The tomb in the centre, with its imposing bronze figure of Maximilian kneeling with clasped hands on the top of the huge marble sarcophagus, at the four corners of which are smaller figures, at once arrests attention. The Emperor is in Imperial dress, with crown, armour, and a robe, and is surrounded by the twenty-eight huge figures which have become world-famous, and all save two of which were once torch-bearers, and are now seen with their right hands extended as though holding torches. The two exceptions are King Arthur of England, and the Emperor Theodoric the Goth. All of the statues surrounding the tomb are thought to have had some real or legendary connection with the House of Habsburg, and it is believed that Maximilian himself chose the characters who were to be represented. They may be grouped into two series. One consisting of his five favourite heroes of antiquity; the other of twenty-three ancestors, contemporary relatives or members of his house, both men and women.
The figures differ very greatly both in style and merit. It was perhaps only natural that this result should have been arrived at when one remembers that several generations were occupied upon the construction of this marvellous example of German Renaissance monumental work erected during the sixteenth century, and that it was necessarily the work of several designers as well as many different hands. The tomb is a wonderful, perhaps even unequalled, example of the German art of a period which marked the blending of the mediæval and the modern. To the Imperial designer of the tomb the chivalric figures he chose to surround it were no mere abstractions but living, breathing entities; just as the old feudal Empires of south-eastern Europe were real. He was unable to realize that even then the old order was about to pass away, to be replaced by a new which was so divergent from that he had known, and of which he himself had been so prominent a figure.
The bronze figures, which twenty years or so ago attracted the notice of but few foreign visitors, but are now objects of keenest interest to all comers to the capital of Tyrol, are by several hands. The two of surpassing beauty of design and execution are those of King Arthur of England, and King Theodoric. They are nowadays pretty generally supposed to have been the work of Peter Vischer of Nüremberg.
These two statues have a particularly interesting history which has been brought to light of recent years. Though cast at Nüremberg in 1513, and costing no less than one thousand florins, it was not until nearly twenty years had elapsed that they reached Innsbruck. In the meantime, owing to Maximilian's need of ready money, they had been in the possession of Bishop Christopher of Augsburg, to whom they had been pawned by the Emperor. The Bishop placed them in the chapel at St. Lorenz, where they remained until the year 1532. Ferdinand I. then sent to redeem them, and they were delivered up on payment to the steward of the then Bishop of the amount which originally had been advanced upon them.
MOONRISE IN TYROL
KING ARTHUR AND THEODORIC
The statue of King Arthur is especially impressive and fine. Standing erect, the tall, chivalrous-looking figure has an alertness of pose which is astonishingly lifelike and commanding. It is impossible not to recognize the representation of a true ideal of knighthood "sans peur et sans raproche," and that without any suggestion of aggressive valour. The helmet worn is of the close-fitting type with the visor, which is enriched with ornamentation, raised so that the face of a somewhat Teutonic mould is plainly seen. The breastplate, worn over a coat of mail, is magnificently worked; but the rest of the suit is plain. Arthur supports by his right hand a shield bearing the arms of England, and at his left side is a long sword.
The statue of King Theodoric, although fine in execution, does not possess the same impressiveness and commanding merit as that of King Arthur to which we have just referred. It appears probable that the same model may have been used for both. But, whereas King Arthur is a commanding figure, the pose of King Theodoric is rather a dejected and wearied one. His breastplate is not nearly so richly ornamented, and his helm is also plainer, with the visor of a quite different shape. As is the case with King Arthur, the breastplate is worn over a coat of chain mail, and the greaves worn are plain.