The relationship which existed between the Emperor Maximilian and the Munich artist Sesselschreiber, who had been engaged as Court painter in 1502, was not untinctured by an element of romance, which is doubly interesting as showing the relative positions of artist and patron in those stirring and disturbed times. Happily for lovers of art and antiquities the original designs for the statues surrounding the tomb of Maximilian which Sesselschreiber made have been preserved, and can be seen in the Imperial Library, Vienna. Exquisite pen-and-ink drawings delicately tinted, upon some of which the Emperor himself made corrections and suggestions in his own hand. These are distinctly traceable on some from the unskilled nature of the pen-and-ink alterations. [Sidenote: THE FAMOUS STATUES] A curious fact is also brought to light by these sketches. It would seem from them beyond question that Maximilian fully intended being modelled for the figure of himself, which was to grace the memorial, in the suit of exquisite silver armour which he had worn on the occasion of his marriage at Ghent with Mary of Burgundy.[12] Several sketches were made, one, apparently from the notes and alterations upon it, displeased the Emperor from a technical point; in another the face was not as he wished with the result that Sesselschreiber altogether made four or more drawings. The care which had been taken over this most important figure was, however, never destined to be utilized to the full, for the statue was not even modelled at the time of Maximilian's death in 1519, and the figure clad in coronation robes (instead, as was evidently intended, entirely in armour) which kneels on the top of the cenotaph was the work of Abraham Colin, who had never seen the Emperor in life, the cast not having been made until more than sixty years after Maximilian's death. How slowly the great work of this magnificent tomb proceeded can be gathered from the dates we have quoted. The delay arose from several causes; amongst others, from the Emperor's shortness of money, owing to the vast schemes of conquest, science, and other matters in which he was engaged; and from the circumstance that Gilg Sesselschreiber appears to have become lazy, intemperate, and dissolute. In the end he took flight to Augsburg in fear of Maximilian's anger. The Emperor, however, was not prepared to yield up possession of his Court painter without a struggle, so the latter was captured and thrown into prison, from which he appears to have been released in 1516 on promise of reform. So that he might be freed from the temptations which Innsbruck afforded in the way of wine, women, and boon companions he was compelled by the Emperor to take up his residence at Natters on the western side of the Sill Gorge above Innsbruck.