Tyrol and its People Part 7

[Sidenote: MARKET TYPES]

By way of these covered promenades one gradually reaches the busier centre of the town where the old-world aspect of Herzog-Friedrich-stra.s.se gives place to the more modern Maria Theresien-stra.s.se, and the Burggraben joins the Marktgraben. There are few more deeply interesting and picturesque places of its kind than Innsbruck Marktgraben on a festival or market day. Here, indeed, is a spot not alone for the artist and amateur photographer, but for the student also, who may see many quaint local customs and costumes, and occasionally even the boyishly attired girl cowherds of the upper pastures in their cloth or velvet knee breeches, short jackets, "sailor"-shaped hats decorated with feathers, edelweiss or gentians, and worsted stockings. Here, too, perhaps, one can better realize from the cosmopolitan throng of market people, than from anything else, the fact that for many generations Innsbruck has been the business highway for Italians, Slavonians, Hungarians, Austrians, and Germans. One can often, indeed, see representatives of Northern, Southern, and Eastern nations gathered together at one and the same time in the Marktgraben, with a sprinkling of tourists to represent the more Western peoples.

If we were asked to pick out the two streets which in different ways would probably most deeply impress the newcomer to Innsbruck, we should without hesitation chose the old-world Herzog-Friedrich-stra.s.se, on either side of whose narrow roadway are so many interesting ancient houses, low-ceiled rooms, and picturesque courtyards, as one; and the Maria Theresien-stra.s.se with its more modern air, exquisite view of the snow-capped Bavarian Alps as the other. But this latter fine commercial street with its up-to-date shops, upon the windows of many of which frequently appears that comfort-bringing (but alas! sometimes delusive) legend, "English Spoken," is not without its old and historical buildings. In the Spitalkirche or Church of the Holy Ghost one has an early eighteenth century Rococo building of considerable interest. And almost opposite stands the house in which Hermann von Gilm, the well-known Tyrolese poet, died in 1864. A little further along is the Rathaus or Town Hall of Innsbruck, which was formerly the Oesterreichischer Hof, a large hotel. In the courtyard is a noticeably fine marble staircase, and there are some interesting and effective frescoes on the walls from the brush of Ferdinand Wagner.

Few visitors but are attracted by the column of red native marble which occupies a prominent position in the middle of and almost exactly midway down Maria Theresien-stra.s.se. Surmounted by a statuette of the Virgin Mary, and with those of St. Anna, St. George, St.

Vigilius, and St. Ca.s.sian grouped round the base, it was erected as a memorial of the retreat of the Bavarian troops on St. Anna's Day (July 26), 1703.

At the corner of Maria Theresien-stra.s.se and Landhaus-stra.s.se is the Landhaus of Anton Gump completed in 1728, and in the Rococo style of architecture then prevalent. Here are held the sittings of the Tyrolean Landtag which was formerly held at Meran, and on its transference to Innsbruck was one of the main causes of the town becoming the capital of Tyrol.

Close by is the church of the Sevites, with its famous dome decorated by the paintings of the well-known Tyrolean artist, Joseph Schopf, depicting the death of St. Joseph and his entry into paradise.

The University, which stands in the street of that name, has undergone some considerable vicissitudes. Founded by the Emperor Leopold I. in 1677, it was, by the Emperor Joseph II., reduced to the standing of a Lycee, but was once more accorded the dignity of a University in 1826.

In the valuable library of upwards of 75,000 volumes there are many illuminated MSS. of great beauty and value, as well as a number of early fifteenth-century books. The adjoining Botanical Garden, which contains an unrivalled collection of Alpine flora, and was constructed by Professor von Kerner, belongs to the University, and here during the summer months those who wish to study Alpine flowers will find grouped and gathered together specimens which it would take many months and perhaps even years to study and discover on one's own initiative in their native habitats. The University is, however, about to be transferred to a more convenient home on the Furstenweg near the Inn, and the old building will, alas! probably be pulled down and the site used for modern houses.

[Sidenote: MAXIMILIAN'S CELL]

Quite close to the latter stands the Jesuit Church attached to it, which is chiefly interesting because of its being the burial place of the Tyrolese Prince Regents, and on account of the paintings by Albrecht Durer which adorn the sacristy. The Capuchin Church and Convent dating from the latter end of the sixteenth century are worth a visit, for in the latter one sees an interesting and historical survival in the retreat of the Archduke Maximilian, known as the "Deutsch-Meister," who here devoted a week in every year to prayer, fasting, and penance.

In his simple cell, which is panelled in plain wood, and has for furniture but a bedstead and chair of the most ordinary make, one can realize exactly the kind of "retreat" which was so often in those far-off days used by the highest n.o.bles and rulers to free them for a time from the cares and vanities of State. The inkstand and other small articles of necessity, which still remain memorials of Maximilian's occupation, are supposed to have been his own handiwork.

How complete this ruler's retirement from the world and whilst he was in retreat can be judged by the fact that he not only followed with exact.i.tude the rules of the brotherhood, rising early and also attending the night offices, but in addition he engaged in the manual labour of the garden, and field, and workshop like as one of them. The cell has a little window high up and opening on the chancel of the chapel to enable the n.o.ble recluse to take part in the services.

This cell has been in a sense a pilgrim place ever since, and has been visited at various times by many distinguished people. In 1765 the Empress Maria Theresa came to the Convent, and upon entering Maximilian's retreat sat herself in the wooden chair.

She was little used to so hard a resting-place, and after a minute or two she expressed her astonishment, exclaiming, "Heavens! What men of iron our forefathers were!"

There are (so far as we know) no relics of the Empress Maria Theresa's visit, not even an autograph; but another ill.u.s.trious visitor, St.

Lorenzo of Brindisi, who came to Innsbruck on his way to found a religious house in Austria, somewhat strangely one is forced to think, left behind him his staff, breviary, and copy of the Hebrew Bible, which are treasured as carefully as the relics of the Archduke Maximilian himself. During the reign of the latter the religious houses and Churches of Innsbruck all benefited by his generosity and prospered from his devotion to the Church. The effect of his example upon the townsfolk themselves was so marked that after the terrible plague of the year 1611 the burghers founded and built the Dreiheiligen Kirche (Holy Trinity) for the Jesuits as a thank-offering that the ravages of the plague were stayed. It was probably owing to the fact that, during this particular outbreak of the scourge of the Middle Ages, when the old hospital or Siechenhaus was all too small to hold all the victims, two Jesuits, Kaspar von Kostlan of Brixen, and the Professor of Theology at the University, a.s.sisted by a lay brother, tended the sick with indefatigable self-sacrifice, that the Jesuits were destined to chiefly benefit by the Innsbruckers' desire to commemorate their grat.i.tude to G.o.d, that the pestilence at last had been overcome. They readily subscribed the necessary funds (we are told), and the then Burgomaster took a vow to see that the building was erected. From the time of which vow, tradition tells us, "the pestilence at once began to abate."

An altar-piece, the artist of which was Stotzl, was given by Maximilian himself. It represented the three patron saints against sickness: St. Sebastian, who stayed a plague in Rome by his intercession; St. Martha, who according to tradition founded a hospital and spent the rest of her life attending to the sick; and St.

Rocchus, who devoted his life and strength to the care of those suffering from the pestilence.

[Sidenote: THE NEWER TOWN]

Some of the most beautiful roads and modern houses of the newer Innsbruck, which is increasing in area year by year, lie close at hand to this votive church, and to the northward, in the part of the town which is best reached by the Universitats-stra.s.se and Saggenga.s.se, alongside of which is the vast Exercier Platz, and at the back of that and nearer the river the beautiful Hofgarten. These never fail to charm the rambler on the outskirts of the town.

[Sidenote: MUSEUM TREASURES]

But there yet remain many other interesting objects, which the lover of Innsbruck and the visitor who stays for any considerable period of time are sure to gradually discover and enjoy. One of these is the National Museum, known as the Ferdinandeum, in which are gathered together objects, pictures, and relics forming, so it is claimed for them, an almost complete historical record of Tyrol, its people and its products.

The Museum, which is the resort of students from all parts of Europe, and is for even the casual visitor an object of the greatest interest, bears the name of its founder and patron Ferdinand I. Originally intended to ill.u.s.trate in a vivid and practical way the history and national customs of the country in the various domains of art, science, and industry, the collections have gradually been enlarged and expanded so as to contain examples of art by members of well known foreign schools. The present museum is a comparatively modern building, with a facade in the Italian Renaissance style. The ground floor was commenced in 1842, and the upper story added in 1886.

On the ground floor are some most interesting archaeological remains, including several ancient Roman milestones from the Brenner road and elsewhere; burial urns from Matrei; bronze statuettes of Roman days from Brixen and Innicherberg; many ornaments of the Roman period from Meran, Moritzing, Zedlach and other places. From Salurn, in the valley of the Eisack, there are some Roman tombs, with the ornaments of the dead, and household and toilet utensils and articles of great value and interest. One of the most important objects in the archaeological section of the Museum is the sarcophagus, arms and ornaments of a Lombardian prince disinterred at Civezzano, near Trent. The coffin was richly ornamented by gold bands, and in it was found a gold cross.

Zoology, Geognosy, Palaeology, and Mineralogy are represented with remarkable fulness, and in the last-named section of the Museum is to be found almost every Tyrolese mineral discovered up to the present time. Some of the specimens are of great beauty and value.

In the Armoury, which so far as the general visitor is concerned, appears to be one of the most popular sections, there are many fine examples of the weapons of bygone days, including poignards, inlaid pistols, guns, powder-horns and flasks, helmets, breastplates, etc.

[Ill.u.s.tration: A TYPICAL INNSBRUCKER]

In the Topographical section few fail to notice with interest the many early maps of Tyrol, bearing on their faces the history of the country as is shown by the part.i.tions of it which from time to time took place; and the homemade globes of the self-educated shepherd boy, Peter Anich, who became a famous geographer. In the same room are some fine specimens of peasant costumes, musical instruments (including some Strads, Amatis, and Stainers of great value), the jewel case of the famous Philippine Welser (wife of Ferdinand II.) who lived with her royal and devoted husband at Castle Ambras for many years.

There are also in the Museum some deeply interesting relics, portraits, busts, autographs, etc., of Tyrolese patriots and distinguished citizens of Innsbruck. Those relating to Andreas Hofer, and his two loyal comrades, Joachim Haspinger and Joseph Speckbacher, include many of their personal belongings, and are regarded by the Tyrolese visitors with almost religious veneration--a feeling which the life--history of these men quite justifies.

Amongst the sculpture are some fine specimens of old carved woodwork and interesting German carvings of an early period brought from Tyrolean churches, which were either despoiled during the Napoleonic Wars, or have since for one reason or another been pulled down and their treasures and fittings dispersed.

On the second floor of this convenient and commodious building is chiefly gathered together the Art collection, which so far as native work is concerned is, we believe, unrivalled. There is presented for the information of the student as well as the ordinary visitor an astonishingly complete survey of Tyrolese painting from the earliest times, including the work of the schools of Brixen-Neustift, and the Pusterthal, with representative work by such masters as Andra Haller and Michael Pacher; and also examples of the old Flemish and German masters, including Lucas Cranach, St. Jerome, Altdorfer, Pateiner, etc., Innsbruck painters being represented by Sebastian Schel.

Well worth the attention of all interested in painting and its development as an Art are the works of the Tyrolese masters covering the period from the seventeenth century to the present day, which are well represented by pictures of the Unterberger family, Joseph Schoph, John Baptist Lampi, Angelica Kaufmann, Gebhard Flatz (Fra Angelico), Joseph A. Koch, Mathias Schmidt, E. von Worndle, Karl Blaas and others. Amongst the more notable pictures of the modern school are the "Chancellor Wilhelm Biener at the Innsbruck Landtag," of Karl Anrathers, and the historical masterpieces of Franz Defregger.

It is impossible for one to study the latter nine in number, which depict patriotic events connected with the campaign of 1809, without appreciating the vigour of their execution and the charm of their colour, at the same time realizing something of the stirring nature and significance of the events to which they refer. Three are originals, and the remaining six are copies made by pupils of Defregger under his own personal supervision, and supposed to have in some cases been finished or touched up by him. The following are the subjects of the originals:--

(1) The Three Patriots--Andreas Hofer, Joseph Speckbacher, and Joachim Haspinger; (2) Speckbacher and his son Anderl at the Bear Inn, St.

Johann; (3) The Innkeeper's Son. The last named is the son of the Tharer Wirth at Olang in the Pusterthal. The copies are of the following subjects: (1) Speckbacher's Call to Arms; (2) The Last Summons, the original of which is in the Imperial Art-History Museum in Vienna; (3) The Mountain Forge, the original of which is in the Dresden Gallery; (4) The Return of the Victors, the original of which is in Berlin; and (5) Andreas Hofer in the Castle at Innsbruck, the original of which belongs to the Emperor Francis Joseph; (6) Andreas Hofer being led to Execution, the original of which is in Konigsberg.

These are all distinguished by beauty of colouring, strength of drawing, and dramatic appeal.

There are many other treasures in this Museum, which is national in the true sense of the word. And amongst them is the fine and almost priceless collection of pictures by Dutch masters which has been princ.i.p.ally acquired through bequests of wealthy Tyrolese. In it are examples of the work of Van Dyck, P. Paul Reubens, Paul Potter, R.

Ruysch, Adrian von Ostade, A. Cuyp, Rembrandt and others. There is also a most comprehensive and valuable Library of works relating to Tyrol, and also the archives of both the Austrian and German Alpine Clubs.

Each year sees important additions made to the various departments of the Ferdinandeum, and so the returning visitors to Innsbruck find an ever new interest in the country and its National Museum awaiting them.

[Sidenote: THE HOFBURG]

The remaining objects of supreme interest at Innsbruck are the Hofburg or Palace; and the Hofkirche or Church of the Franciscans. They are easily reached from the Ferdinandeum along Museum-stra.s.se and the Burggraben, which may be said to form the boundary line dividing the old town from the new. The archway, through which one reaches both the Palace and the Church, formed, in mediaeval times, one of the city gates; and in those far-off times was crowned by a watch-tower upon which the many escutcheons of the Habsburgs were emblazoned. It was taken down in the time of Maria Theresa, as its condition had become too dangerous to permit it to remain standing.

The Hofburg stands at a right angle with the Hofkirche to the north-west. Of the original building erected by the Emperor Maximilian not very much now remains; for after being seriously damaged it was ultimately reconstructed by Maria Theresa. On the exterior are traces of the original baroque style favoured at the time it was built; still also to be found in several of the larger, older, and more important houses in the town. The state apartments are chiefly distinguished for the decorative paintings of the well-known artist A. F. Maulbertsch, princ.i.p.ally in the large salon known as the Riesensaal. It was in the chapel, which connects the Palace with the Damenstift or Ladies' Home, that the Emperor Francis I. of Germany, husband of Maria Theresa, died so tragically on August 18, 1765, while the wedding festivities in connection with the marriage of Prince Leopold (afterwards the Emperor Leopold II.) with the Infanta Maria Ludovica were in progress.

It is not the Hofburg, however, but the famous Hofkirche--which has by several writers and antiquarians been called "The Tyrolean Westminster Abbey,"--that attracts most visitors, and has the greatest charm for all who are either interested in Tyrolese history or antiquities. This church was built during the decade from 1553-63 by the Emperor Ferdinand I., then King of Rome, as a memorial to his grandfather the Emperor Maximilian I., who was buried underneath the high altar in the Castle Chapel of Wiener-Neustadt. Tradition states that the building had been contemplated by Maximilian, and was ultimately brought into being in accordance with his will. The architect of the church, which is in the Italian Renaissance style, was Thuring of Innsbruck,[11] and the ground plan follows the lines of a columnar basilica. Lubke, however, states that it was the tomb and not the building which Maximilian himself planned in collaboration with Gilg Sesselschreiber, a Munich artist, who occupied the position of painter to the Court.

The first impression made upon the mind by the famous Hofkirche is one of lightness and elegance, wedded to a somewhat flamboyant decorative scheme, rather than impressiveness or age. The lofty and slender-looking columns which support the roof on either side of the nave are of red marble, and the ceiling itself is elaborately decorated in rococo. The vista on entering is extremely fine, including as it does the wonderful tomb of Maximilian, the organ loft, and the huge crucifix in the centre, and the handsome pulpit on the left of the tomb. The impression of magnificence and beauty grows upon one, thus carrying out what was doubtless the design of the architect and the Emperor who was instrumental in its erection.

[Sidenote: MAXIMILIAN'S TOMB]

The tomb in the centre, with its imposing bronze figure of Maximilian kneeling with clasped hands on the top of the huge marble sarcophagus, at the four corners of which are smaller figures, at once arrests attention. The Emperor is in Imperial dress, with crown, armour, and a robe, and is surrounded by the twenty-eight huge figures which have become world-famous, and all save two of which were once torch-bearers, and are now seen with their right hands extended as though holding torches. The two exceptions are King Arthur of England, and the Emperor Theodoric the Goth. All of the statues surrounding the tomb are thought to have had some real or legendary connection with the House of Habsburg, and it is believed that Maximilian himself chose the characters who were to be represented. They may be grouped into two series. One consisting of his five favourite heroes of antiquity; the other of twenty-three ancestors, contemporary relatives or members of his house, both men and women.

The figures differ very greatly both in style and merit. It was perhaps only natural that this result should have been arrived at when one remembers that several generations were occupied upon the construction of this marvellous example of German Renaissance monumental work erected during the sixteenth century, and that it was necessarily the work of several designers as well as many different hands. The tomb is a wonderful, perhaps even unequalled, example of the German art of a period which marked the blending of the mediaeval and the modern. To the Imperial designer of the tomb the chivalric figures he chose to surround it were no mere abstractions but living, breathing ent.i.ties; just as the old feudal Empires of south-eastern Europe were real. He was unable to realize that even then the old order was about to pa.s.s away, to be replaced by a new which was so divergent from that he had known, and of which he himself had been so prominent a figure.

The bronze figures, which twenty years or so ago attracted the notice of but few foreign visitors, but are now objects of keenest interest to all comers to the capital of Tyrol, are by several hands. The two of surpa.s.sing beauty of design and execution are those of King Arthur of England, and King Theodoric. They are nowadays pretty generally supposed to have been the work of Peter Vischer of Nuremberg.

These two statues have a particularly interesting history which has been brought to light of recent years. Though cast at Nuremberg in 1513, and costing no less than one thousand florins, it was not until nearly twenty years had elapsed that they reached Innsbruck. In the meantime, owing to Maximilian's need of ready money, they had been in the possession of Bishop Christopher of Augsburg, to whom they had been p.a.w.ned by the Emperor. The Bishop placed them in the chapel at St. Lorenz, where they remained until the year 1532. Ferdinand I. then sent to redeem them, and they were delivered up on payment to the steward of the then Bishop of the amount which originally had been advanced upon them.

[Ill.u.s.tration: MOONRISE IN TYROL]

[Sidenote: KING ARTHUR AND THEODORIC]

The statue of King Arthur is especially impressive and fine. Standing erect, the tall, chivalrous-looking figure has an alertness of pose which is astonishingly lifelike and commanding. It is impossible not to recognize the representation of a true ideal of knighthood "sans peur et sans raproche," and that without any suggestion of aggressive valour. The helmet worn is of the close-fitting type with the visor, which is enriched with ornamentation, raised so that the face of a somewhat Teutonic mould is plainly seen. The breastplate, worn over a coat of mail, is magnificently worked; but the rest of the suit is plain. Arthur supports by his right hand a shield bearing the arms of England, and at his left side is a long sword.

The statue of King Theodoric, although fine in execution, does not possess the same impressiveness and commanding merit as that of King Arthur to which we have just referred. It appears probable that the same model may have been used for both. But, whereas King Arthur is a commanding figure, the pose of King Theodoric is rather a dejected and wearied one. His breastplate is not nearly so richly ornamented, and his helm is also plainer, with the visor of a quite different shape.