Note 11 — Chapter VIII · NORTH TIROL—THE INNTHAL. INNSBRUCK.

The two other statues, of a later date—St. Francis and St. Clare—are by Moll, a native of Innsbruck, who became a sculptor of some note at Vienna. The picture of St. Anthony over the altar of the Confraternity of St. Anthony, on the Epistle side of this church, has a great reputation among the people, because it remained uninjured in a fire which in 1661 burnt down the church of Zirl, where it was originally placed.11 Five years later it was brought hither for greater honour, and was let into a larger painting by Jele of Vienna, representing a multitude of sick and suffering brought by their friends to pray for healing before it. There is not much else in this church that is noteworthy (besides ‘the Silver Chapel,’ which belongs to the notice of Ferdinand II.). What there is may be mentioned in a few lines, namely—the Fürstenchor, or tribune for the royal family, high up on the right side of the chancel, with the adjoining little chapel and its paintings, and cedar-wood organ, the gift of Julius II. to Ferdinand I.; the quaint old clock; and the memory that Queen Christina of Sweden made her abjuration here 28th October 1655. Her conduct on the occasion was, according to local tradition, most edifying. She was dressed plainly in black silk, with no other ornament than a large cross on her breast, with five sparkling diamonds to recall the glorious Wounds of the Redeemer. The emphasis with which she repeated the Latin profession of faith after the Papal nuncio did not pass unnoticed. The Ambrosian Hymn was sung at the close of the ceremony, and the church bells and town cannon spoke the congratulations of the Innsbruckers on this and the subsequent days of her stay among them. Among other tokens of gladness, several mystery plays (which are still greatly in vogue in Tirol) were represented. Another public ceremony of her stay was the translation of Kranach’s Madonna, the favourite picture of Tirol, brought to it by Leopold V. The original altar-piece of the Hofkirche, by Paul Troger—the Invention of the Cross—was removed by Maria Theresa to Vienna, because the figure of the Empress Helena was counted a striking likeness of herself.