way of example,
the depicted string instruments are examined, above all the string instrument
designated “Rybebe,” which is documented also in other sources from Maximilian’s
sphere.