been considered important from the beginning. As a part of his influential literary and propaganda projects, Maximilian had his autobiographical works embellished, reworked and sometimes ghostwritten in the chancery itself. He is also credited with a major reform of the imperial chancery office: "Maximilian is said to have caused a standardization and streamlining in the language of his Chancery, which set the pace for chanceries and printers throughout the Empire." The form of written German language he introduced into his chancery was called Maximilian's Chancery Speech (Maximilianische Kanzleisprache) and considered a form of Early New High German. It replaced older forms of written language that were close to Middle High German. This new form was used by the imperial chanceries until the end of the 17th century and therefore also referred to as the Imperial speech. Architecture Never having that much money, Maximilian could not afford large scale building projects. However, he left a few notable constructions, among which the most remarkable is the cenotaph (designed by Maximilian) he began in the Hofkirche, Innsbruck, which was completed long after his death, and has been praised as the most important monument of Renaissance Austria and considered the "culmination of Burgundian tomb tradition" (especially for the groups of statues of family members) that displayed Late Gothic features, combined with Renaissance traditions like reliefs and busts of Roman emperors. The monument was vastly expanded under his grandson Ferdinand I, who added the tumba, the portal, and on the advice of his Vice Chancellor Georg Sigmund Seld, commissioned the 24 marble reliefs based on the images on the Triumphal Arch. The work was only finished under Archduke Ferdinand II (1529–1595). The reliefs were carved by the Flemish sculptor Alexander Colyn while the statues were cast by the bronze-founder Stefan Godl following the designs of Gilg Sesshelschreiber and Jörg Kölderer. The bronze busts of Roman emperors were created by Jörg Muskat. After taking Tyrol, in order to symbolize his new wealth and power, he built the Golden Roof, the roof for a balcony overlooking the town center of Innsbruck, from which to watch the festivities celebrating his assumption of rule over Tyrol. The roof is made with gold-plated copper tiles. The structure was a symbol of the presence of the ruler, even when he was physically absent. It began the vogue of using reliefs to decorate oriel windows. The Golden Roof is also considered one