pressed their consent. Rudolph was then crowned by the Romanist Archbishop, with the assistance of William of Rosenberg.
The accession of Rudolph to the Bohemian throne followed very closely on his coronation. Maximilian died in 1576, and his son immediately proceeded to Prague, where he resided almost continually during his reign. His life is therefore in closer connection with Prague than that of almost any other Bohemian ruler, Charles IV. only excepted.
Rudolph’s character was a very singular one, and it is certain that he occasionally suffered from melancholia. With a thorough knowledge and a great love of art, he combined an intense dislike of the affairs of the State. No king did more for the embellishment of Prague. According to a contemporary epigram, Prague, that had been of wood at the time of Libussa, afterwards became marble, but golden under Rudolph. Rudolph was a great collector of paintings, sculpture, and even mere ‘curiosities.’ His agents travelled all over Europe; thus Albrecht Dürer’s ‘Madonna,’ one of the few picture’s from Rudolph’s collection that is still at Prague, was purchased at Venice and carried ‘by four stout men’ across the Alps to Prague. Among the artists who, on Rudolph’s invitation, visited Prague, was the engraver Sadeler, a native of the Netherlands. His engravings of Prague—three of which are reproduced in this volume—are among the most interesting ancient records of the city.
More questionable was Rudolph’s taste for chemistry and astronomy, or rather for alchemy and astrology. The astronomers Keppler, Tycho Brahe, and his assistant Tennagel, who afterwards fell in disgrace, were Rudolph’s guests on the Hradcany. His taste for alchemy attracted many to Prague who were supposed
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