The Monumental Inscription

The Arch of Honor of the most serene and mighty Emperor and King Maximilian is constructed after the model of the ancient triumphal arches of the Roman Emperors in the city of Rome. Some of these have crumbled, but others may still be seen. It was conceived by me, Johannes Stabius, his Roman Imperial Majesty's Historiographer and Poet, erected and divided into seven parts, as may be seen in the picture, and is described in detail here as follows.

The first part is the three portals on the bottom. The second part is the great tower resting on the center gate. The third part is the historical scenes from the exemplary life of the Emperor Maximilian, depicted on the panels above the two smaller gates on the right and left. The fourth part includes the honorable kings and emperors above the Portal of Praise, alongside the aforementioned panels. The fifth part includes His Majesty's relatives pictured above the Portal of Nobility. The sixth part is comprised of towers which flank the edifice on both sides. The seventh part includes ornaments which serve to decorate the entire structure.

To begin with, above the Victories on either side of the title tablet, two guards of honor, next to two trumpeters, stand gallantly and announce the majesty, honor, nobility, might, relatives, and honorable deeds which are included and described on this Arch of Honor.

A title tablet is attached to each of the three portals describing its purpose. The great portal in the center is the most dignified. It is called the Portal of Honor and Might, for honor is the wage of virtue and purity and because Emperor Maximilian is known for his many deeds of virtue and purity, some of which are pictured here. This gate has been erected for him and is open to him. His imperial mind has frequently traversed it, feeling deeply honored. His might, given to him by virtue of the Imperial Crown of the Holy Roman Empire, is indicated by the coats-of-arms of the many kingdoms, archbishops, duchies, earldoms, principalities, and domains of His Imperial Majesty, his family and his descendants, augmented by his endeavors on behalf of the honorable House of Austria. These coats-of-arms are pictured, framing the tower above the center portal, and are arranged in the following manner: Those on the left side represent his inherited Austrian lands; those on the right belong to the territories of Spain and Burgundy which came to the House of Austria by marriage.

The gate at the left is called the Portal of Praise, meaning that Praise and Dignity always follow in the wake of Honor. It is because of this that it is placed adjacent to the Portal of Honor and Might. The third gate is called the Portal of Nobility. It is dedicated to the extensive and excellent family and relations of the Emperor. The central tower above the main gate is decorated with the family tree of the honorable House of Austria and its ancient lineage from which the Emperor is descended.

At the very bottom will be seen three matrons who represent the most distinguished nations of Troy, Sicambria and Francia. It must be understood that the male line of the Merovingian dynasty extends back to the first king of France; who is descended from the magnanimous Hector of Troy and who conquered the Pannonian territories, now known as Hungary and Austria, and gained victory over the Sicambrians, subsequently known as the Franks, and over the Gauls. Although there are many heathen kings in the line of descendants, from father to son, these are not pictured because they were neither baptized nor did they believe in the Christian faith. Their names will be given in another book.

In the present family tree the lineage therefore begins with Clovis, the first Christian king of the aforementioned Merovingian and royal French dynasty. It then continues from person to person, i.e. from father to son, from ancient times up to the Habsburg princes, and therefore the archdukes of Austria are descended down to the present with Emperor Maximilian.

The same Emperor Maximilian is here shown in his painted likeness sitting uppermost in Imperial Majesty. Below him, on his right, his wife, Lady Mary, Archduchess of Burgundy, descended from both her father's and mother's side from the ruling house of France. On his left, Lady Joanna, Queen of Spain, descended from the kings of Spain and Castile. Below the wife of the Emperor is seated Lady Margaret of Austria and Burgundy, his Imperial Majesty's only daughter.

Above the Emperor will be seen the twenty-three Victories, who are winged women carrying laurel wreathes in honor. The laurel tree has been dedicated to victory since ancient times. Its leaves are used to crown conquerors because they never wither but stay green forever. Likewise an honorable victory or conquest should never fade or wither in the memory of succeeding generations. The significance of these Victories shall be described in rhymes later on.

Following this, weighed down by His Majesty's exemplary dignity, the branches and fruit of the tree of his family are bent toward His Most Serene and Noble Highness, His Majesty King Philip's only son. He may be seen standing below His Imperial Majesty, flanked by his children and by Lady Joanna, Queen of Spain and Castile. On one side stand his sons, Charles and Ferdinand, and on the other side his daughters, Leonora, Isabella, Mary and Catherine.

The tabernacle above the title is a mysterium of ancient Egyptian letters deriving from King Osiris. It has been interpreted word for word to describe Maximilian as a most pious, generous, mighty, powerful, and prudent sovereign; a prince of unforgettable, eternal, and honorable blood, born of a lineage blessed with all gifts nature can bestow, endowed with the knowledge of art and literature, Roman emperor and Lord of a great portion of the earth. He has by force and arms superb strength, yet with the greatest modesty subdued the most powerful king, a thing all men had thought impossible, and therefore he has prudently guarded himself from further attack.

The third part of the Arch of Honor consists of twenty-four rectangular panels depicting honorable and praiseworthy events. Their significance is explained by the rhymes accompanying them. Much more is reported about the events in other books. There is no need to tell more about them here. The panels are arranged in sets of three, placed in four rows. The twelve subjects are placed above the Portals of Praise and Nobility. The inscriptions follow.

The historical scenes on the Portal of Praise are surrounded by the portraits of Emperors and Kings. These are selected from the catalog of all kings and emperors and represent those most deserving the honor. The Portal of Praise denotes, therefore, that the Emperor Maximilian, because of his virtues and his loyalty, has been elected to their company forever and will be counted among them for having earned honor and praise in equal measure. For he has reigned over the Holy Roman Empire and his inherited lands graciously, virtuously, righteously, has brought about peace and tranquility, has punished all transgressors, and continues to do so by the grace of God, pray for a long time to come.

The historical scenes on the Portal of Nobility are surrounded by kings and other powerful princes. They are identified both by their names and by their coats-of-arms. These princes comprised His Imperial Majesty's relatives and in-laws: in each case the degree of the relationship is stated. Not all the members of his family are included, but from each reigning house or line only one or two, sometimes three representatives who lived during Maximilian's reign. Some of these are still living. This Arch of Honor is much too small to picture all of his Majesty's family, but the complete list will soon be published in other books. It is because the honorable House of Austria has branched out far and wide throughout Christendom that the Gate of Nobility is decorated with these royal, princely and illustrious personages.

The two towers placed on each side of the edifice constitute the sixth part. They serve to depict the honorable, unforgettable, and useful activities of His Imperial Majesty from the days of his youth until the present: firstly, to seek the grace of God, then the desire to rule wisely, then the rediscovery of the robe of our Savior Jesus Christ which had lain forgotten at Trier for several centuries, then the canonization of St. Leopold, then gentle prince of Austria. Also included in his interest is artillery, fields and streams, architecture, foreign tongues, jousting, and other Christian pursuits. Many are his accomplishments, yet others are still in His Imperial Majesty's mind. There is also included the foundation and promotion of the Order of St. George; the conversion of Austria and Burgundy into kingdoms; the planned Crusade against infidels with the help of all Christian kings and princes; the construction of His Imperial Majesty's tomb, adorned with many novel treasures and trinkets made of precious stones, of gold and of silver; likewise the support of religious service and the maintenance of the clergy and of the poor; also the honorable funeral of the Emperor Frederick III.

Now because these subjects cannot properly be considered to be triumphal, but do serve as good examples to others, they have not been placed on the Arch of Honor itself, but instead on each side of it.

Their respective significance is explained by the rhymes accompanying each of them.

Next to the Portal of Honor and Might, on the bottom, stand two Archdukes of Austria in their regalia. The one on the left is armor, the other, opposite, dressed in princely robes. Both are accompanied by guards of honor who carry their coats-of-arms and standards.

These archdukes are meant to convey that all future princes of Austria, as well as other great personages, who desire to traverse the Portal of Honor shall be distinguished not only by their external princely vestments on armor, but also by the princely virtues of their hearts. The armor also signifies the administration of justice which includes the preservation of peace and quiet. The princely robes, without armor, represent also the administration of equal justice for rich and poor alike.

And because the Emperor Maximilian has traversed these three portals because he greatly deserves honor and praise, he has thereby also set an example to be followed by all succeeding princes of Austria and by other mighty sovereigns. They shall also be entitled to traverse these portals provided they have earned honor and praise for having lived an equally sincere and virtuous life.

Chained to the small columns above these two archdukes next to the main portal of Honor and Might, are a number of Sirens. As told in other books, these call to mind disaster at sea and secret, unpleasant incidents caused by their sweet songs reported by the ancient poets. Such incidental episodes cannot harm those traversing this noble Portal of Honor, and with God's help will never again.

On the great columns, adjacent to those with the Sirens, there are placed other poetic creatures, called Harpies. Virgil describes them as having faces of young women, unclean bodies, misshapen limbs, and countenance. This indicates that the Emperor Maximilian, on account of his honorable bearing and his great goodness, was never tempted by lustful desire.

On the bottom of the two great columns, flanking the tower above the Portal of Praise, among other ornaments, are likenesses of considerable size representing Frederick III the Devout and Albrecht the Victorious.

Together with Rudolph the Valiant and Albrecht the Fortunate, who appear on the capitals of the great columns of the Portal of Nobility, these are the emperors who are descended from the House of Austria and the line of Habsburg. Although they are pictured in the family tree, they also appear on these columns as they have particularly added to the glory of the House of Austria.

Its meaning is this: although a pomegranate's exterior is neither very beautiful nor endowed with a pleasant scent, it is sweet on the inside and is filled with a great many well-shaped seeds. Likewise the Emperor is endowed with many hidden qualities which became more and more apparent each day and continue to bear fruit. The Griffon on the right column is holding his Imperial Majesty's motto: Halt Mass (Keep within Bounds). This means that although he is an all-powerful Emperor, and a strong and determined ruler, he, nevertheless, is at all times prudent in the exercise of power and determined to use moderation in all matters.

Above the Portal of Praise, as also above the Portal of Nobility, there is placed for decoration the emblem of the Honorable Order of the Golden Fleece, founded and established by the honorable Prince of Burgundy, Philip the Good.

Atop the Golden Fleece will be seen in both instances two Cupids, or children of Venus. These denote that the Emperor Maximillian has performed many acts deserving ovations, an honor bestowed by the ancient Romans, but of a lesser degree than a triumph. The Emperors who were honored in this fashion were crowned with wreaths made of the foliage of the Myrrh tree, which is dedicated to Veneris, the star of mirth. Because such ovations have not been especially mentioned among the brave and triumphal deeds of the Emperor, these cupids, or Children of Venus, shall suffice to call them to mind. Each of these Cupids is accompanied by two more carrying trumpets to announce these tidings. More of this will be reported in greater detail in another book.

Flanking the great tower above the Portal of Honor and Might, above the Griffons and below the heralds are placed two knights in antique armor holding two ancient Roman banners. The one on the left has an eagle; that on the right has a dragon. These emblems were used in Roman times and carried into battle. Those who carried them were called Aquiliferi and Draconiferi. Because of the Emperor Maximilian was honorably elected to the society of Roman Emperors and Kings, and because his Majesty has worn the Roman Crown with great distinction, and furthermore an Arch of Honor, similar to a Triumphal Arch, has been erected for him, it is only proper that the two Eagle and Dragon, leaders, together with their pipers and drummers, be placed upon it and thus remembered forever.

The crown and the Archduke's hat which cap the two towers signify that the Archduchy of Austria derives from what the emperors Julius and Nero called the Mark of the Rising Sun, the oldest free principality. From it derives the Kingdom of Hungary, formerly called Sicambria. It is symbolized by the matron in the center of the three pictured on the bottom of the family tree of the dynasty.

The crown atop of the tower symbolizes the loyalty, praise, and honor of the princes of Habsburg, now in Austria, as will be told in greater detail in other books.

This Arch of Honor will also include other subjects, about which there is much to write and that each viewer is free to interpret for himself, but which I shall omit for reasons of space.