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 Investiture 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 investiture, the ducal arms are plainly discernible. (12) The marriage at Brussels, in 1496, of Philip der Schöne, 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.
Maximilian's splendid memorial is well-placed so that its beauty and impressiveness is given full effect, and the spectator is able to consider it not only in detail but as a whole. As an example of sepulchral art of its kind it is unrivalled.
Of a very different character to this magnificent cenotaph is the tomb of Andreas Hofer at the entrance to the left aisle, wrought in Tyrolese marble by Schaller, of Vienna, and with a bas-relief by Joseph Klieber, of Innsbruck, depicting six Tyrolese taking the oath of allegiance to the National flag and cause. On either side of the great patriot lie his comrades, Joseph Speckbacher and Joachim Haspinger. Near them is a tablet inscribed, "From a grateful Fatherland to the sons who perished in the Patriotic Wars," with the date (1838) of erection, and the motto, "Death is swallowed up in Victory."
STATUETTES IN SILVER CHAPEL
In the opposite aisle and reached by a flight of steps is the Silberne Kapelle (Silver Chapel), so known because of the silver statuette of the Virgin, presented by the Archduke Ferdinand of Austria, who was Regent of Tyrol from 1563-1595, and the embossed representations of the Lauretanian Litany, also in silver, which adorn the altar. Underneath the marble steps by which the chapel is reached is a notable tomb, the work of Alexander Colin, with a reclining figure of Katharina von Loxen, aunt of Philippine Welser. In the chapel itself are the beautiful tombs of the Archduke Ferdinand, and his first wife Philippine Welser in marble, with effigies which are ascribed to Alexander Colin. The first named tomb is adorned with four scenes of events in the Archduke's life in relief; and the latter with two reliefs. There is also a notable life-size bronze figure of the Archduke kneeling, clad in full armour, with his face turned towards the altar, and his hands folded in prayer. These monuments in themselves are sufficient to ensure a degree of fame for the Silberne Kapelle with all who are either interested in art or historical memorials.
The twenty-three statuettes, originally intended as part of the scheme of Maximilian's cenotaph, to which reference has already been made, have been placed in the chapel without following any particular design or order of arrangement. They have a considerable interest from the fact that they represent saints of royal or noble birth whose destinies, legendary or real, have been bound up with those of the House of Habsburg. They are frequently overlooked by visitors to Innsbruck and by even those who enter the Hofkirche; but, irrespective of their individual merits, they should be studied on account of having originally formed part of the scheme for the magnificent memorial to Maximilian.
(1) St. Adelgunda, daughter of Walbert, Count of Hainault. (2) St. Adelbert, Count of Brabant. (3) St. Doda, wife of St. Arnulf, Duke of the Moselle. (4) St. Hermelinda, daughter of Witger, Count of Brabant. (5) St. Guy, Duke of Lotharingia. (6) St. Simpert, Bishop of Augsburg, son of Charlemagne's sister Symporiana, who rebuilt the monastery of St. Magnus at Füssen. (7) St. Jodok, son of a king of Great Britain, wearing a Palmer's dress. (8) St. Landerich, Bishop of Metz, son of St. Vincent, Count of Hainault, and St. Waltruda. (9) St. Clovis. (10) St. Oda, wife of Duke Conrad. (11) St. Pharaild, daughter of Witger, Count of Brabant. (12) St. Reinbert, her brother. (13) St. Ronald, brother of St. Simpert, Bishop of Augsburg. (14) St. Stephen, King of Hungary. (15) St. Venantius, martyr, son of Theodoric, Duke of Lotharingia. (16) St. Waltruda, mother of St. Landerich. (17) St. Arnulf, husband of St. Doda, afterwards Bishop of Metz. (18) St. Chlodulf, son of St. Waltruda. (19) St. Gudula, sister of St. Albert, Count of Brabant. (20) St. Pepin Teuto, Duke of Brabant. (21) St. Trudo, priest, son of St. Adela. (22) St. Vincent, monk. (23) Richard Cœur-de-Lion. All of whom were more or less closely related or associated with the royal house of Habsburg.
The monuments which we have referred to, gathered within the walls of the Hofkirche, serve to conjure up for those versed in Tyrolese history many stirring, romantic, and tragic episodes. To this historic building was the beautiful Philippine Welser borne from Castle Ambras to her last resting-place. And here knelt the Archduke Leopold V. at his marriage with the lovely Claudia Felicitas de Medici, whilst all the while there rolled the thunder and tumult of the Thirty Years' War beyond the frontier of Tyrol. And a few years later came Queen Christian of Sweden to make her abjuration of the Protestant faith on October 28, 1655. We read in one account of this imposing and impressive ceremony that the Queen was attired in a plain black silk gown, and wore no other jewels than a cross on her breast in which flashed five great diamonds of wonderful beauty symbolical of the five wounds of Christ. Her repetition of the Latin profession of faith after the Papal nuncio, we are told, was so clear and emphasized as to attract general comment. Not only was the Ambrosian hymn sung after the ceremony, but "the Innsbruckers celebrated the event of her conversion to the true faith by the firing of cannon and the ringing of the church bells." An ever popular ceremony which marked her stay in the town was the procession of the favourite picture of Tyrol, Cranach's Madonna brought to the country by Leopold V. Mystery plays, which are still popular in Tyrol, were also performed, and the event was made the excuse or occasion for much general rejoicing.