Hello and welcome to the History of the Germans: Episode 202 – which is also episode 17 of Season 10 “the Empire in the 15Th Century”.

In 1550 Spanish court records show that the Augsburg armorer Kolman Helmschmied was paid an advance of 2,000 ducats for a full armour for king Philipp II. The final price for this piece was 3,000 ducats. At the same time Raphael could charge at max 170 ducats for an altarpiece. Even the Renaissances’ best paid artist, Michelangelo received just 3,000 gold florins for the painting of the ceiling of the Sistine chapel. Armour, along with tapestries, were the most valuable artworks of the 15th and 16th century.

That was just one set of armour made for the most powerful monarch of the time. But what about the thousands of soldiers he commanded, did they have armour? Oh yes they did. Not quite as sophisticated and certainly not as decorated, but they did. And where did these thousands of helmets and breast and back plates come from? From the same places where their prince’s fancy metalwork came from, from Nürnberg and Augsburg. Their swords came from Passau and Solingen and their firearms from Suhl.

How come these mostly southern Germn cities became the armories of Europe whose output clad the armies that fought the never-ending wars of the 15th, 16th and 17th century? How did they supersede Milan, the centre of weapons production in the preceding century in terms of quality, scale and availability, and create a tradition of metalworking and entrepreneurship that lasts until today?

That is what we will look at in this episode.

But before we start the usual thanks to our great patrons whose unwavering commitment keeps this show advertising free. And you too could bask in the soft glow of the appreciation of your fellow listeners by signing up on historyofthegermans.com/support. This week we send our warm regards to Pete H., David S., Annette F, Luis, Louis, Daniel, Stephen G. and Christian G., , , who have already done so.

And with that back to the show

I am approaching this episode with no small amount of trepidation. I know that several of you have a strong interest in arms, armor and fighting technique. And some are taking their passion so far as to learn and apply these techniques in real life as y kids would say. In other words, there are some serious experts here who will catch me out mercilessly when I am getting things wrong.

I on the other hand cannot really distinguish between a rapier and a broadsword. My interest in the topic of arms and armor is purely from a history and economic history perspective. So. if you are looking for a deep dive into the different types of armor and weapons, how exactly they are used, you will be disappointed. I did look for a podcast that I could direct you to if that is what you were seeking, but am afraid I could not find it. There is however a whole world of YouTube videos out there that do a brilliant job at explaining things.

What I can do though is give you an idea how the economics of this business worked and why this amazing industry cluster in southern Germany came to be.

That being said, I will start with a very brief rundown of the development of arms and armor in europe before we go into the question why Nurnberg, Augsburg, Passau and later Suhl and Solingen became the dominant manufacturing hubs for land-based arms and armor.

Armor is as old as human combat. To win a fight you first have to survive it. Hence every time a new weapon was developed, it was immediately followed by the invention of a way to deflect it. And every deflective tool was immediately followed by the development of a new offensive weapon, which created a new tactic to diffuse it and so forth and so forth. Knightly amour as we find it in every half decent museum had its predecessors in ancient Greek helmets, the ornate breastplates of roman emperors and the scale armour of the Persian cataphract.

What interests us here is the armour and arms in europe since the Middle Ages, which followed the same pattern. Every new form of arms and armour is a reaction to a new threat posed by an enemy with a superior technology.

When this podcast started in 919, that threat were first and foremost the Magyars, horse archers who could attack swiftly and release their composite bows on their enemies. And the response of in particular Henry the Fowler, king of East Francia was armored knight on horseback.

This armour consisted mainly of chainmail, rather than plate. This was helpful against Magyar arrows and even more against swords. Swords at the time were too brittle to be used for stabbing. Instead, early medieval warriors were slashing at their enemies, a move chainmail could deflect.

Chainmail never went away and was used for centuries thereafter. However, as external enemies had been defeated and the Europeans moved on to fight each other, military tactics changed.

The preferred weapon alongside the sword was the spear or lance. Up until the 12th century European warriors used their spears in the same way as we see Native Americans using them in Westerns, i.e, overhand or by thrusting them forward.

The first shift in fighting technique was implemented by the Normans. These guys were, to use a technical term, nutters. So far, armored cavalry had used horses as transport to get close to the enemy where they would be lobbing their spears or slashing their swords before returning back to the line to get a new spear. The Normans came up with the idea to use the horse as a weapon. So, instead of turning around after the spear had been launched, they simply kept going at full tilt into the midst of the enemy forces.

I might have told this story before, but a few years ago I went to see the Palio in Siena. And before the actual race, the carabinieri stage a full-on cavalry attack with swords drawn around the course. I do not think I have ever seen anything more terrifying. Anna Komnene, the daughter of the Byzantine emperor Alexios Komnenos said about these nutters in 1148: “A mounted Frank is unstoppable – he could smash through the walls of Babylon”. End quote.

And that was before they employed the couched lance, aka the kind of fighting with lances we know from medieval tournaments. That came in the very late 12th and early 13th century. Fighting with a couched lance means that the lance is held under the Achsel and retained by various kinds of contraptions. The impact of a couched lance on an opponent is roughly factor four of the impact of a lance thrusted or thrown.

This shift in tactics drove a vast number of changes. The focus is now not just on get close to the enemy and then apply whatever weapon one has at hand, but it is all about the speed and the force of the clash between opponents. Getting this right is tricky, seriously tricky. It requires years and years of training. Which is why they invented tournaments at exactly this time. It is to hone their skills in a comparatively safe environment.

When attacking, the knight will aim his lance at three potential targets, the head, which is extremely hard to hit, but would have a catastrophic impact on the adversary. The shield or body, which is a bigger target, but is a lot less likely to do catastrophic damage, or the horse, which leaves the enemy unharmed but would result in an immediate removal of combat capacity.

Chainmail provides very limited protection in this kind of warfare. As we go through the 12th into the 13th and 14th century, new forms of protection emerge. The head is the first to get covered in more sophisticated helmets of varying construction. Breastplates are developed that are supposed to deflect the impact of the lance and finally the horses are getting covered in iron.

The efficacy of a couched lance can be improved if the butt is attached to some form of rest. That rest could be integrated into the breastplate, allowing the rider to use more of his body to deliver the impact. Hence, we find all sorts of attachments to the breastplate that holds the lance.

Couched lance combat has a couple of drawbacks. It is quite inaccurate and a knight who has missed his target will find himself in the midst of the enemy forces, or worse, is unhorsed and needs to continue fighting on foot.

By the 15th century that has become seriously dangerous, but in line with improvements to armor, sword technology had also advanced. They are now often made of steel, which is harder and less brittle than iron. Swordsmen can now not only cut, but they can also thrust without having to fear their sword will break in two. Which is another nail in the coffin of armour purely made of chainmail.

Gradually plate armour covers more and more of the body. Legs and the back are getting covered and by the mid to late 15th century we arrive at the kind of armour we can see displayed in all their grandeur in the Metropolitan Museum, the Kunsthistorische Museum in Vienna, the Royal Armouries or one of my favourites, the Wallace Collection.

Even though infantry becomes more important on the battlefield during the Hundred years’ War and firearms show their enormous power in the Hussite Wars, plate armour is still produced and used in vast quantities for almost 300 years thereafter. Because it was still effective.

For one, the absolute top end quality plate armour could sustain the impact of a musketshot, but more importantly, firearms remained one shot weapons well into the 19th century. Hence a phalanx on armoured riders could still run down a line of arkebusiers busy reloading their weapons. Therefore, military tactics developed that combined firearms with pikemen and heavy as well as light cavalry well into the 17th century.

The other important factor is that armour is not just a military tool, but also fashion. I took part in the Wallace Collection’s summer school about arms and armour this year and the curator Keith Dowen and the armourer David Edge compared renaissance armour to modern day cars. A spectacular armour, like the one OttHeinrich of the Palatinate or emperor Maximilian would wear, was like driving a customised Ferrari or McLaren. These were status symbols that combined performance at the outer edge of what was technically possible with beauty and bling. These were, along with tapestries, the by far most expensive luxury goods in any princely household.

This is an audio show, so it is simply impossible to describe some of the most astounding pieces made in the 15th and 16th century, but I can completely see why some people put Helmschmied, Lochner, Negroli, Wilhelm von Worms and Konrad Seusenhofer on par with some of the great renaissance painters. And that is at least what their contemporaries believed. As I mentioned, in 1550 Colman Helmschmied charged the Spanish court 3,000 dukats for a full armour, whilst Raphael at the absolute height of his fame commanded 177 dukats for an altarpiece. In other words, you could get 15 Raphaels for one Helmschmied.

There would be lots and lots more to be said about the functionality and decoration of armour in the 15th and 16th century, but this is not what we are here for. The question we want to answer is why the most magnificent machines or war and masterpieces of art were produced in Nurnberg, Augsburg and Innsbruck and at the same time, why these, together with Passau and later Suhl and Solingen, became the Arsenal of Europe, the place you went to when you needed to equip 5,000 cavalry in a hurry.

Each of their stories is slightly different, and since we have done Augsburg recently, let’s focus on Nurnberg first.

To make armour, in particular to produce it at scale and at the desired level of quality, there are a couple of basic things that are needed.

Water is crucial. To hammer a sheet of metal into shape was extremely labour intensive. Armourers used water mills to drive hammers to first grind the metal ore and then to flatten the steel. Watermills also drove polishing wheels used to smooth and polish armour and to sharpen swords. But crucially, to produce high quality is steel is all about heating the metal to the right temperature. Watermills drove bellows that pushed a consistent level of oxygen into the forge, keeping the temperature steady, In the case of Nurnberg, the Pregnitz was diverted across multiple mill canals that powered water mills throughout the city, not only for armourers but for all sorts of other trades as well.

The next thing an armourer needs is charcoal for the forge, and again it has to be charcoal of consistent quality to keep the temperature steady. . Nurnberg was famously surrounded by poor soil, one of the reasons Barbarossa had granted them free imperial status in the first place. And that soil was therefore still covered in forests, ideal for producing the valuable charcoal.

Then they need iron ore. Thanks to the rapid expansion of all sorts of mining activities during the 14th and 15th century, there were multiple sources of iron ore or iron ingots accessible to Nurnberg artisans. But one mountain held and still holds Europe’s largest deposit of the most valuable iron ore, an iron ore that was already marginally carbonized called Siderite or FECO3 to give it its scientific name. That mountain is the Erzberg in Styria, the ore mountain. Do not get that confused with the Erzgebirge, the Ore Montains on the border between Saxony and Bohemia. This is the Erzberg in Styria. Styria was under Habsburg control and once the Habsburgs became emperors, the empire’s foremost cities, like Nurnberg, Augsburg and Passau had ready access to this valuable ore. And mining was and is a capital intensive business. Where could capital to run an open cast iron ore mine come from – correct, the bankers of Augsburg and Nurnberg, who happened to also be the guys who bankrolled the armourers.

Transport infrastructure was crucial. There is no point making vast quantities of helmets, breast plates and gauntlets and then not being able to deliver them to the customer who is readying for war. When Nurnberg was founded, it was not at the crossroads of any major roads. But by the 15th century, the city had bent Europes flow of goods to its will. New routes have been established that all went through Nurnberg. The Via Imperii that comes down from Stettin on the Baltic then through Leipzig goes all the way to Rome via Venice intersects here with the Via Regia that links Krakow with Paris. Other routes link Nurnberg to other key nodes like Prague, Augsburg, Vienna and Regensburg. By 1500 the city on the Pregnitz sits like a spider in the middle of central Europe’s trade routes. On top of that, Nurnberg merchants held trading privileges with 70 cities across the empire and beyond, making their wares materially cheaper than their competition.

To speak business strategy for a moment, another factor that leads to the development of industry clusters are demand conditions. In an ideal scenario, there is already some major local demand for the product that gets the industry to enough scale to compete internationally. This why a lot of the latest tech is developed in larger domestic markets like the US and China, rather than say, Belgium.

I guess you know where we are going with this. These last 15 episodes have introduced you to a veritable plethora of local conflicts, the Mainzer Stiftstfehde, the seemingly never-ending Bavarian wars of succession, the fight for the Low countries and these are only the ones I selected for being the more juicy and meaningful ones. The Holy Roman Empire in the 15th century was a never-ending rigmarole of armed conflicts between princes, princes and cities, cities and emperors and any other combination thereof, plus there were the larger wars, the ones against the Hussites and ever more importantly those against the Ottomans.

So, domestic demand was not a problem armourers needed to worry about unduly.

Nurnberg’s lead in arms and armour manufacturing kicked off with a rather mundane-sounding invention, mechanised wire drawing. The very first wire-drawing mills in europe opened in the city in 1368. Long, uniform metal wire is produced by pulling metal rods through successively smaller dies. As you can imagine, this was brutally hard to do by hand. Using waterpower to deliver a consistent amount of pull made the process infinitely faster, cheaper and delivered a much higher quality product.

The wire drawing process was one of Nurnberg’s most closely guarded secret. Master wiredrawers had to be Nurnberg citizens, they weren’t allowed to leave the city or take apprentices from abroad. The secrecy around this process was materially tighter than it was on the armourers themselves.

Having access to large quantities of cheap, uniform wire gave Nurnberg an initial leg up in the armourers’ business, since chain mail consists, yes of wire. The Nurnberg chainmail became famous for its strength and durability, it gained its own brand name, the Nürnberg Ringpanzer. Yes, I know you have been waiting for me to say the word Panzer on the podcast for ages, and here it is.

Wire drawers were not the only metalworkers in Nurnberg. One of the city’s main exports were on the one hand rather mundane things like knives, scissors, spoons, basins and funnels, but on the other side there was also a long tradition of producing high-end mechanical works. Regiomontanus, who we met last week, alongside his theoretical mathematics and astrology tables, also produced precision instruments for astrology and navigation. And he was by no means the only one. Nurnberg became famous for the compass or is it compasses they produced. Reading glasses were another speciality. And then, further up the artisanal food chain were the various kinds of gold and silversmiths.

But what of the armourers themselves. How did they become – together with those in Augsburg and later Innsbruck and Greenwich – the foremost producers in Europe.

I think three factors were crucial here, competition, specialisation and co-ordination.

Master armourers in Nurnberg were only allowed to employ two assistants and one apprentice. That prevented the establishment of large, dominant producers. These small producers were in constant competition with each other for lucrative orders. Other than in most cities, large orders did not have to be passed through the guild who would distribute them equally amongst the different masters, but would be given to merchants. The merchants would choose who to subcontract to, based on their reputation for quality, reliability, speed and price.

This competitive pressure spurred the armourers on to constantly strive for improvement. One of the key criteria for the quality of armour and swords was the balance between hardness and flexibility. Steel could be hardened by quenching, aka first heating it up to a high temperature and then rapidly cooling it in cold water followed by tempering, a second round of heating but followed by a very slow cooling process. The trick was to find the right balance between initial temperature and length of the quenching and tempering that hardened the steel but not letting it become brittle. Getting this right involved a whole lot of experimentation and required to improve temperature control of the forge. The latter depended on the quality of the charcoal and the consistency of the air blown into the fire. The German armourers kept tinkering and tinkering with this process until they got it right. Their main competition, the armourers of Milan had chosen to protect flexibility by quenching their steel in less conductive liquid, like oils. That prevented brittleness but failed to achieve the hardness desired.

Alan Williams from the university of Reading did analyse two pieces of late medieval and early modern armour made from similar steel for its metallurgical properties. He concluded that the Italian armour from 1570 scored 183 on the Vickers hardness scale, whilst the German piece scored 514 on the same scale. In other words, by the 16th century, German armourers were producing armour 3 times harder than the North Italians who had dominated the market in the early 15th century.

The other thing that made armour great were the mechanics of it. A full armour was supposed to weigh no ore than 25kg to ensure the knight could get up and continue to fight once unhorsed. So, the harder the steel got, the thinner and lighter it could be, which in turn meant more and more of the body could be protected without exceeding the weight limit. And these parts of the body that could now be covered, the legs and arms are full of these complicated connecting bits we call joints. And to be able to fight, the joints need to remain able to move. The German armourers developed sliding rivets and ingenious articulations that let a knight move freely inside what was essentially a metal exoskeleton. Again, master armourers constantly competed with each other to produce ever more elaborate versions of these complex mechanics.

Apart from competition, the other reason German armourers got so good was specialisation. To become a master armourer, the apprentice had to produce his masterpiece, i.e., a piece of armour that showcased his skills and that was of such quality it passed muster with his fellow armourers or the authorities. And depending what kind of piece it was, a helmet, gauntlet, sword or breastplate, this became the only product the newly minted master armourer would be licensed to produce. Those who made helmets were not allowed to branch out into breastplates and vice versa. So the new master would make say helmets on Monday, Tuesday, Wednesday, Thursday and Friday, He would make helmets In January, February, March, April May, June, July, August September, October, November and December, Helmets this year, next year, the year thereafter and from then on to the day they either died or got bored and left. Dead or bored, he would get better and better and better at it. This is what business people call the economics of experience. And economics of experience are so much more powerful than the better-known economics of scale. Any, even the smallest improvement in the way helmets are made apply to all subsequent helmets until the next round of improvements appears, which again brings the process up again further, and so on and so on.

Radical specialisation was something happened across all kinds of trades in Nurnberg. Nurnberg registered 114 individual artisan guilds. They for instance differentiated between makers of “rough” wire, makers of fine wire and makers of silver-plated wire.

Which gets us to the third reason artisans from Nurnberg and Augsburg churned out such astonishing product, co-operation. A full suit of armour consists of dozens of components, helmets, plates, mail, gauntlets, swords and so forth. Each of these were made by different master artisans. And when it came to the top end luxury armour, the kind of stuff emperor Maximilian paid almost as much for as pope Leo X paid Michelangelo to paint the Sistine chapel ceiling, a whole lot more trades got involved. There were the silver and goldsmiths doing the decorations. When we see armour today, it is mostly polished into a bright shining silvery colour. And quite a lot of armour was indeed polished to that colour, requiring a polisher to do that work. But some, maybe even most armour, was colourful. One process was called blueing, where the metal was burnished until it achieved a peacock blue colour. The Wallace collection holds a piece of armour they believe was originally blue with contrasting shining silver-coloured elements. Other may have been straight up painted. What exactly they painted on this armour is largely lost because the Victorians decided that all and every knight was one in shining armour – no space for fancy-coloured fighters.

The great artists of the time, Albrecht Durer and Hans Burgckmaier too got involved. They designed armour for their clients and painted them wearing it afterwards.

So, who co-ordinated all these trades. It seems that for the top, top end armour the superstars of the industry, the Helmschmieds, Lochners and Seusenhofer most likely had control of the project and chose their suppliers and decorators.

When it came to the commissioning of vast quantities of what is called munitions armour, i.e., armour designed to be worn by simple soldiers on campaign, the coordinators were usually the great merchants. This again was one of the unique advantages of places like Augsburg and Nurnberg. The great mercantile houses, the Fuggers, Welsers, Imhofs and Tuchers had the contacts to the imperial and princely courts to secure orders of such magnitude. And not only that, they would also offer to provide financing to the prince and emperor. And on the other side of the bargain they would also provide finance for master armourers to build up stock after having financed their suppliers as well.

Holding stock was extremely capital intensive. But it could come off spectacularly. Having 500 helmets in stock when the duke of God knows where is finding himself in a bit of a pickle, commanded a massive premium over helmets that arrive when the duke’s capital is already burning. Which is why having five hundred helmets available for pick-up wasn’t something unusual in Nurnberg in the 16th century.

And these helmets were not just available, they were also of predictable quality. Nurnberg was somewhat unique amongst the free imperial cities in as much as the patricians had broken the power of the guilds. After a failed uprising, the council had taken over much of the guild’s role, including the supervision of quality standards and the branding. Wares that met the standard set by the city council, i.e, the merchants who bought and sold the merchandise, were branded with the letter N.

Quality control is what saved the German makers of arms and armour from the fate of the much more famous makers of Damascus steel. True Damascus Steel was undoubtably superior to the European product. Still the Mughal emperors on the 17th century preferred European blades from Solingen. Why? Damascus steel is hard to get right. Abd it did not come from Damascus or any other specific place, but from all kinds of places all over the East. There was no central authority that controlled the quality of the end product. So lots and lots of producers were manufacturing what they called Damascus Steel, some of it was of stounding quality, but much of it was not. And nobody could tell which was which. The brand deteriorated.

At the same time the town of Solingen developed its own steel making process and kept such tight control over the quality, that the name Solingen until today stands for top quality knifes, worldwide.

This combination of skill, branding and finance is what made in particular Nurnberg the go-to place for massive orders. The only place to that could match it in terms of mass output were the Habsburg armouries emperor Maximilian established in Innsbruck. He had brought several famous armourers from Augsburg and Nurnberg to Innsbruck. What these artisans did there was on the one hand create spectacular luxury armours for the emperors, but the other, more important function was to arm the imperial armies. And free from the shackles of the guild regulations in Augsburg and Nurnberg, huge workshops could be set up that exploited the resulting economics of scale.

Whilst Nurnberg focused more on volume production, Augsburg took an almost unassailable lead in making the world’s finest luxury armour. Augsburg had already established itself as the home of Europe’s foremost silver and goldsmiths. These guys now brought their skills into the world or armour. Go into any museum of armour and look at the star piece in their collection, it will almost inevitably come from Augsburg.

Ok, that is not 100% right. The museum will likely also hold a astounding looking Italian armour from Milan or Brescia, from masters like the Negrolis or the Messaglias. These are wonderous contraptions covered in elaborate decorations mimicking mythical animals or modelled on ancient Greek or Roman styles. They sparkle in the sun and look fantastic when the emperor enters a city on triumph. What they are pretty useless at, is protecting the wearer against even the most feeble blow from a sword.

Which gets us to the last reason why the centre of armour production shifted from Milan to Southern Germany. And the answer is the third most powerful force on the known universe after compounding and human stupidity, pot luck. Arms manufacturing needs war, but it is important that it is the right amount of war. And Northern Italy in the late fifteenth century got the wrong amount of war. The so-called Italian wars that pitted France against the Habsburgs, the Italian states against each other and the papacy pitching in at various points, these Italian wars were a disaster for Italy.

Machiavelli in the last chapter of the prince appeals to Lorenzo de Medici quote “Italy, left almost lifeless, waits for someone to heal her wounds, to put an end to the sackings of Lombardy, the extortions and plunderings of the Kingdom [of Naples] and of Tuscany, and to cleanse the sores that have festered for so long.”. Whilst Leonardo, Raphael and Michelangelo created the greatest artworks the world had ever seen, the Italian cities they worked were regularly sacked and their industries smashed. And one of these industries that could not keep up in these conditions was the Milanese armourers.

The success of the German armourers did not just produce their own industry cluster. The metalworking industries in general were all cousins. A city known for armor often produced other metal goods: cutlery, tools, machinery, clocks, scientific instruments, you name it. In 1621, of the 3,700 master craftsmen in Nuremberg, about 600 worked in ironwares. The techniques used for one product often fertilized another. The skill to draw fine wire (for mail armor or for strings and cables) helped in making mechanical clock springs. The ability to cast cannon and mix alloys informed bell-making (Nuremberg and Augsburg both cast huge church bells). And the presence of gunsmiths and metal engravers in the same city led to some cross-pollination – for instance, the beautiful engraving and etching seen on luxury firearms and armor was often done by artists who also worked on printing plates and fine art. It’s not a stretch to note that the city that printed the Nuremberg Chronicle and built the first pocket watches (the famous “Nuremberg eggs” by Peter Henlein) was the same city exporting the best mail shirts and muskets. The cultural flowering of Nuremberg in that era – the “centre of the German Renaissance” – was enabled by its prosperous crafts economy of which arms-making was just one pillar.

Nothing lasts forever though. The downfall of the great southern German cities did not come with the gradual decline of the use of armour. That was compensated by their equal prowess in the production of firearms, both handguns and cannon and all kinds of sophisticated instruments.

What broke them was the wrong amount of war, aka the 30 years war. Nurnberg stayed neutral and was protected by powerful fortifications, but their markets had been wiped out by the end. Moreover, their customers, the emperors and princes began introducing standing armies using standard equipment. State-owned arsenals were able to deliver these cheaper and more efficiently than the fragmented master armourers. Nurnberg and Augsburg declined and it took until the industrial revolution before they gradually came back to life.

Nevertheless, some elements of the early success of German industry in Nurnberg and Augsburg survive to this day. The Mittelstand, the backbone of the German economy consists of comparatively small, family-owned businesses that have risen to global leadership in their field through fierce competition, extreme specialisation, co-ordination and quality control.

And this seems to me a good point to end our journey across the empire in the 15th century. There are many more topics we could have explored, the dukes of Brunswick and those of Pomerania, the involvement of Brandenburg in the wars between Poland and the Teutonic Knights, the silversmiths of Augsburg, the sword makers of Cologne and Passau. But 15 episodes in, it is time to move on. The next season will pick up when we last had a closer look at the Habsburgs, i.e., when Rudolf the Stifter invented the title of archduke. And take the story all the way to Charles V. I hope you will join us again when that kicks off in a few weeks’ time. In the meantime I will drop episodes from other podcasts I admire into the feed. Give them a chance. They are really good in their own way.

And do not forget, you can support the show by going to historyofthegermans.com/support and make a contribution. I have not much to offer, other than my heartfelt and for the most generous, eternal gratitude which should make you feel even more generous.

See you soon!