Ferdinand the First’s reign has many mementos in Innsbruck. He built the Franciscan church, otherwise called the heiligen Kreuzkirche and the Hofkirche, which, tradition says, had been projected by his grandfather, Kaiser Max, though there is no written record of the fact; and he raised within it a most grandiose and singular monument to him, which has alone sufficed to attract many travellers to Tirol. The original object of the foundation of the church seems to have been the establishment of a college of canons in this centre, to oppose the advance of Lutheran teaching. It was begun in 1543, the first design having been rejected by Ferdinand as not grand enough, and consecrated in 1563. He seems to have been at some pains to find a colony of religious willing to undertake, and competent to fulfil, his requirements; and not coming to an agreement with any in Germany or the Netherlands, ultimately called in a settlement of Franciscans from Trent and the Venetian provinces, consisting of twenty priests and thirteen lay-brothers. The chief ornaments of the building itself are the ten large—but too slender—red marble columns, which support the plateresque roof. The greater part of the nave is taken up with Maximilian’s monument—cenotaph rather, for he lies buried at Wiener-Neustadt, the oft-contemplated translation of his remains never having been carried into effect. It was Innsbruck’s fault, as we have seen, that they were not originally laid to rest there, and it is her retribution to have been denied the honour of housing them hitherto. The monument itself is a pile upwards of thirteen feet long and six high, of various coloured marbles, raised on three red marble steps; on the top is a colossal figure, representing the Kaiser dressed in full imperial costume, kneeling, his face being directed towards the altar—a very fine work, cast in bronze by Luigi del Duca, a Sicilian, in 1582. The sides and ends are divided by slender columns into twenty-four fine white marble compartments,[8] setting forth the story of his achievements in lace-like relief. If the treatment of the facts is sometimes somewhat legendary, the details and accessories are most painstakingly and delicately rendered, great attention having been paid to the faithfulness of the costumes and buildings introduced, and the most exquisite finish lavished on all. They were begun in 1561 by the brothers Bernhard and Arnold Abel, of Cologne, who went in person to Genoa to select the Carrara tablets for their work; but they both died in 1563, having only completed three. Then Alexander Collin of Mechlin took up the work, and with the aid of a large school of artists completed them in all their perfection in three years more. Around it stands a noble guard of ancestors historical and mythological, cast in bronze, of colossal proportions, twenty-eight in number. It is a solemn sight as you enter in the dusk of evening, to see these stern old heroes keeping eternal watch round the tomb of him who has been called ‘the last of the Knights,’ der letzte Ritter. They have not, perhaps, the surpassing merit of the Carrara reliefs, but they are nobly conceived nevertheless. For lightness of poise, combined with excellence of proportion and delicacy of finish, the figure of our own King Arthur commends itself most to my admiration; but that of Theodoric is generally reckoned to bear away the palm from all the rest. They stand in the following order.

Starting on the right side of the nave on entering, we have:

This completes the file on the right side; on our walk back down the other side we come to—

There is a vast difference in the quality both of the design and execution of these statues; the greater number and the more artistic were cast by Gregor Löffler, who established a foundry on purpose at Büchsenhausen; the rest by Stephen and Melchior Godl, and Hanns Lendenstreich, who worked at Mühlau, a suburb of Innsbruck. All honour is due to them for the production of some of the most remarkable works of their age; but it was some unknown mind, probably that of some humble nameless Franciscan, to whom is due the conception and arrangement of this piece of symbolism. It originally included, besides the statues already enumerated, twenty-three others, of saints, which were to have received a more elevated station, and it is for this reason that they are much smaller in size. They are now placed in the so-called ‘Silver Chapel,’ and are too frequently overlooked; but it is necessary to take them into account in order worthily to criticize this great monument. They are as follows:—1. St. Adelgunda, daughter of Walbert, Count of Haynault. 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; he wears a palmer’s dress. 8. St. Landerich, Bishop of Metz, son of St. Vincent, Count of Haynault, 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, brother of the last. 13. St. Roland, brother of St. Simpert. 14. St. Stephen, King of Hungary. 15. St. Venantius, martyr, son of Theodoric, Duke of Lotharingia. 16. St. Waltruda, mother of St. Landerich (No. 8). 17. St. Arnulf, husband of St. Doda (No. 3), afterwards Bishop of Metz. 18. St. Chlodulf, son of St. Waltruda (No. 16), also Bishop of Metz. 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. A series of men and women, all more or less closely connected with the House of Hapsburg, selected for the alleged holiness of their lives or deeds under one aspect or another. It needs no laboured argument to show the appropriateness of thus representing to the life the solidarity of piety and worth in the great hero’s earthly family, though a few words may not be out of place to distinguish the characters allied only or chiefly by the ties of the great family of chivalry. These are—1. King Arthur (No. 8), representative of the mythology of the Round Table. 2. Roland (No. 13 in the series of the saints), representing the myths of the Twelve Peers of France. 3. Theodobert (No. 7), who received a hero’s death in the plain of Chalons at the hand of Attila, to be immortalized in the Western Nibelungen Myths. 4. Theodoric (No. 5), celebrated as ‘Dietrich von Bern’ in the Eastern. 5. Godfrey de Bouillon (No. 22), representing the legendary glory of the Crusades.[10]

The two other statues, of a later date—St. Francis and St. Clare—are by Moll, a native of Innsbruck, who became a sculptor of some note at Vienna. The picture of St. Anthony over the altar of the Confraternity of St. Anthony, on the Epistle side of this church, has a great reputation among the people, because it remained uninjured in a fire which in 1661 burnt down the church of Zirl, where it was originally placed.[11] Five years later it was brought hither for greater honour, and was let into a larger painting by Jele of Vienna, representing a multitude of sick and suffering brought by their friends to pray for healing before it. There is not much else in this church that is noteworthy (besides ‘the Silver Chapel,’ which belongs to the notice of Ferdinand II.). What there is may be mentioned in a few lines, namely—the Fürstenchor, or tribune for the royal family, high up on the right side of the chancel, with the adjoining little chapel and its paintings, and cedar-wood organ, the gift of Julius II. to Ferdinand I.; the quaint old clock; and the memory that Queen Christina of Sweden made her abjuration here 28th October 1655. Her conduct on the occasion was, according to local tradition, most edifying. She was dressed plainly in black silk, with no other ornament than a large cross on her breast, with five sparkling diamonds to recall the glorious Wounds of the Redeemer. The emphasis with which she repeated the Latin profession of faith after the Papal nuncio did not pass unnoticed. The Ambrosian Hymn was sung at the close of the ceremony, and the church bells and town cannon spoke the congratulations of the Innsbruckers on this and the subsequent days of her stay among them. Among other tokens of gladness, several mystery plays (which are still greatly in vogue in Tirol) were represented. Another public ceremony of her stay was the translation of Kranach’s Madonna, the favourite picture of Tirol, brought to it by Leopold V. The original altar-piece of the Hofkirche, by Paul Troger—the Invention of the Cross—was removed by Maria Theresa to Vienna, because the figure of the Empress Helena was counted a striking likeness of herself.

The introduction of the Jesuits into Tirol, and the subsequent building of the Jesuitenkirche in Innsbruck, and the labours of B. Peter Canisius among the people, was also the work of Ferdinand I. The peaceful prosperity which his wise government procured for the country, while wars and religious divisions were distracting the rest of Europe, gave opportunity for the development of its literature and art-culture.[12]

One melancholy event of his reign was the outbreak in its last year, of a terrible epidemic, which committed appalling ravages. All who could, including the royal family, escaped to a distance; and those who had been stricken with it were removed to the Siechenhaus, and isolated from the rest of the population. As has frequently happened on similar occasions, the dread of the malady operated to deprive the sick of the help of which they stood in need. It was when the plague raged highest, and the majority were most absorbed with the thought of securing their own safety, that a poor woman of the people, named Magaretha Hueber, rising superior to the vulgar terror, took upon herself cheerfully the management of the desolate Siechenhaus. The example of her courage was all that was needed to bring out the Christian confidence and charity of the masses; and to her devotion was owing not only the relief of the plague-stricken, but the moral effect of her spirit and energy was also not without its fruit in staying the havoc of the contagion; and she is still remembered by the name of die fromme Siechen.

Shortly before his death (which happened in 1564), Ferdinand had his second son, Ferdinand II., publicly acknowledged in the Landtag of Innsbruck, Landesfürst of Tirol. His own affection for the country had prevented him from suffering its interests to be ever neglected by the pressure of his vast rule; and now when his great age warned him that he would be able to watch over it no longer, he determined to give it once more the benefit of an independent government.