The Valleys of Tirol: Their traditions and customs and how to visit them

by Rachel Harriette Busk

[6] Consult Zoller, Geschichte der Stadt Innsbruck; and Staffler, das Deutsche Tirol.

[7] See p. 146.

[8] For the convenience of the visitor to Innsbruck, but not to interrupt the text, I subjoin here a list of the subjects. (1.) The marriage of Maximilian (then aged eighteen) with Mary of Burgundy at Ghent. (2.) His victory over the French at Guinegate, when he was twenty. (3.) The taking of Arras thirteen years later; not only are the fighting folk and the fortifications in this worthy of special praise, but there is a bit of by-play, the careful finish of which must not be overlooked; and the figure of one woman in particular, who is bringing provisions to the camp, is a masterpiece in itself. (4.) Maximilian is crowned King of the Romans. The scene is the interior of the Cathedral of Aix-la-Chapelle: the Prince is seated on a sort of throne before the altar; the Electors are busied with their hereditary part in the ceremony; the dresses of the courtiers in the crowd, and the ladies high above in their tribune, are a perfect record for the costumier, so minute are they in faithfulness. (5.) The battle of Castel della Pietra, or Stein am Calliano, the landscape background of which is excellent; the Tirolese are seen driving the Venetians with great fury before them over the Etsch (Adige). (6.) Maximilian’s entry into Vienna (1490), in course of the contest for the crown of Hungary after the death of Matthias Corvinus; the figure of Maximilian on his prancing horse is drawn with great spirit. (7.) The siege of Stuhlweissenburg, taken by Maximilian the same year; the horses in this tableau deserve particular notice. (8.) The eighth represents an episode which it must have required some courage to record among the acts of so glorious a reign; it shows Maximilian receiving back his daughter Margaret, when, in 1493, Charles VIII. preferred Anne of Brittany to her. The French envoys hand to the Emperor two keys, symbols of the suzerainty of Burgundy and Artois, the price of the double affront of sending back his daughter and depriving him of his bride, for Anne had been betrothed to him. [Margaret, though endowed with the high qualities of her race, was not destined to be fortunate in her married life: her hand was next sought by Ferdinand V. of Spain for his son Don Juan, who died very shortly after the marriage. She was again married, in 1508, to Philibert Duke of Savoy, who died without children three years later. As Governor of the Netherlands, however, her prudent administration made her very popular.] (9.) Maximilian’s campaign against the Turks in Croatia. (10.) The League of Maximilian with Alexander VI., the Doge of Venice, and the Duke of Milan, against Charles VIII. of France; the four potentates stand in a palatial hall joining hands, and the French are seen in the background fleeing in dismay. (11.) The investiture at Worms of Ludovico Sforza with the Duchy of Milan. The portraits of Maximilian are well preserved on each occasion that he is introduced, but in none better than in this one: Maria Bianca is seen seated to the left of the throne, Sforza kneels before them; on the waving standard, which is the token of investiture, the ducal arms are plainly discernible. (12.) The marriage at Brussels, in 1496, of Philip der Schöne, Maximilian’s son, with Juana of Spain; the Archbishop of Cambrai is officiating, Maximilian stands on the right side of his son: Charles Quint was born of this marriage. (13.) A victorious campaign in Bohemia in 1504. The 14th represents the episodes of the siege of Kufstein, recorded in the second chapter of these Traditions (1504). (15.) The submission of Charles d’Egmont to Maximilian, 1505. The Kaiser sits his horse majestically; the Duke of Gueldres stands with head uncovered; the battered battlements of the city are seen behind them. (16.) The League of Cambrai, 1508. The scene is a handsome tent in the camp near Cambray; Maximilian, Julius II., Charles VIII., and Ferdinand V., are supposed to meet, to unite in league against Venice. (17.) The Siege of Padua, 1509, the first result of this League; the view of Padua in the distance must have required the artist to have visited the place. (18.) The expulsion of the French from Milan, and reinstatement of Ludovico Sforza, 1512. (19.) The second battle of Guinegate: Maximilian fights on horseback; Henry VIII. leads the allied infantry, 1515. (20.) The conjunction of the Imperial and English forces before Terouenne: Maximilian and Henry are both on foot, 1513. (21.) The battle of Vicenza, 1513. (22.) The Siege of Marano, on the Venetian coast. The 23rd represents a noble hall at Vienna, such details as the pictures on the walls not being omitted: Maximilian is treating with Uladisaus, King of Hungary, for the double marriage of their offspring—Anna and Ludwig, children of the latter, with Ferdinand and Maria, grandchildren of the former—an alliance which had its consequence in the subsequent incorporation of Hungary with the Empire. (24.) The defence of Verona by the Imperial forces against the French and Venetians.

[9] Called by the French Philippe ‘le Beau,’ in distinction from their own ‘Philippe le Bel.’

[10] This monument earned Ferdinand the title of the Lorenzo de’ Medici of Tirol.

[11] St. Anthony being the patron invoked against accidents by fire; also against erisypelas, which in some parts of England even is called ‘St. Anthony’s fire.’

[12] Weber, Das Land Tirol, vol. i. p. 218.

[13] Zoller Geschickte der Stadt Innsbruck, p. 272; and Weiesegger, vol. vi. p. 61.

[14] I have met the same hyperbole in a piece of homely Spanish poetry.