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 laybrothers. The chief ornament of the building itself are the ten largebut too slender-red marble columns, which support the plateresque roof. The greater part of the nave is taken up with Maximilian's monumentcenotaph 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, setting forth the story

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 their 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 shews 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

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 those 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;

1508, to Philibert Duke of Savoy, who died without children three years later. As Governess 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 Uladislaus, 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.

for lightness of poise, combined with excellence of proportion and delicacy of finish, I think 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:

1. Clovis, the first Christian King of France.

2. Philip 'the Handsome,' of the Netherlands, Maximilian's son, reckoned as Philip I. of Spain, though he never reigned there.

3. Rudolf of Hapsburg.

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 Münzreiche, Count of Tirol. (1427-96.)

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

11. The Archduchess Margaret, Maximilian's daughter.

12. Cymburgis of Massovica, wife of Ernest der Eiserne. (died 1433.) 13. Charles the Bold, Duke of Burgundy, father of Maximilian's first wife.

14. Philip the Good, father of Charles the Bold, Founder of the Order of the Golden Fleece.

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

15. Albert II., Duke of Austria, and Emperor of Germany. (1397-1439.) 16. Emperor Frederick I., Maximilian's father. (1415-95.)

17. St. Leopold, Margrave of Austria; since 1506 the patron saint of Austria. (1073-1136.)

18. Rudolf, Count of Hapsburg, grandfather or uncle of 'Rudolf of Hapsburg.'

19. Leopold III., 'the Pious,' Duke of Austria, Maximilian's greatgrandfather; killed at Sempach, 1439.

20. Frederick IV. of Austria, Count of Tirol, surnamed 'mit der leeren Tasche.'

21. King Albert I., Duke of Austria, afterwards Emperor. (born 1248; assassinated by his nephew John of Swabia, 1308.)

22. Godfrey de Bouillon, King of Jerusalem in 1099, died in 1100. 23. Elizabeth, consort of the Emperor Albert II., daughter of Sigismund, King of Hungary and Bohemia. (1396-1442.)

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 the Catholic.

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

There is a good deal of difference in the quality both of the design and execution; the greater number and the more artistic were cast by Gregor Löffler, who established a foundry on purpose at Bücksenhausen ; the rest by Stephen and Melchior Godl, and Hanns Lendenstreich, who worked at Muhlau, 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 are consequently of much smaller 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. S. Adelgunda, daughter of Walbert, Count of Haynault. 2. S. Adelbert, Count of Brabant. 3. S. Doda, wife of S. Arnulf, Duke of the Moselle. 4. S. Hermelinda, daughter of Witger, Count of Brabant. 5. S. Guy, Duke of Lotharingia. 6. S. Simpert, Bishop of Augsburg, son of Charlemagne's sister Symporiana, who rebuilt the monastery of S. Magnus at Füssen. 7. S. Jodok, son of a king of Great Britain; he wears a palmer's dress. 8. S. Landerich, Bishop of Metz, son of S. Vincent, Count of Haynault, and S. Waltruda. 9. S. Clovis. 10. S. Oda, wife of Duke Conrad. 11. S. Pharaild, daughter of Witger, Count of Brabant. 12. S. Reinbert, brother of the last. 13. S. Roland, brother of S. Simpert. 14. S. Stephen, King of Hungary. 15. S. Venantius, martyr, son of Theodoric, Duke of Lotharingia. 16. S. Waltruda, mother of S. Landerich. (No. 8.) 17. S. Arnulf, husband of S. Doda, (No. 3,) afterwards Bishop of Metz. 18. S. Chlodulf, son of S. Waltruda (No. 16,) also Bishop of Metz. 19. S. Gudula, sister of S. Albert, Count of Brabant. 20. S. Pepin Teuto, Duke of Brabant. 21. S. Trudo, priest, son of S. Adela. 22. S. Vincent, monk. 23. Richard Coeur-de-Lion. Holy men and women, all more or less closely connected with the House of Hapsburg. It needs no laboured argument to shew the appropriateness of thus representing to the life the solidarity of the piety and worth of 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 Niebelungen

Myths. 4. Theodoric, (No. 5,) celebrated as 'Dietrich von Bern' in he Eastern. 5. Godfrey de Bouillon, (No. 22,) representing the egendary glory of the Crusades.

The two other statues, of a later date-S. Francis and S. Clare, are by Moll, a native of Innsbruck, who became a sculptor of some note at Vienna. The picture of S. Anthony over the altar of the Confraternity of S. 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. 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 Hof-kirche, 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.; and the peaceful prosperity his wise government procured for this country, while wars and religious divisions were distracting the rest of Europe, gave opportunity for the development of its literature and-art-culture.*

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 Siechen-haus, and isolated from the rest of the population. As has frequently happened on similar occasions,

*Weber. Das Land Tirol, I. 218.