(26) Cunigunda, Maximilian's sister, wife of Duke Albert IV. of Bavaria. (27) Ferdinand II., of Aragon, surnamed "the Catholic." (1479.) (27) Johanna, daughter of Ferdinand and Isabella, and wife of Maximilian's son, Philip I., of Spain. [Sidenote: HISTORY IN MARBLE] The cenotaph itself, placed upon three steps of red marble, is about fourteen feet long and six feet high, and is constructed of different coloured marbles. The figure of the Emperor on top with its face directed towards the altar, is a fine bronze casting by a Sicilian named Luigi del Duca made in 1584.[13] Slender columns divide the ends and sides of the cenotaph into twenty-four panels or compartments of white marble in which are scenes in relief (depicting the chief events and achievements of Maximilian's life). These are really marvellous works of art, not alone for their execution but from the care with which accuracy has been attained in the costumes, the architectural and other details introduced, and from the extraordinary finish which marks the whole of the work. Many of the faces are undoubted portraits of the greatest historical and antiquarian value, those of the Emperor at various periods of his life being remarkable for their differing likeness. The variations of the national types depicted are rendered with the most painstaking care. The first four of the panels are filled by the work of Albert and Bernard Abel of Cologne, who began their task in 1561, after a visit to Genoa to choose the marble. They, however, both died two years later, leaving their work to be taken up by Alexander Colin, of Malines, in Flanders, who lived at Innsbruck for forty years, and died in 1612. Aided by a large number of other artists he completed the work of the Abels in a period of about three and a half years. Even the least learned of visitors will recognize the beauty of craftsmanship which so great a master as Thorwaldsen pronounced "the most admirable and perfect of its kind." The delicacy of execution is, indeed, rather that of ivory than of marble, and it is not without good cause that these exquisite reliefs are nowadays protected by glass and surrounded by a railing in iron work of very beautiful design. [Sidenote: SOME HISTORIC EVENTS]