Az 1515. évi bécsi Habsburg–Jagelló kettős eljegyzés 16–19. századi képzőművészeti reprezentációja
Representation of the Habsburg–Jagello Double Engagement in Vienna in 1515 in 16th–19th Century Art

Summary/Abstract: During the reign of Maximilian I, in the 1510s, the Habsburg–Jagello dynastic marriage efforts were revived, culminating in the 1515 Vienna princes’ meeting and double engagement (Louis II. betrothed Maria Habsburg and Maximilian I. symbolically betrothed Anna Jagello, daughter of Vladislav II.). It was partly this event, which was accompanied by a significant artistic representation, that laid the foundations for the Habsburg Monarchy’s claim to the Czech and Hungarian thrones, following the unexpected death of Louis II. at the Battle of Mohács. Not only did Maximilian I. add to the splendour of the event with generous gifts to the monarchs arriving in Vienna, but he also paid special attention to the representation of the fine arts. For example, Bernhard Strigel, the emperor’s court painter, painted several works of art depicting the young King Louis, whom he adopted as his son. The double engagement in St Stephen’s Cathedral in Vienna on 22 July 1515 was depicted in a monumental woodcut of the fictitious Ehrenpforte [triumphal arch] of Maximilian I, made in 1517–1518 and republished in 1526, and in the Emperor’s tomb in Innsbruck, completed in the 1560s. In the 19th century, the events of the reign of Maximilian I., considered one of the heydays of the Habsburg Monarchy, including the double engagement of the prince, were recalled in numerous works of art. In addition to illustrations for history books of the Habsburg Empire, it appeared, for example, on the walls of the ceremonial hall of the castle of Hernstein and in a monumental painting by the historical painter Václav Brožík [Wenzel von Brozik] at the end of the 19th century.

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