left of the Emperor, Ludovico Sforza kneels before the throne; on the waving standard, the symbol or investiture, the ducal arms are plainly discernible. (12) The marriage at Brussels, in 1496, of Philip der Schöne, Maximilian's eldest son, with Johanna, daughter of Ferdinand and Isabella of Spain, by the Archbishop of Cambrai. The remaining panels show (13) The campaign in Bohemia, and victory of Maximilian at Regensburg in 1504. (14) The siege of Kufstein, 1504. (15) The capture of Guelders and submission of Charles d'Egmont to Maximilian, 1505. The Duke is standing with uncovered head, and the battered walls of the city are seen in the background. (16) The League of Cambrai, 1508. The scene is a handsome tent in the camp near Cambrai; Maximilian, Julius II., Charles VIII., and Ferdinand V. are meeting to enter into an alliance against Venice. (17) The siege of Padua, 1509, the first result of this league. (18) The expulsion of the French from Milan in 1512. (19) The second battle of Guinegate; known also as the Battle of Spurs, so called from the fact that the French were said to have used their spurs rather than their swords on that occasion, with Henry VIII. of England in command of the allied infantry, August 16, 1513. (20) The meeting of Maximilian and Henry VIII. before Tournai, 1513. Maximilian and Henry are seen both on foot. (21) The battle of Vicenza, 1513. (22) The siege of Murano, on the Venetian coast, 1514. (23) Maximilian treating with Vladislaw, King of Hungary, for the double marriage of Anna and Ludwig, children of Vladislaw, with Ferdinand and Maria, grandchildren of Maximilian, which event had as one of its consequences the subsequent joining of Hungary with the Empire. (24) The defence of Verona, made by Maximilian's forces, against the French and Venetians, 1516. Maximilian's splendid memorial is well-placed so that its beauty and impressiveness is given full effect, and the spectator is able to consider it not only in detail but as a whole. As an example of sepulchral art of its kind it is unrivalled. Of a very different character to this magnificent cenotaph is the tomb of Andreas Hofer at the entrance to the left aisle, wrought in Tyrolese marble by Schaller, of Vienna, and with a bas-relief by Joseph Klieber, of Innsbruck, depicting six Tyrolese taking the oath of allegiance to the National flag and cause. On either side of the great patriot lie his comrades, Joseph Speckbacher and Joachim Haspinger. Near them is a tablet inscribed, "From a grateful Fatherland to the sons who perished in the Patriotic Wars," with the date (1838) of erection, and the motto, "Death is swallowed up in Victory." [Sidenote: STATUETTES IN SILVER CHAPEL]