As is the case with King Arthur, the breastplate is worn over a coat of chain mail, and the greaves worn are plain.

The remaining twenty-six figures according to some authorities were designed by Gilg Sesselschreiber; although opinion is still somewhat divided regarding this point. It may, however, we think be accepted that Sesselschreiber was, at least in part, responsible for the greater number.

The relationship which existed between the Emperor Maximilian and the Munich artist Sesselschreiber, who had been engaged as Court painter in 1502, was not untinctured by an element of romance, which is doubly interesting as showing the relative positions of artist and patron in those stirring and disturbed times.

Happily for lovers of art and antiquities the original designs for the statues surrounding the tomb of Maximilian which Sesselschreiber made have been preserved, and can be seen in the Imperial Library, Vienna.

Exquisite pen-and-ink drawings delicately tinted, upon some of which the Emperor himself made corrections and suggestions in his own hand.

These are distinctly traceable on some from the unskilled nature of the pen-and-ink alterations.

[Sidenote: THE FAMOUS STATUES]

A curious fact is also brought to light by these sketches. It would seem from them beyond question that Maximilian fully intended being modelled for the figure of himself, which was to grace the memorial, in the suit of exquisite silver armour which he had worn on the occasion of his marriage at Ghent with Mary of Burgundy.[12] Several sketches were made, one, apparently from the notes and alterations upon it, displeased the Emperor from a technical point; in another the face was not as he wished with the result that Sesselschreiber altogether made four or more drawings.

The care which had been taken over this most important figure was, however, never destined to be utilized to the full, for the statue was not even modelled at the time of Maximilian's death in 1519, and the figure clad in coronation robes (instead, as was evidently intended, entirely in armour) which kneels on the top of the cenotaph was the work of Abraham Colin, who had never seen the Emperor in life, the cast not having been made until more than sixty years after Maximilian's death.

How slowly the great work of this magnificent tomb proceeded can be gathered from the dates we have quoted. The delay arose from several causes; amongst others, from the Emperor's shortness of money, owing to the vast schemes of conquest, science, and other matters in which he was engaged; and from the circ.u.mstance that Gilg Sesselschreiber appears to have become lazy, intemperate, and dissolute. In the end he took flight to Augsburg in fear of Maximilian's anger. The Emperor, however, was not prepared to yield up possession of his Court painter without a struggle, so the latter was captured and thrown into prison, from which he appears to have been released in 1516 on promise of reform. So that he might be freed from the temptations which Innsbruck afforded in the way of wine, women, and boon companions he was compelled by the Emperor to take up his residence at Natters on the western side of the Sill Gorge above Innsbruck.

The casting of the statues was largely done by the famous Gregor Loffler, who established a bronze foundry near Innsbruck, and also built the Castle of Buchsenhausen, although some of the statues were undoubtedly cast by Stephen and Melchior G.o.dl and Hans Lendenstreich who worked at the Muhlau foundry on the outskirts of Innsbruck.

Although the designing and casting of the statues is now generally accepted as being the work of the men we have named, it is more than possible that the idea of the whole complete piece of mediaeval and historical symbolism was that of some comparatively unknown brother of the Franciscan order. Originally the scheme was designed to include, in addition to the figures we have mentioned, twenty-three others of saints which were to be placed on raised pedestals or in niches, and were for this reason of much smaller size. They are now to be seen in the Silver Chapel. The following is a list of the large statues grouped around the tomb.

(1) Clovis, the first Christian King of France.

(2) Philip the Handsome, of the Netherlands, Maximilian's son. (1495.)

(3) The Emperor, Rudolf of Habsburg.

(4) Albert II. the Wise, Maximilian's great-grandfather.

(5) Theodoric, King of the Ostrogoths. (455-526.)

(6) Ernest der Eiserne, Duke of Austria and Styria.

(1377-1424.)

(7) Theodebert, Duke of Burgundy. (640.)

(8) King Arthur of England.

(9) Sigismund der Munzreiche, Count of Tyrol. (1427-96.)

(10) Maria Bianca Sforza, Maximilian's second wife. Died 1510.

(11) The Archd.u.c.h.ess Margaret, Maximilian's daughter.

(12) Cymburgis of Ma.s.sovica, wife of Ernest der Eiserne.

Died 1433.

(13) Charles the Bold, Duke of Burgundy, father of Mary of Burgundy, Maximilian's first wife.

(14) Philip the Good, father of Charles the Bold. Founder of the Order of the Golden Fleece. (1419.) Married Margaret of York, sister of Edward IV., in 1468. (1467-77.)

(15) Albert II., Duke of Austria, and Emperor of Germany.

(1397-1439.)

(16) Emperor Frederick III., Maximilian's father.

(1457-93.)

(17) Leopold III., Margrave of Austria; since 1506 the patron saint of Austria. (1096-1136.)

(18) Rudolf, Count of Habsburg. (1273.)

(19) Leopold III. the Pious, Duke of Austria, Maximilian's great-grandfather; slain at Sempach. July 9, 1386.

(20) Frederick IV. of Austria, Count of Tyrol, surnamed "mit der leeren Tasche."

(21) Albert I., Duke and Emperor of Austria. Born 1248, a.s.sa.s.sinated by his nephew John of Swabia, 1308.

(22) G.o.dfrey de Bouillon, King of Jerusalem in 1099, wearing a crown of thorns.

(23) Elizabeth of Hungary, wife of the Emperor Albert II.

Born 1396.

(24) Mary of Burgundy, Maximilian's first wife. (1457-82.)

(25) Eleonora of Portugal, wife of the Emperor Frederick III., Maximilian's mother.

(26) Cunigunda, Maximilian's sister, wife of Duke Albert IV.

of Bavaria.

(27) Ferdinand II., of Aragon, surnamed "the Catholic."

(1479.)

(27) Johanna, daughter of Ferdinand and Isabella, and wife of Maximilian's son, Philip I., of Spain.

[Sidenote: HISTORY IN MARBLE]

The cenotaph itself, placed upon three steps of red marble, is about fourteen feet long and six feet high, and is constructed of different coloured marbles. The figure of the Emperor on top with its face directed towards the altar, is a fine bronze casting by a Sicilian named Luigi del Duca made in 1584.[13] Slender columns divide the ends and sides of the cenotaph into twenty-four panels or compartments of white marble in which are scenes in relief (depicting the chief events and achievements of Maximilian's life). These are really marvellous works of art, not alone for their execution but from the care with which accuracy has been attained in the costumes, the architectural and other details introduced, and from the extraordinary finish which marks the whole of the work. Many of the faces are undoubted portraits of the greatest historical and antiquarian value, those of the Emperor at various periods of his life being remarkable for their differing likeness. The variations of the national types depicted are rendered with the most painstaking care. The first four of the panels are filled by the work of Albert and Bernard Abel of Cologne, who began their task in 1561, after a visit to Genoa to choose the marble. They, however, both died two years later, leaving their work to be taken up by Alexander Colin, of Malines, in Flanders, who lived at Innsbruck for forty years, and died in 1612. Aided by a large number of other artists he completed the work of the Abels in a period of about three and a half years. Even the least learned of visitors will recognize the beauty of craftsmanship which so great a master as Thorwaldsen p.r.o.nounced "the most admirable and perfect of its kind."

The delicacy of execution is, indeed, rather that of ivory than of marble, and it is not without good cause that these exquisite reliefs are nowadays protected by gla.s.s and surrounded by a railing in iron work of very beautiful design.

[Sidenote: SOME HISTORIC EVENTS]

The subjects, a brief description of which may be of interest, are as follows:--(1) The marriage of Maximilian (then aged eighteen) with Mary of Burgundy at Ghent, August 19, 1477. She was killed whilst hunting by the stumbling of her horse, and was buried at Bruges, 1482.

(2) Maximilian's victory over the French at Guinegate, in 1479. (3) The taking of Arras, 1482; the fighting men and the fortifications in this are worthy of special note, not alone for historical accuracy of detail but also for the marvellously fine execution; one woman in particular should be noticed, who is bringing provisions to the camp.

This figure is a masterpiece in itself. (4) Maximilian is crowned King of the Romans at Aix-la-Chapelle in 1486. The scene is the interior of the Cathedral, Maximilian is seated on the stone chair of Charlemagne (a sort of throne) before the altar surrounded by his courtiers, whose dresses and those of the ladies high above in their gallery are a perfect record of the fashions of the period, so minute is their accuracy of detail. (5) The Battle of Castel della Pietra, or Stein am Calliano, situated between Trent and Rovereto in 1487. The landscape background of this panel is excellent, and the Tyrolese are seen driving the Venetians with great fury before them across the Adige.

(6) Maximilian's entry into Vienna, 1490, after it had been evacuated by the Hungarians, an incident in the course of the fight for the crown of Hungary after the death of Matthias Coryinus who had held Vienna for several years. The figure of Maximilian on his horse is very beautifully carved. (7) The siege of Stuhlweissenburg, the city in which the Kings of Hungary were crowned; Maximilian captured it in 1490. The horses in this tablet are worthy of particular notice. (8) The return of Margaret, daughter of Maximilian. This episode, which it must have required some courage to record among the acts of so glorious a reign, shows Maximilian meeting his daughter Margaret on her return in 1493, after Charles VIII. had rejected her hand for that of Anne of Brittany, whom Maximilian himself had intended to marry as his second wife. The French envoys hand to the Emperor two keys, symbols of the suzerainty of Burgundy and Artois, the price to be paid for the double affront of sending back his daughter and depriving him of his bride, Anne. (9) Maximilian's campaign against the Turks in Croatia. (10) The Alliance between Maximilian and Pope Alexander VI., the Doge of Venice, and the Duke of Milan, against Charles VIII. of France; the four allies are shown standing in the hall of a palace in the act of joining hands, whilst the French are seen in full flight in the background. (11) The Invest.i.ture at Worms of Ludovico Sforza with the Duchy of Milan. The portraits of Maximilian are well preserved and finely executed on each occasion that he is introduced, but in none better than on this one. The Empress Maria Bianca is seated on the left of the Emperor, Ludovico Sforza kneels before the throne; on the waving standard, the symbol or invest.i.ture, the ducal arms are plainly discernible. (12) The marriage at Brussels, in 1496, of Philip der Schone, Maximilian's eldest son, with Johanna, daughter of Ferdinand and Isabella of Spain, by the Archbishop of Cambrai.

The remaining panels show (13) The campaign in Bohemia, and victory of Maximilian at Regensburg in 1504. (14) The siege of Kufstein, 1504.

(15) The capture of Guelders and submission of Charles d'Egmont to Maximilian, 1505. The Duke is standing with uncovered head, and the battered walls of the city are seen in the background. (16) The League of Cambrai, 1508. The scene is a handsome tent in the camp near Cambrai; Maximilian, Julius II., Charles VIII., and Ferdinand V. are meeting to enter into an alliance against Venice. (17) The siege of Padua, 1509, the first result of this league. (18) The expulsion of the French from Milan in 1512. (19) The second battle of Guinegate; known also as the Battle of Spurs, so called from the fact that the French were said to have used their spurs rather than their swords on that occasion, with Henry VIII. of England in command of the allied infantry, August 16, 1513. (20) The meeting of Maximilian and Henry VIII. before Tournai, 1513. Maximilian and Henry are seen both on foot. (21) The battle of Vicenza, 1513. (22) The siege of Murano, on the Venetian coast, 1514. (23) Maximilian treating with Vladislaw, King of Hungary, for the double marriage of Anna and Ludwig, children of Vladislaw, with Ferdinand and Maria, grandchildren of Maximilian, which event had as one of its consequences the subsequent joining of Hungary with the Empire. (24) The defence of Verona, made by Maximilian's forces, against the French and Venetians, 1516.