envoys right until the end though. Maximilian died in Wels, Upper Austria, at three o'clock in the morning on 12 January 1519. Different historians have listed different diseases as the main cause of death, including cancer (likely stomach cancer or intestinal cancer), pneumonia, syphilis, gall stones, stroke (he did have a combination of dangerous medical problems) etc. Maximilian was succeeded as Emperor by his grandson Charles V, his son Philip the Handsome having died in 1506. For penitential reasons, Maximilian gave very specific instructions for the treatment of his body after death. He wanted his hair to be cut off and his teeth knocked out, and the body was to be whipped and covered with lime and ash, wrapped in linen, and "publicly displayed to show the perishableness of all earthly glory". Gregor Reisch, the emperor's friend and confessor who closed his eyes, did not obey the instruction though. He placed a rosary in Maximilian's hand and other sacred objects near the corpse. He was buried in the Castle Chapel at Wiener Neustadt on borrowed money. The casket was opened during renovation under Maria Theresa. After that, the body was reinterred in a Baroque sarcophagus, that later was found unscathed amidst the wreckage of the chapel (due to the Second World War) on 6 August 1946. The emperor was ceremoniously buried again in 1950. Legacy Despite his reputation as "the last knight" (and his penchant for personally commanding battles and leading a peripatetic court), as a politician, Maximilian also carried out "herculean tasks of bureaucracy" every day of his adult life (the emperor boasted that he could dictate, simultaneously, to half a dozen secretaries). At the same time, James M. Bradburne remarks that, "Naturally every ruler wanted to be seen as a victor, but Maximilian aspired to the role of Apollo Musagetes." The circle of humanists gathered around him and other contemporary admirers also tended to depict him as such. Maximilian was a universal patron, whose intellect and imagination, according to historian Sydney Anglo, made the courtier of Castiliogne look like a scaled-down version. Anglo points out, though, that the emperor treated his artists and scholars like mere tools (whom he also tended to fail to pay adequately or timely) to serve his purposes, and never autonomous forces. Maximilian did not play the roles of the sponsor and commissioner only, but as organizer, stimulator and planner, he joined the creative