Inscriptions on the cenotaph of Emperor Maximilian I.
The Latin inscription and the 24 Latin captions on the tomb of Emperor Maximilian I in the Hofkirche in Innsbruck praise the life's work of Emperor Maximilian I.
The Innsbruck Court Church and the tomb of Emperor Maximilian I.
The Court Church in Innsbruck, consecrated in 1563, was built as an imposing memorial for Emperor Maximilian I (1459–1519) by his grandson, Emperor Ferdinand I (1503–1564). In the middle of the church, in the axis of the high altar, is the mighty marble cenotaph of Emperor Maximilian I, surrounded by a magnificent wrought iron grille. It was not completed until 1584 under Maximilian's great-grandson Archduke Ferdinand II (1529–1595). The bronze cover sculpture of the emperor kneels in adoration before God on the stepped marble cover plate of the tumba . Below the cover plate there is a Latin dedication and on the tumba walls 24 Latin inscriptions in gold letters on black marble, which together with 24 reliefs in white marble record the life and work of the deceased. As an ensemble of larger-than-life bronze statues, the Black Men , including women, keep a gathering of ancestors, family members and role models, grave guard. The emperor's remains lie in the St. George's Cathedral in Wiener Neustadt , and the burial of his heart in the Church of Our Lady in Bruges with his first wife is said to be legend.
The inscriptions
The dedication inscription
Underneath the white-veined red cover plate of the tumba, a circumferential band of writing with the Latin inscription of the cenotaph can be discovered. In it, Emperor Ferdinand I pays tribute to the work of his grandfather, Emperor Maximilian I, in war and peace and his scientific and literary interests with love and gratitude. The inscription is reproduced in capital letters like on the cenotaph, the letter U appears as V , the abbreviations are set in round brackets.
IMPERATORI CAES (ari) MAXIMILIANO PIO FOELICI, AVG (vsto) PRINCIPI, TVM PACIS TVM BELLI ARTIBVS, OMNIVM AETATIS SVAE REGVM LONGE CLARISSIMO, SVB CVIVS FOELICI IMPERIO, INCLYTA GERMANIA, DVLC VITIQUE, INCLYTA GERMANIA, STUDIO IMPERIO, INCLYTA GERMANIA, STUDIO IMPERIO, INCLYTA GERMANIA, STUDIO, LIVERQ, INCLYTA GERMANIA DVLCAMVISSIMA SVPER ALIAS NATIONES EXTOLLERE CEPIT, CVIVS INSIGNIA FACTA TABELLIS INFERIORIBVS, QVAMVIS SVB COMPENDIO EXPRESSA CONSPICVVNTVR IMP (erator) CAES (ar) FERDINANDVS PIVS FOELIX, AVGVSTVS, AVOVE GRATERNO. NATVS EST XXVII MARTII ANNO DOMINI MCCCCLVIIII OBIIT ANNO DO (mini) MDXIX THE XII MENSIS IANVARII.
The inscriptions above the reliefs
The 24 Latin gilded inscriptions on a black marble background act as headings to the respective picture relief made of white marble below. Three lines and capital letters, with V for U and the ligature Æ for AE, correspond to the original, which is also used for MP and TE ligatures, as does the numbering under the inscriptions. Abbreviations are given in round brackets, necessary additions are put in square brackets. The summary of the individual inscriptions is always preceded by the year, which serves to classify the events mentioned over time. The framing of the inscriptions is formed by rectangular cartouches made of white marble, supported on both sides by a playfully moving putto.
Inscription No. 1
MATRIMONIO CVM MARIA POTENTISS (I): mi BVRGVNDIONV (m)
DVCIS CAROLI FILIA CONTRACTO, OPVLENTISSIMÆ BELGA:
RVM AC SEQVANOR (vm) DITIONES, AVSTRIACÆ DOMVI ADIECTÆ
1
1477: Marriage of the 18-year-old Archduke Maximilian I with the 20-year-old Maria of Burgundy , daughter of Charles the Bold , and expansion of the territory of the House of Austria through the inheritance of Mary
Inscription No. 2
FVSO AD GVYNEGATAM VICVM GALLORV (m), QVI EX TRIGINTA
MILLIBVS HOMINVM CONSTABAT, EXERCITV MAGNA PARS HA:
NNONIÆ, VNACVM IMPERIALI VRBE CAMERACO, RECEPTA
2
1479: Victory of Archduke Maximilian I over the French in the Burgundian War of Succession at Guinegate and recovery of a large part of Hainaut and the imperial city of Cambrai
Inscription No. 3
ATREBATVM ARTHESIÆ METROPOLIS, QVÆ ANTEA GALLOR (um) ARMIS
CESSERAT, EGREGIO STRATAGEMATE PER NOCTVRNAS INSIDIAS DE //
CEPTIS HOSTIVM CVSTODIIS, IN POTESTATEM REDACTA
3
1492: The French-occupied Arras in Artois is captured in the War of the Burgundian Succession
Inscription No. 4
VIVENTE ADHVC PATRE FRIDE (ri) co III IMP: (eratore), A SACRI RO: (mani) IMPE: (rii) ELEC //
TORIBVS, IN REGEM RO: (manorvm) VNAMITER ELECTVS, AC PAVLO POST
AQVISGRANI ADHIBITIS RITE CÆ, CORONATVS
4
1486: Maximilian I is coronated as Roman-German King in Aachen while his father, Emperor Friedrich III, was still alive .
Inscription No. 5
IVNCTIS CVM PATRVELE SIGISMV (n) DO ARMIS, ROVERETVM OP:
PIDVM EXPVGNATVM, AC VENETOR (vm) COPIÆ VNACVM DVCE ROBERTO SANSEVERINO , AD VICVM CALLIANVM DELETÆ
5
1487: Archduke Sigmund von Tirol , cousin of Maximilian's father Friedrich III, wins at Calliano during the dispute with Venice
Inscription No. 6
VNIVERSA INFERIORIS AVSTRIÆ PROVINCIA, QVÆ VNACV (m) METROPO //
LI VIENNA, IN POTESTATEM MATHIÆ CORVINI INCLYTI HVNGARIÆ RE //
GIS DEVENERAT, INTRA TRIVM MENSIVM SPACIVM, RECVPERATA
6
1490: Recovery of Vienna and Lower Austria after the death of the Hungarian King Matthias Corvinus
Inscription No. 7
ALBA REGALIS VRBS NOBILIS: (si) ma IN Q VA REGES HVNGARIÆ, ET INAVGV //
RARI, ET SEPELIRI SOLEBANT, VALIDO EXERCITV cincta ET EXPV:
Gnata, INGENSQ (ve) VNIVERSO ILLI REGNO, TERROR ILLATVS
7
1490: In the conflict with Hungary, conquest of the Hungarian royal city Stuhlweissenburg
Inscription No. 8
FACTA CVM CAROLO VIII GALLORV (m) REGE PACE, MARGARITHA
FILIA VNACVM OPVLENTISSIMIS BVRGVND: (iae) AC ARTHESIÆ CO //
MITATIBVS, ANTE ID TEMPVS A LVD (ovico) XI OCCVPATIS, RECEPTA
8
1493: Maximilian's daughter Margaretha returned from France after the Treaty of Senlis , which ended the War of the Burgundian Succession with the French King Charles VIII , and part of her dowry was returned
Inscription No. 9
TVRCARV (m) INGENS MVLTITVDO QVÆ IN CROATIA ET SCLAVON: (ia)
CVNCTA FERRO ET IGNI VASTAVERAT, SOLIVS IPSIVS AVSPICIIS
AC ALIORVM OPE NE QVICQVAM IMPLORATA, INDE EIECTA
9
1493: The Ottomans are driven out of Croatia and Slavonia under Maximilian's sole command
Inscription No. 10
FOEDVS CVM ALEX (andro) VI PONT (ifice) MAX: (imo) SENATV VENETO AC LVD (ovico) SFORTIA IN
ITVM QVO MEDIANTE CAROLVS VIII GALLOR (vm) REX, REGNVM NEAPOLI: ///
TANVM A SE SVBIVGATVM, DESERERE, AC DOMVM REDIRE COACTVS
10
1495: France withdraws from the Kingdom of Naples with the help of the Holy League between Maximilian, Pope Alexander VI. , Venice and Ludovico Sforza came about
Inscription No. 11
DVCTA IN MATRIMONIV (m) BLANCA MARIA, PRINCIPIS MEDIOLANI FI //
LIA, RECEPTOQ (ve) A LVDO: (vico) SFORTIA FIDEI IVRAMENTO, DVCATVS MEDI:
OLANI AD OBEDIENTIAM IMPERII SINE SANGVINE REDVCTVS
11
1494/95: After Maximilian's marriage with Bianca Maria Sforza, her uncle Ludovico Sforza invested with the Duchy of Milan
Inscription No. 12
CONCILIATIS INTER FILIVM SVVM PHILIPP: (vm) AC INCLYTOR (vm) REGVM FER:
DINANDI ET ELISABETHÆ FILIAM IOANNAM NVPTIIS AD AMPLISS: (imorum) HIS
PANIÆ REGNOR (vm) SVCCESSIONEM ADITVS POSTERIS IPSIVS
12
1496: The momentous marriage of his son Philipp to Johanna , the daughter of the Catholic kings Ferdinand and Isabella of Spain
Inscription No. 13
BOHEMI QVI SORORIVM IPSIVS ALBERTVM BAVARIÆ DVCEM, MERCE //
DE CONDVCTI, OPPVGNATVM ADVENERANT, MEMORABILI PRÆLIO
PROPE VRBEM RATISPONAM PLVRIBVS ILLOR (vm) INTERFECTIS, SVPERATI
13
1504: In the Landshut War of Succession, victory in the Battle of Wenzenbach near Regensburg on the part of his brother-in-law Albrecht IV from the Munich line of the Wittelsbach family
Inscription No. 14
KVEFSTAINIO AC GEROLTZECKO MVNITISSIMIS ARCIBVS EXPVG
NATIS, SEPTEM INSIGNES PRÆFECTVRÆ, DITIONI AVSTRIACÆ, PA:
RTIM ADIECTÆ, PARTIM QVASI POSTLIMINIO QVODA (m) RESTITVTÆ
14
1504: Capture of the Kufstein and Hohengeroldseck castles in the course of the Landshut War of Succession and establishment of administrative districts
Inscription No. 15
ARNHEMIO QVOD PRIMARIVM GELDRIÆ OPPIDVM EST, CAPTO, CA:
ROLO DVCI GELDRIÆ, QVI GALLOR (um) PARTES SECVTVS, REBVS IN INFE:
RIORI GERM (ania) NOVANDIS SEMPER STVDVERAT, PAX SVPPLICI DATA
15
1505: Submission of the rebellious Duke Karl von Geldern
Inscription No. 16
PERCVSSO CVM IVLIO II PONT: (ifice) MAX: (imo), AC HISPA: (niae) ET GALL: (iae) REGIBVS, FOE:
DERE, VENETI TOTA PROPEMODV (m) CONTINENTI, QVAM IN ITALIA POSSI:
DEBANT, DEPVLSI, ET AD SVMMAM RERVM DESPERATIONE (m) ADACTI
16
1508: The anti-Venetian League of Cambrai between Maximilian, Pope Julius II and the kings Ferdinand II of Spain and Louis XII. from France
Inscription No. 17
INSIGNES VENETOR (vm) VRBES, PATAVIVM, VICENTIA, ẟ VNACVM MA:
GNA FORI IVLII PARTE, IN POTESTATEM REDACTÆ, BRI:
XIA VERO AVXILIARIBVS GALLORVM ARMIS EXPVGNAta
17
1509: Transfer of the Venetian cities of Padua, Verona, Vicenza and a large part of Friuli to Maximilian
Inscription No. 18
SOCIETATE CVM IVLIO PONT: (ifice) ET PAGIS HELVETIERV (m) CONTRAC (ta)
GALLI PENITVS ITALIA EIECTI, MAXIMIL (ianvs) Q (ve) SFORTIA, TOT IAM ANNIS EXVL,
PATERNO INSVBRIÆ PRINCIPATTVS
18
1512: The anti-French Holy League of Maximilian with Pope Julius II and the Confederates and Massimiliano Sforza's return to Milan
Inscription No. 19
IVNCTI [s] CVM HENRICO VIII, Anglor (vm) CON VIRIBVS, ITE:
RVM AD VICVM GVYNEGATA (m), LOCVM ANTIQVA CAES: (ARIS) Victoria
FATAL (m), Insigni PRÆLIO PROFLIGATVS GALLOR (vm) EXERCITVS
19
1513: Victory over the French at Guinegate with the support of the English King Henry VIII.
Inscription No. 20
TERROVANA MORINOR (um) EXCISA, TORNACVM VERO PRISCA BELLI:
COSI A (c) FORTISSIMI NERVIORVM POPVLI GLORIA INSIGNIS CI:
VITAS, POST LEVEM OPPVGNATIONEM, IN FIDEM ACCEPTA
20
1513: Thérouanne is destroyed and Tournai is taken
Inscription No. 21
BARTHOLOMÆVS LIVIANVS, EXCELSI NOMINIS DVX, CVM INGE (n):
TI VENETA (rvm) COPIARVM APPARATV, A PARVA CÆSAREANOR (vm) MILI:
TVM GERMA: (norvm) AC HISPA: (norvm) FVENTIA (PROPE V.) FVGATVS
21
1513: Defeat of the outnumbered Venetians at Vicenza under their commander Bartholomeo d'Alviano
Inscription No. 22
MARANV (m) OPPIDV (m) ASTV CAPTV (m), OBSIDENTI: BUSQ (ve) ID PAVLO POST Venetis ER:
VPTIONE INDE FACTA, CVM PAVLO MANFRONO, ET BALTASAR (s) SCI:
pione ACERRIMIS HOSTIVM DVCIBVS, FOELICITER PVGNATVM
22
1514: Successful defense against the Venetians at Marano
Inscription No. 23
CONVENTV CVM HVNGARIÆ AC POLONIÆ REGIBVS VIEN (n) Æ HA:
BITO CONTRACTISQ (ve) HINCINDE MATRIMONIIS, NEPOTIBVS IPSIVS
VIA ACQVIRENDIS AMPLISS: (imis) HVNGARIÆ AC BOHE (miae) REGNIS,
23
1515: The momentous double wedding of a granddaughter and a grandson of Emperor Maximilian I with the children of King Wladislaw II of Bohemia and Hungary, the 9-year-old Archduchess Maria (1505-1558) of Habsburg with the 9-year-old Ludwig , the son of Wladislaw II . and Emperor Maximilian in representation of one of his grandchildren with Vladislav II. 12-year-old daughter Anna in the presence of his father and his brother King Sigismund I of Poland
Inscription No. 24
VRBS VERONA OPERA M (arci) Antonii COLVMNÆ, SVBMISSISQ (ve) PER GV:
LIELMV (m) ROGENDORFIV (m) COM (m) Eatv, ET SVBSIDIIS ADVERSVS IMMENSAM VIM
OPPVGNANTIVM GALLORVM ET VENETORVM, STRENVE DEFENSA
24
1516: Successful defense of Verona against the attacking French and Venetians
Type artist
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It is the scribe, court secretary and councilor of the Hungarian royal chancellery George Bocskay (1510–1575) who worked in Vienna and who, on behalf of Emperor Ferdinand I, etched the inscriptions in the form he had designed on black marble tablets from 1563 to 1568 gold plated. The type of writing he chose in capitals with multiple flourishes and the wealth of variation in the ornaments at the end of individual lines are noteworthy. Before Bocskay received this order, the type artist had recommended himself to the emperor through a graphic work of art, a calligraphy sample book, entitled Mira Calligraphiae Monumenta . Bocskay's work later found attention at the imperial court in Prague. In the 1590s, an expanded edition of Bocskay's work was published there by the Flemish artist Joris Hoefnagel (1542–1601) with miniatures of plants and animals . In the epigram dedicated to the client, Emperor Rudolf II, the two artists, who never met themselves, pay homage to the emperor in artistic self-image as the Hungarian Zeuxis with his pen and the Belgian with his painting -
Writer and artistic advisor
_zu_Inschrift_1_1477_Heirat_Erzherzogs_Maximilians_I_mit_Maria_von_Burgund._Bildvorlage_Ehrenpforte_-_..._Pictura_poterit_manere_eadem_quae_antea_in_Porta_honoris_(SInnsbruck_1_.jpg)
The author of the inscriptions is verifiably the lawyer Georg Sigmund Seld (1516–1565) from Augsburg, who did his doctorate in Bologna . In 1547 he was appointed to the Habsburg Imperial Chancellery, where he had been Vice Chancellor for Emperor Karl V , Emperor Ferdinand I and Maximilian II from 1551 . During his historical research for the inscriptions on the cenotaph, Seld used the Ehrenpforte , a large-format woodcut of a printed triumphal arch , which Emperor Maximilian I had made in 1517 by well-known artists of his time, including Albrecht Dürer. His selection of 24 important stages in the emperor's life in chronological order, a manual-like summary - sub compendio , as it is called in the dedication inscription, includes Maximilian's policy through marriages and inheritance contracts, his alliances and his policy through wars. The fact that the latter found its way into the majority of the inscriptions may seem sobering, but it is not surprising in view of the 25 campaigns that Maximilian waged within around 40 years.
The inscriptions contained in Seld's final draft are taken verbatim on the cenotaph. They are to be read as headings to the marble reliefs, but also to be understood as a complement to what cannot be illustrated. The panegyric line, quite understandable for inscriptions on an imperial cenotaph, can be determined from the fact that failures and setbacks are left out. Between the lines, however, a very eventful life can be read, fitting Maximilian's motto Per tot discrimina rerum - Through so many dangers . It is noticeable that his coronation as King of the Holy Roman Empire is recorded in Aachen, but not his imperial proclamation in Trento, as well as the fact that in some events recorded in words and pictures Maximilian appears directly and acts in persona, although the historical sources rule that out. It also remains open why the strict chronological order was deviated from. In terms of vocabulary and sentence structure, Seld is based on classical Latin. With the antikisierenden names of the various parts of France and the then Burgundy or its residents as Gauls, Belger, Sequani, Nervii, Morini and Insubria he builds on classical Latin school authors, as in the spelling of some words praelium instead proelium and Foelix instead felix follows he medieval customs.
Proof that Seld was also involved as an artistic advisor for the cenotaph are the Latin notes on the representation and composition of the relief images that are included in his draft with the inscriptions. The latter were also available to the performing artists, the painter and draftsman Florian Abel from Cologne († 1565), who made the preliminary drawings, and the Flemish sculptor Alexander Colin (1527/1529 - 1612), who converted the templates into three-dimensional form Available. Seld's specifications therefore played a not insignificant role in the composition of the picture and in the abundance of fine details in the masterfully finished Renaissance reliefs. However, he did not live to see the panels finished because he died a year earlier in Vienna.
Master of the reliefs
The signature of the Renaissance artist ALEXANDER COLINUS, MECHLINIENSIS, SCULPSIT ANNO MDLXVI can be found on the front of the tumba . Florin Abel's brothers Bernhard († 1563/1564) and Arnold Abel († 1564), who had originally been entrusted with the execution of the reliefs of Emperor Ferdinand, brought him to Mechelen as an employee, and after the death of the two brothers - she had only made three reliefs - were entrusted with the continuation of the reliefs. Emperor Ferdinand I, who followed the process of creating the reliefs for the cenotaph with great interest, is said to have expressed his appreciation for the artist on his last visit to Innsbruck before his death. After Emperor Ferdinand I's death gets Colin to the completion of any relief under Emperor Maximilian II. And his brother, Archduke Ferdinand II. Of Tyrol as ain particularly artificial and skillful person to model the order, the kneeling emperor and the four cardinal virtues for the cenotaph . The recognition of his artistic talent can also be seen in the tasks that were later assigned to him. In the Silver Chapel of the Court Church he created the marble tombs for Maximilian I's great-grandson Archduke Ferdinand II and his first wife Philippine Welser as well as the imperial tomb for Maximilian's grandson Emperor Ferdinand I and Anna Jagiello of Bohemia and Hungary in St. Vitus Cathedral in Prague.
Habsburg culture of memory
Maximilian I began to work on his fame very early on. In addition to his autobiographical works Freydal , Theuerdank , Weißkunig , this self-portrayal includes a. a. the graphic works, the gate of honor and the triumphal procession of Emperor Maximilian I, as well as his plans for a suitable grave. His father, Emperor Friedrich III. had commissioned his tomb long before his death. The grave slab , which the sculptor Niclaes Gerhaert van Leyden († 1473) created for him, shows his reclining figure, majestically in full regalia with an imperial crown, in his right hand the imperial orb, in the left the scepter, wrapped in a ribbon with his also elsewhere often used vowel motto AEIOU . If one interprets the five vowels as Austriae Est Imperare Orbi Universo - It is Austria's destiny to rule the world , they testify to an understanding of power that is valid for the descendants and heirs of Frederick III. should prove to be a guideline. Even inside the sarcophagus, there are two inscribed panels for memory maintenance. The Latin texts on it pay tribute to the achievements of Friedrich and also those of his son Maximilian, who in 1513, 20 years after the death of his father, arranged for his solemn burial in St. Stephen's Cathedral in Vienna.
Maximilian's own grave project was largely carried out under his grandson Emperor Ferdinand I and his great-grandsons Emperor Maximilian II and Archduke Ferdinand II. Even if it experienced some restrictions in form and scope, essential ideas for the external design of Maximilian were realized, such as the relief fields as a structure of the tumba walls and the word-and-picture concept based on the template of the honor gate. Content-related correspondences with Maximilian's self-presentation and principles can also be seen. The figure of the emperor kneeling before God and the cardinal virtues on the cenotaph, expression of his Christian and ethical way of life, the 24 inscriptions and 24 reliefs that record his significant achievements - insignia facta carved in stone, expression of his active life in the service of politics, entirely in the sense of the White King's rule of life: when a person dies, nothing is done according to then his work ... whoever thinks about Cain in his life will remember Cain after his death and the same person will be forgotten with the bell .
literature
- Christoph Haidacher, Dorothea Diemer: Maximilian I. The cenotaph in the Hofkirche in Innsbruck , Innsbruck, Vienna 2004
- David von Schönherr: History of the tomb of Emperor Maximilian I and the Court Church of Innsbruck , 266–268 [1]
- Heinrich Ulmann: Maximilian I, Roman king and emperor . In: Allgemeine Deutsche Biographie (ADB). Volume 20, Leipzig 1884, pp. 725-736. [2]
- Hermann Wiesflecker: "Maximilian I." in: Neue Deutsche Biographie 16 (1990), pp. 458–471 [3]
Web links
- Special exhibition "Maximilian I. - Departure into the Modern Era" , in the Hofburg in Innsbruck 2019
- Special exhibition Maximilian I. "To praise and eternal memory" , in Ambras Castle near Innsbruck 2019.
- Special exhibition "Emperor Maximilian I. A great Habsburg" in Vienna 2019.
- Special exhibition "Maximilian I (1459-1519). Emperor - Knight - Citizen of Augsburg" June 15 - September 15, 2019 in the Maximilian Museum , accessed on March 14, 2020.
Remarks
- ^ Haidacher Christoph and Diemer Dorothea, Maximilian I. The cenotaph in the court church in Innsbruck, Innsbruck, Vienna 2004, p. 87
- ↑ In this battle the Venetian general Roberto Sanseverino, an Italian condottiere, relative of the Sforzas, was killed in the Adige. The monumental grave slab made of reddish Veronese marble in his honor in the Cathedral of Trento, a work by the Kemptner sculptor Lux Maurus , was arranged by Maximilian I. At that time, the market was moved from Bozen to Mittenwald . Even today, historical market activity in Mittenwald reminds us of this every year
- ↑ Leonardo da Vinci's sponsor and client z. B. the painting Lady with an Ermine
- ↑ Brescia
- ↑ The commander on the imperial side was Georg von Frundsberg , who was not mentioned in the inscription, see Haidacher p. 171
- ↑ 15-year-old Karl or 12-year-old Ferdinand
- ↑ p. 3 http://doktori.btk.elte.hu/art/vinczenegulyasborbala/thesis.pdf
- ^ Three editions, edition from 1561-62 J. Paul Getty Museum, edition 1562 Austrian National Museum and edition 1571-73 Kunsthistorisches Museum Wien
- ↑ http://www.getty.edu/art/collection/objects/1487/joris-hoefnagel-and-georg-bocskay-mira-calligraphiae-monumenta-flemish-and-hungarian-fols-1-129-written-1561 -1562-illumination-added-about-1591-1596 /
- ↑ Cf. Hungarus ut calamo Zeuxis sic Belgicus arte / Delicias ornant, magne Rudolphe, tuas, / ingenio pares, studiis et nomine pares./ Rumpatur quisquis rumpitur invidia . From E. Chmelarz, Georg and Jacob Hoefnagel, Yearbook of the Art History Collections of the Very Highest Imperial House <Wien> pp. 275–290, p. 284 https://digi.ub.uni-heidelberg.de/diglit/jbksak1896/0304/scroll
- ^ Haidacher Christoph and Diemer Dorothea, Maximilian I. The cenotaph in the Hofkirche zu Innsbruck, Innsbruck, Vienna 2004, p. 82, as well as https://stadtgeschichte-muenchen.de/strassen/d_strasse.php?strasse=Seldweg
- ↑ Inscriptions 1, 8, 11, 12, 23
- ↑ Inscriptions 8, 10, 15, 16, 18
- ↑ Inscriptions 2, 3, 5, 6, 7, 9, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 24
- ↑ Special exhibition Maximilian I. "In Praise and Eternal Memory", July 1st, 2019 - October 31st, 2019, in Ambras Castle, Innsbruck. State of Tyrol, accessed on July 24, 2019
- ↑ Schönherr, David von, History of the tomb of Emperor Maximilian I and the Hofkirche zu Innsbruck, 266–268
- ↑ Inscription 24 emphasizes Verona's successful defense as an imperial base in 1516; it goes unmentioned that Verona fell to Venice within a few months.
- ↑ Cf. Haidacher Christoph and Diemer Dorothea, Maximilian I. The cenotaph in the court church in Innsbruck, Innsbruck, Vienna 2004, z. BS 84 and 121
- ↑ Inscription 3
- ↑ See the chancellery transcripts of Seld's draft, printed by Schönherr, David von, History of the Tomb of Emperor Maximilian I and the Court Church in Innsbruck, 266–268 https://digi.ub.uni-heidelberg.de/diglit/jbksak1890/0261 /image
- ↑ Schönherr, David von, History of the tomb of Emperor Maximilian I and the Hofkirche zu Innsbruck, 266–268, p. 215https: //digi.ub.uni-heidelberg.de/diglit/jbksak1890/0261/image
- ↑ He is also involved in the tomb of Hans Fugger in Kirchheim
- ↑ discovered thanks to an endoscopic examination in 2013
- ↑ Schönherr, David von, History of the tomb of Emperor Maximilian I and the Hofkirche zu Innsbruck, pp. 205f. https://digi.ub.uni-heidelberg.de/diglit/jbksak1890/0261/image
- ↑ Der Weißkunig, p. 66 https://digi.ub.uni-heidelberg.de/diglit/jbksak1888/0096/image