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The most famous armour worn by Maximilian was Gothic-style armour, which was worn by Maximilian when he was a young prince and later presented as an honourable wedding gift for his uncle Sigmund. [3] Maximilian I became emperor in 1493 and died in 1519, but classic Maximilian armour is known from 1515 to 1525, and similarly shaped armour with ...
Maximilian was born in Vienna, Austria, the second child and eldest son of the Habsburg King Ferdinand I, younger brother of Emperor Charles V, Holy Roman Emperor, and the Jagiellonian Princess Anne of Bohemia and Hungary (1503–1547). [5] He was named after his great-grandfather, Emperor Maximilian I.
The book was made for Maximilian's future father-in-law Charles the Bold in 1466 by Bruges, [197] then given to Galeazzo Maria Sforza likely in 1475–76 during his and Charles's brief alliance, [198] became Bianca Maria Sforza's property, and was finally brought to Maximilian's library after Bianca's and Maximilian's marriage in 1494.
Joseph Ferdinand Leopold of Bavaria (28 October 1692 – 6 February 1699) was the son of Maximilian II Emanuel, Elector of Bavaria (1679–1705, 1714–1726) and his first wife, Maria Antonia of Austria, daughter of Leopold I, Holy Roman Emperor, maternal granddaughter of King Philip IV of Spain.
In the Book of Hours of Mary of Burgundy (1477), which was commissioned for her (likely first by Margaret of York and then by Maximilian, who as a new husband or new father, began to celebrate his wife and son as the images of the Virgin and Jesus), [102] the Virgin has a notable role. An image that attracts scholarly debate is the portrayal of ...
Archduke Rudolf, aged 15, painted by Alonso Sánchez Coello. Rudolf was born in Vienna on 18 July 1552. [2] He was the eldest son and successor of Maximilian II, Holy Roman Emperor, King of Bohemia, and King of Hungary and Croatia; his mother was the Spanish Princess Maria, a daughter of Charles V [2] and Isabella of Portugal.
Maximilian II was the principal of the Maximilianstrasse and the Bavarian National Museum in Munich. Compared to his father, Maximilian preferred a new architectural style with strong reference to the Gothic Revival architecture which would combine the best features of historical models combined with then modern building technology.
Lodes notes that the son of Mary in the text does not mean Jesus alone (the son's name is never mentioned), but also Maximilian himself (similar to Obrecht's Missa Salve diva parens, mentioned below). [201] CMME's editor argues that the date of 1508 for these motets is not a certainty. [205]