Editing Mary of Burgundy (section)

==In arts and popular culture==
{{See also|Cultural depictions of Maximilian I, Holy Roman Emperor}}
===Arts and legends under the rule of Mary, Maximilian and the Habsburgs===
[[File:Maria Karoli Filia.jpg|upright=0.8|thumb|Mary of Burgundy, portrait by the circle of Master of the Legend of Saint Madeleine (''Maître de la Légende de sainte Madeleine''), Château de Gaasbeek, c. 1530–40.{{sfn|Karaskova|2014|p=255}}]]

*The [[Faust]] legend is strongly based on a legend involving Mary, Maximilian and the priest, abbot and humanist [[Johannes Trithemius]] (1462–1516), who was suspected by many to be a necromancer. Through his 1507 account, Trithemius was the first author who mentioned the historical Doctor Faustus. Being summoned to the emperor's court in 1506 and 1507, he also helped to "prove" Maximilian's Trojan origins. In his 1569 edition of his Tischreden, [[Martin Luther]] writes about a magician and necromancer (understood to be Trithemius) who summoned [[Alexander the Great]] and other ancient heroes, as well as the emperor's deceased wife Mary of Burgundy, to entertain Maximilian.<ref>{{cite book |last1=Brann |first1=Noel L. |title=Trithemius and Magical Theology: A Chapter in the Controversy over Occult Studies in Early Modern Europe |date=1999 |publisher=SUNY Press |isbn=9780791439616 |page=165 |url=https://books.google.com/books?id=jU81YW06ZH0C&pg=PA165 |access-date=22 October 2021}}</ref> In his 1585 account, [[Hermann Wilken|Augustin Lercheimer]] (1522–1603) writes that after Mary's death, Trithemius was summoned to console a devastated Maximilian. Trithemius conjured a shade of Mary, who looked exactly like her likeness when alive. Maximilian also recognized a birthmark on her neck, that only he knew about. He was distraughted by the experience though, and ordered Trithemius never to do it again. An anonymous account in 1587 modified the story into a less sympathetic version. The emperor became [[Charles V, Holy Roman Emperor|Charles V]], who, despite knowing about the risk of black magic, ordered Faustus to raise Alexander and his wife from death. Charles saw that the woman had a birthmark, that he had heard about.<ref>{{cite book |last1=Baron |first1=Frank |title=Faustus on Trial: The Origins of Johann Spies's 'Historia' in an Age of Witch Hunting |date=2013 |publisher=Walter de Gruyter |isbn=9783110930061 |pages=95–103 |url=https://books.google.com/books?id=ztQiAAAAQBAJ&pg=PA101 |access-date=22 October 2021}}</ref> Later, the woman in the [[Goethe's Faust|most well-known story]] became [[Helen of Troy]].<ref>{{cite book |last1=Elwood Waas |first1=Glenn |title=The Legendary Character of Kaiser Maximilian |date=1941 |publisher=Columbia University Press |pages=153–162 |url=https://books.google.com/books?id=t-tdAAAAIAAJ |access-date=22 October 2021}}</ref>
[[File:Mary of Burgundy and Maximilian of Austria.jpg|thumb|170px|right|19th century reproduction (by Julien Bernard Van der Plaetsen) of a 1507 fresco depicting Mary holding a falcon and the coat of arms of Burgundy with Maximilian. The couple stood as a pair of equals despite Maximilian's status as Emperor. The original work was created to celebrate Charles's status as the new Duke of Burgundy.<ref>{{cite book |last1=Karaskova |first1=Olga |title=Marie de Bourgogne et le Grand Héritage : l'iconographie princière face aux défis d'un pouvoir en transition (1477-1530), Volume 1 |date=2014 |publisher=Université Lille Nord de France, Université Charles-de-Gaulle – Lille 3, École doctorale Sciences de l'Homme et de la Société, Centre des recherches IRHiS – UMR 8529, Institut de Recherches Historiques du Septentrion, Musée de l'Ermitage |pages=172–192 |url=https://www.academia.edu/9583990 |access-date=27 October 2021}}</ref>]]

In her lifetime, Mary's preferred symbols, which were often associated with her official image, were the falcon and the horse. Ann M.Roberts notes that the falcon seemed to be a substitute for the sword (which was used by her grandfather and father for their seals), that denoted her status and prowess and also seemingly equated her skills as a huntress with her husband's skills as a military leader.{{sfn|Roberts|2017|pp=135–150}} Also according to Roberts, the posthumous portraits produced during her husband's later reign (which were much more numerous) show a completely different image: he tended to utilize the profile portraits that portrayed her as a young (with less personal features and only recognizable by her items, such as the ''[[hennin]]'', the brocaded garment, necklaces and brooches), virtuous, pious, passive bride whose wealth he possessed and could do with as he wanted and for whom he constructed a mythology of romantic love between the two.<ref>{{cite book |last1=Pearson |first1=Andrea |title=Women and Portraits in Early Modern Europe: Gender, Agency, Identity |date=5 December 2016 |publisher=Routledge |isbn=978-1-351-87226-3 |pages=79–87 |url=https://books.google.com/books?id=D5GoDQAAQBAJ&pg=PT87 |access-date=22 November 2021 |language=en}}</ref>

Olga Karaskova also opines that the manner she was placed in the premier position and her seal superimposed on his in their seals seems to indicate the conception she had of herself and the way she wanted to be seen by her contemporaries.{{sfn|Karaskova|2014a|p=216}} During Maximilian's later reign, he commissioned numerous portrayals of Mary for various purposes. According to Karaskova, the symbol of the falcon did not disappear, but returned as Maximilian needed to assert his and their descendants' right of inheritance. In public portraits, the image of Mary holding a falcon returned once during the inauguration of Charles V. In addition, Maximilian commissioned portraits of Philip the Fair and Charles V holding falcons (thus establishing a connection between them and Mary), so he had to depend on the iconography created by Mary and associated with her, that had not been erased from the memory of their contemporaries. In the ''Old Prayer Book of Maximilian of Austria'' (''l'Ancien livre de prières de Maximilien d'Autriche'', 1486, Vienne, ÖNB, Cod. 1907, f. 61v), there are the depiction of three falcons that seemingly symbolize Mary, Philip the Fair and Maximilian: Mary was with Philip while Maximilian was chasing another bird, symbolically protecting wife and child, next to the German eagle and the combined coat-of-arms of the Houses of Austria and Burgundy.{{sfn|Karaskova|2014a|p=330–339,373–375}} Maximilian also had a tendency to virtually "promote" Mary to the status of Empress in these posthumous portrayals: an image created by Jörg Kölderer in preparation for Mary's statue in Maximilian's cenotaph showed a coat-of-arms that incorporated her husband's symbols as King of the Romans or Holy Roman Emperor (that she could not have used in life).{{sfn|Karaskova|2014a|p=394-396}}

[[File:Мария Бургундская на охоте преследуемая смертью.jpg|thumb|left|''Mary of Burgundy chased by [[The Three Dead Kings|the Death]]'', from the ''Book of Hours of Mary and Maximilian'' in Berlin. Two of the men tried to escape while another, likely Maximilian, beckoned her to follow him but she took no notice.<ref>{{cite book |last1=Knöll |first1=Stefanie A. |last2=Oosterwijk |first2=Sophie |title=Mixed Metaphors: The Danse Macabre in Medieval and Early Modern Europe |date=1 May 2011 |publisher=Cambridge Scholars Publishing |isbn=978-1-4438-7922-4 |page=150 |url=https://books.google.com/books?id=r2QHCgAAQBAJ&pg=PA150 |access-date=22 November 2021 |language=en}}</ref>]]

There was also a type of iconography created for the emperor's private use (instead of being used as a political declaration to the public), created by Bernhard Strigel: Mary, also presented in the imperial style as his empress, queen Ehrenreich and eternal companion, was shown with falcons outside the window and a hunting scene on her corsage, which seemed to imply courtly love and the days of happiness for the emperor. This iconography also seemed to be connected to the diptych ''Portrait of Emperor Maximilian and his family'' by Bernhard Strigel (mentioned below).{{sfn|Karaskova|2014a|p=396-397}}
[[File:Maximilian I and Mary of Burgundy, stained glass, Basilica of the Holy Blood in Bruges.jpg|thumb|Maximilian I and Mary of Burgundy, stained glass, Basilica of the Holy Blood in Bruges, between 1480 and 1490]]

In the ''Book of Hours of Mary and Maximilian'' (Berlin, SM, Kupferstichkabinett, Ms. 78 B 12, f. 220v.), the falcon and the hunt scene were shown, not as display of political significance, but only tragedy. Karaskova suggests that the coincidence that combined the Duchess's favourite mode of portrayal and the manner of her death must have had an impact on the illustrator as well as the commissioner, in this case Maximilian.{{sfn|Karaskova|2014a|p=418-419}}<ref>{{cite book |last1=Akbari |first1=Suzanne Conklin |last2=Ross |first2=Jill |title=The Ends of the Body: Identity and Community in Medieval Culture |date=29 January 2013 |publisher=University of Toronto Press |isbn=978-1-4426-6139-4 |pages=38–39 |url=https://books.google.com/books?id=y19yap7bcesC&pg=PT38 |access-date=22 November 2021 |language=en}}</ref>{{sfn|Knöll|Oosterwijk|2011|p=150}} According to the documentary ''Der letzte Ritter'' by [[Zweites Deutsches Fernsehen]] (ZDF), in his conversations with their daughter Margaret, the emperor associated the call of the falcon with "the blackest day of his life" (he remained a passionate falconer though – In his cenotaph, where there are also Mary's and his statues, the belt of Mary's grandfather, Philip the Good, displays the image of a male falconer and a female falconer).<ref name="Maximilian - Der letzte Ritter"/><ref>{{cite book |last1=Barsch |first1=Harald |title=Kulturgut: FALKNEREI. Bewerbung zur Eintragung in die nationale Liste des Immateriellen Kulturerbes gemäß UNESCO Konvention MISC/2003/CLT/CH14 |date=2003 |publisher=UNESCO |page=10 |url=https://www.unesco.at/fileadmin/Redaktion/Kultur/IKE/IKE-DB/files/Falknerei_Bewerbungsformular.pdf |access-date=22 November 2021}}</ref>
[[File:Bernhard Strigel 003b.jpg|thumb|left|''Portrait of Emperor Maximilian and his family'' by Bernhard Strigel]]

Karaskova comments that the type of profile portraits that Roberts considers to be the products of Maximilian's preferences (which also presented her as youthful and wealthy) seemed to have existed and been copied since her lifetime and connected her to her ancestors, especially Philip the Bold, who also had such profile portraits.{{sfn|Karaskova|2014a|pp=265–271}} After his marriage to Bianca Maria in 1494, Maximilian also presented himself with both of his wives simultaneously. There was a notable tendency, expressed most clearly in the representations of genealogical trees (one commissioned in 1497, and another ten years later): outwardly, the group looked united, but Maximilian turned his back on Bianca to face the mother of his children (Unterholzner also notes that Maximilian always concentrated on the children of his first marriage in terms of succession politics, despite the fact that this was very risky; later, as the mother of his only (legitimate) children, Mary of Burgundy only became more important).{{sfn|Karaskova|2014a|pp=383–385}}<ref>{{cite book |last1=Unterholzner |first1=Daniela |title=Bianca Maria Sforza (1472-1510) : herrschaftliche Handlungsspielräume einer Königin vor dem Hintergrund von Hof, Familie und Dynastie |date=2015 |publisher=Leopold-Franzens-Universität Innsbruck |pages=1,51,132,134,135|url=https://diglib.uibk.ac.at/ulbtirolhs/download/pdf/761506?originalFilename=true |access-date=5 December 2021}}</ref>

[[File:Right wing diptych Mostaert - Mary of Burgundy.jpg|thumb|left|Right wing of the diptych by Jan Mostaert - Mary of Burgundy]]
Later, her children Philip and Margaret preferred to utilize the images of the undisputed dukes (which were shown in public spaces) instead of those of the disputed duchess to consolidate their rule, but that does not mean they displayed emotional disavowal towards her, as shown by the famous diptych commissioned by Margaret to commemorate her mother and created by Jan Mostaert in 1520.{{sfn|Karaskova|2014a|pp=405–408}} Charles V, however, focused on his paternal ancestors, especially on Maximilian and Mary as true progenitors of his house.{{sfn|Karaskova|2014a|pp=409–415}}
The falcon also returned and her role as Duchess of Burgundy was also highlighted.{{sfn|Karaskova|2014a|p=413–417}}
[[File:Apotheosis of Charles V.jpg|thumb|left|''Apotheosis of Charles V'' by Clara Keyser: Charles V and his genealogical tree, with his two paternal grandparents standing on the columns of Hercules. The branch that leads to Philip the Fair also comes from the mother's side.]]

*The massive semi-autobiographical works (commissioned by Maximilian, who was also likely their main author<ref>{{cite book |last1=Watanabe-O'Kelly |first1=Helen |title=The Cambridge History of German Literature |date=12 June 2000 |publisher=Cambridge University Press |isbn=978-0-521-78573-0 |page=94 |url=https://books.google.com/books?id=feweVgIYXM8C&pg=PA94 |access-date=12 November 2021 |language=en}}</ref>) like the epic poems ''[[Theuerdank]]'' and ''[[Freydal]]'', and the chivalric novel ''[[Weisskunig]]'' are in parts tribute to their love and marriage. As Queen Ehrenreich (Rich in Honour) in ''Theuerdank'', Mary urged the knight Theuerdank (Noble Thought, alter ego of Maximilian) to go on a crusade.<ref>{{cite book |last1=Rady |first1=Martyn |title=The Habsburgs: The Rise and Fall of a World Power |date=12 May 2020 |publisher=Penguin Books Limited |isbn=978-0-14-198719-4 |page=51 |url=https://books.google.com/books?id=pt2xDwAAQBAJ&pg=PT51 |access-date=25 October 2021 |language=en}}</ref>

Even during her lifetime, she became the centre of a cult that associated her with the Virgin Mary. It was not unusual for young women to be associated with the Virgin back then, but the similarity in their name made it easier and more provoking in the case of Mary. After her death, both Maximilian and her Burgundian subjects dedicated much artworks and propaganda to this cult.
[[File:Hours of Mary of Burgundy Virgin and Child.jpg|thumb|200px|Folio 14v: The Virgin in a church with Mary of Burgundy at her devotions]]

*In the [[Hours of Mary of Burgundy|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),{{sfn|Eörsi|2020|pp=20–36}} the Virgin has a notable role. An image that attracts scholarly debate is the portrayal of Mary sitting at a window-ledge imagining or having a mystical vision in which she herself and her ladies in waiting kneeling before the Virgin and the infant Christ. The Virgin here is the pivot of overlapping devotional function of the Book and the rosary.<ref>{{cite book |last1=Miles |first1=Laura Saetveit |title=The Virgin Mary's Book at the Annunciation: Reading, Interpretation, and Devotion in Medieval England |date=2020 |publisher=Boydell & Brewer |isbn=978-1-84384-534-8 |page=206 |url=https://books.google.com/books?id=Wgk7EAAAQBAJ&pg=PA206 |access-date=8 November 2021 |language=en}}</ref> This is also an early example of the association between Mary of Burgundy and the Virgin Mary. Natalie Harris Bluestone opines that even though this association started during her lifetime, it seemed to be motivated by others.<ref>{{cite book |last1=Bluestone |first1=Natalie Harris |title=Double Vision: Perspectives on Gender and the Visual Arts |date=1995 |publisher=Fairleigh Dickinson Univ Press |isbn=978-0-8386-3540-7 |page=78 |url=https://books.google.com/books?id=JG3ceLmdnbgC&pg=PA78 |access-date=8 November 2021 |language=en}}</ref> Glenn Burger remarks that, "bringing the bodily Mary of Burgundy alongside her imagined devotional self and her spiritual counterpart, the Virgin Mary, moves us beyond things as they are into a teleological mode of reading that stabilizes temporal and spatial relations in ideologically satisfying ways."<ref>{{cite book |last1=Burger |first1=Glenn |title=Conduct Becoming: Good Wives and Husbands in the Later Middle Ages |date=2018 |publisher=University of Pennsylvania Press |isbn=978-0-8122-4960-6 |page=12 |url=https://books.google.com/books?id=RlQ1DwAAQBAJ&pg=PA12 |access-date=8 November 2021 |language=en}}</ref><ref>{{cite journal |last1=Eörsi |first1=Anna |title="Imaige a la Vierge Marie"; The Hours of Mary of Burgundy, Her Marriage, and Her Painter, Hugo van der Goes |journal=Acta Historiae Artium |date=2020 |volume=61 |doi=10.1556/170.2020.00002 | pages=19–53 |s2cid=234506689 |url=https://www.academia.edu/44786594 |access-date=8 November 2021}} "Underlying the tendency to identify Mary of Burgundy with the Virgin Mary was the situation of Burgundy and its heiress, which was understood by means of salvation-historical analogies. In the book of hours, the figures of the two Marys are conflated severaltimes in a variety of ways (fols. 14v, 19v, 43v, 94v, 99v). The hymn in praise of the heavenly joys of the Virgin Mary, which is organically related to the frontispiece image, is thus (also) a chanted sequence for the eternal beatitude of the young bride."</ref> The motif of the dog, later seen many times in depictions of Mary and Maximilian (together or separately), for example as part of her sarcophagus or in Maximilian's First Prayer Book, also seemed to first appeared here.{{sfn|Eörsi|2020|pp=20–36, 48}}

Noa Turel argues that Mary and her step-mother Margaret of York did willingly join the courtly "theater of devotion" that cast Margaret as Saint Anne and Mary as the Virgin, which are demonstrated by their actions and their self-insertions in the manuscripts associated with the Baptism of Philip the Fair (whose claims to territories through matrilineal inheritance would be strengthened through this association, which also cast him as the infant Jesus).<ref>{{cite encyclopedia|contribution=Staging the Court: Auto-Iconicity and Female Authority around a 1478 Burgundian baptism|last=Turel|first=Noa|title=Authority and Gender in Medieval and Renaissance Chronicles|editor-last1=Dresvina |editor-first1=Juliana |editor-last2=Sparks |editor-first2=Nicholas |date=18 December 2012 |publisher=Cambridge Scholars Publishing |isbn=978-1-4438-4428-4 |pages=343–374|url=https://www.academia.edu/2271810 |access-date=11 November 2021 |language=en}}</ref> Turel opines that the reason the chronicler [[Olivier de la Marche]] only offered a brief description of this important event was that as ''Premier maître d'hôtel'', he likely had to accompany Maximilian to the battlefield at the time of the baptism.{{sfn|Turel|2012|p=346}}
[[File:Virgin Mary death Durer 1518.jpg|thumb|''[[Death of the Virgin]]'', or ''Dying Mary of Burgundy'', 1518, by [[Albrecht Dürer]]<ref>{{cite book |last1=Der Verein für Geschichte der Stadt Wien |title=Berichte und Mittheilungen des Alterthums-Vereines zu Wien |date=1890 |publisher=In Commission der Buchhandlung Prandel und Meyer |pages=88,108,109 |url=https://books.google.com/books?id=rFRFAAAAYAAJ&pg=PA109 |access-date=5 December 2021 |language=de}}</ref>]]

*In [[Jean Molinet]]'s ''Le naufrage de la Pucelle'' (1477), the Pucelle was an allegory of both the Virgin Mary and Mary of Burgundy. With the death of her father, the Pucelle was left in charge of their ship, which was attacked by whales and other sea monsters that represented France. Her companion Cœur Leal consoled her by the examples of warrior women like [[Semiramis]], [[Zenobia]], [[Artemisia I of Caria|Artemisia]] or [[Joan of Arc]]. He emphasized, though, the story of the [[The Girl Without Hands|Manekine]] by [[Jean Wauquelin]], who overcame her circumstance by passive resistance to suffering. Here passive resistance was portrayed in a good light, as Molinet linked it to the stable time under Mary's grandfather [[Philip the Good]], who in Molinet's works was often contrasted with [[Charles the Bold]], whose reign brought Burgundy to ruin. Finally, an eagle (symbol of Maximilian) appeared and saved the ship.<ref>{{cite book |last1=Armstrong |first1=Adrian |title=Technique and Technology: Script, Print, and Poetics in France, 1470-1550 |date=2000 |publisher=Clarendon Press |isbn=9780198159896 |page=41 |url=https://books.google.com/books?id=2gtNxdBPlmAC&pg=PA41 |access-date=22 October 2021}}</ref><ref>{{cite journal |last1=Dixon |first1=Rebecca |title=A consolatory allusion in Jean Molinet's le naufrage de la pucelle (1477)|journal=French Studies Bulletin |date=2006 |volume=12 |issue=1 |pages=96–98 |doi=10.1093/frebul/ktl036}}</ref> When Molinet depicted them as pagan deities, like in ''Bergier sans Soulas'' (1485), Mary was portrayed as Lune (Moon, Diana), Maximilian was Apollon, Phoebus, Titan or King of Ilion, Philip was Jupiter, Margaret of Austria was Venus, while the King of France was Pan and the King of England was Neptune.<ref>{{cite book |last1=Suntrup |first1=Rudolf |last2=Veenstra |first2=Jan R. |last3=Bollmann |first3=Anne M. |title=Medien Der Symbolik in Spätmittelalter und Früher Neuzeit |date=2005 |publisher=P. Lang |isbn=9780820477145 |page=203 |url=https://books.google.com/books?id=wQhmAAAAMAAJ |access-date=22 October 2021}}</ref><ref>{{cite book |last1=Bergweiler |first1=Ulrike |title=Die Allegorie im Werk von Jean Lemaire de Belges |date=1976 |publisher=Librairie Droz |isbn=9782600038584 |page=153 |url=https://books.google.com/books?id=ZNRUINOR3jYC&pg=PA153 |access-date=22 October 2021}}</ref>

The motif of the Virgin and the Eagle would be seen again during Maximilian's "joyous entry" into Antwerp (1478), on one of the tableaux the city presented him. An eagle was shown offering his own blood to the maiden. The symbol for both Antwerp and Burgundy was also a virgin, while the eagle was the symbol of the House of Habsburg. The Antwerp (later, his loyal ally in his later turbulent regency) community seemed to welcome Maximilian as their saviour, but also wanted to subtly remind him of limits to his powers and his responsibilities as ruler together with Mary.<ref>{{cite journal |last1=Overlaet |first1=Kim |title=The 'joyous entry' of Archduke Maximilian into Antwerp (13 January 1478): an analysis of a 'most elegant and dignified' dialogue |journal=Journal of Medieval History |date=2018 |volume=44 |issue=2 |pages=231–249 |doi=10.1080/03044181.2018.1440622 |s2cid=165610800 |doi-access=free }}</ref>
{{multiple image
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|caption1= {{font color|white|''Arch of [[Philip IV of Spain|{{font color|yellow|Philip IV}}]]'' by [[Peter Paul Rubens|{{font color|yellow|Peter Paul Rubens}}]], [[Jacob Jordaens|{{font color|yellow|Jacob Jordaens}}]] and [[Cornelis de Vos|{{font color|yellow|Cornelis de Vos}}]], after 1614. Above the elevation of the arch was the wedding of Maximilian and Mary, with Jupiter and Juno on the top looking approvingly.<ref>{{cite book |last1=Auwera |first1=Joost vander |last2=Draguet |first2=Michel |last3=Rubens |first3=Peter Paul |last4=Balis |first4=Arnout |last5=Sprang |first5=Sabine van |last6=Kalck |first6=Michèle Van |title=Rubens: A Genius at Work : the Works of Peter Paul Rubens in the Royal Museums of Fine Arts of Belgium Reconsidered |date=2007 |publisher=Lannoo Uitgeverij |isbn=978-90-209-7242-9 |page=242 |url=https://books.google.com/books?id=kfurKXZJ8fIC&pg=PA242 |access-date=8 November 2021 |language=en}}</ref>}}
|image2 = Jacob Jordaens - The Wedding of Mary of Burgundy with Maximilian of Austria.jpg
|caption2={{font color|white|The scene of the wedding of Mary and Maximilian as part of the Arch, painted by Jacob Jordaens. The dog at Maximilian's feet represented marital fidelity while the globe and the lion (her personal attribute and the symbol of Belgium) represented assured descendance.<ref>{{cite book |last1=Martin |first1=John Rupert |title=The Decorations for the Pompa Introitus Ferdinandi |date=1972 |publisher=Phaidon |isbn=978-0-7148-1433-9 |page=75 |url=https://books.google.com/books?id=6ygNAQAAIAAJ |access-date=8 November 2021 |language=en}}</ref><ref>{{cite book |last1=Karaskova |first1=Olga |title=Marie de Bourgogne et le Grand Héritage : l'iconographie princière face aux défis d'un pouvoir en transition (1477-1530), Volume 2 |date=2014b |publisher=Université Lille Nord de France, Université Charles-de-Gaulle – Lille 3, École doctorale Sciences de l'Homme et de la Société, Centre des recherches IRHiS – UMR 8529, Institut de Recherches Historiques du Septentrion, Musée de l'Ermitage |url=https://www.academia.edu/9583990 |access-date=22 November 2021}}</ref>}}
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*In one of [[Albrecht Dürer]]'s most famous works, the [[Feast of the Rosary]], the Virgin Mary (representation of Mary of Burgundy) was depicted holding the infant Jesus (representation of [[Philip I of Spain|Philip the Fair]]) while placing a rosary on the head of a kneeling Maximilian. When the Fraternity of the Rosary was established in 1475 in Cologne, Maximilian and his father Frederick III were present and among the earliest members. Already in 1478, in ''Le chappellet des dames'', Molinet, as the Burgundy court chronicler, placed a symbolic rosary on the head of Mary of Burgundy.<ref>{{cite journal |last1=Van der Heide |first1=Klaas |title=Many Paths Must a Choirbook Tread Before it Reaches the Pope? |date=2019 |journal=Medieval & Early Modern Music from the Low Countries |volume=11 |url=https://www.brepolsonline.net/doi/pdf/10.1484/J.JAF.5.118980 |access-date=22 October 2021| issue=1–2 |doi=10.1484/J.JAF.5.118980|pages=47–70|s2cid=213740615 }}</ref> Similarly, in 1518, one year before the emperor's own death, under the order of [[Jurij Slatkonja|Zlatko, Bishop of Vienna]], Dürer painted ''The death of the Virgin'', which was also the scene of the deathbed of Mary of Burgundy, with Maximilian, Philip of Spain, Zlatko and other notables around the couch. Philip was presented as a young St. John while Maximilian bowed down as one of the Apostles. The work was last seen in the 1822 sale of the Fries collection.<ref>{{cite book |last1=Dürer |first1=Albrecht |last2=Russell |first2=Peter |title=Delphi Complete Works of Albrecht Dürer (Illustrated) |date=2016 |publisher=Delphi Classics |isbn=9781786564986 |page=159 |url=https://books.google.com/books?id=_do4DAAAQBAJ&pg=PA159-IA3 |access-date=22 October 2021}}</ref><ref>{{cite book |last1=Jameson (Anna) |first1=Mrs |title=Legends of the Madonna |date=1898 |publisher=Houghton, Mifflin |page=344 |url=https://books.google.com/books?id=E9mfAAAAMAAJ&pg=PA345 |access-date=25 October 2021 |language=en}}</ref>
*The famous diptych of Maximilian's extended family (after 1515), painted by [[Bernhard Strigel]], labels Mary of Burgundy as "Mary Cleophas, believed to be sister of the Virgin Mary" while Maximilian was labeled as Cleophas, brother of Joseph.<ref>{{cite book |last1=Welsh |first1=Jennifer |title=The Cult of St. Anne in Medieval and Early Modern Europe |date=2016 |publisher=Taylor & Francis |isbn=9781134997800 |page=141 |url=https://books.google.com/books?id=kz4lDwAAQBAJ&pg=PA141 |access-date=22 October 2021}}</ref> This painting was likely commissioned to commemorate the 1516 double wedding (between House of Habsburg and House of Hungary) and then bequeathed to the scholar [[Johannes Cuspinian]] as a sign of imperial favour (it would become part of his family altar).<ref>{{cite book |last1=Bird |first1=Michael S. |title=Art and Interreligious Dialogue: Six Perspectives |date=1995 |publisher=University Press of America |isbn=978-0-8191-9555-5 |pages=13, 14 |url=https://books.google.com/books?id=Jm6khax2J2oC&pg=PA14 |access-date=22 November 2021 |language=en}}</ref>
*The [[Pierre Alamire|Alamire manuscript VatS 160]], a choir book sent to Pope [[Leo X]] as a gift likely by a member of Burgundian-Habsburg family or a person close to Maximilian, contains numerous references to the connection between the Virgin Mary and Mary of Burgundy. For example, the work ''Missa Ave regina celorum'' by the composer [[Jacob Obrecht]] (d.1505) is a tribute to both the Virgin Mary and Mary of Burgundy. Here, Mary became the deceased heavenly Mother, Friend and Queen of Emperor Maximilian. {{sfn|Van der Heide|2019|pp=63–65}}

===Later depictions===
*Mary was the main character in the 1674 novel ''Histoire secrète de Marie de Bourgogne'' by [[Charlotte-Rose de Caumont de La Force]]. The work was a part of the era's literary fairy tale vogue, which was welcomed enthusiastically by contemporaries.<ref>{{cite book |last1=Bullard |first1=Rebecca |last2=Carnell |first2=Rachel |title=The Secret History in Literature, 1660-1820 |date=24 March 2017 |publisher=Cambridge University Press |isbn=978-1-107-15046-1 |page=209 |url=https://books.google.com/books?id=ZtcoDwAAQBAJ&pg=PA209 |access-date=25 October 2021 |language=en}}</ref>
*In the nineteenth century, together with her grandson [[Charles V, Holy Roman Emperor|Charles V]], the painters [[Hans Memling]] and [[Jan van Eyck]], Mary became a powerful national symbol of Belgium, representing an era in which "the national interest was perceived to have flourish". The depictions had a local dimension as well, showing the particular cities as "receiving the great and the good".<ref>{{cite book |last1=Graham |first1=Jenny |last2=Wintle |first2=Michael |chapter=8. Picturing Patriotism: The Image of the Artist-Hero and the Belgian Nation State, 1830–1900 |title=The Historical Imagination in Nineteenth-Century Britain and the Low Countries |date=1 January 2013|pages=174, 188  |doi=10.1163/9789004241862_010 |isbn=9789004241862 |url=https://brill.com/display/book/9789004241862/B9789004241862_010.xml}}</ref> A popular trope was the scene of Mary visiting Memling (which Graham and Wintle compare to the relationship between Maximilian I and Dürer in German imagination, or between [[Mary, Princess Royal and Princess of Orange|the Princess of Orange]] and Bartholomeus van der Helst as depicted by Dutch artists. The first painter who depicted this scene was [[Nicaise de Keyser]] in 1847, followed by Eduoard Wallays in the 1860s (in both cases, the scene of the visit was the Hospital of Saint John).{{sfn|Graham|Wintle|2013|p=188}}
[[File:Mary and Maximilian visit Hans Memling.jpg|thumb|left|Mary and Maximilian visit Hans Memling]]

*Mary was the main character in the 1833 eponymous novel ''Mary of Burgundy, or The Revolt of Ghent'' by [[George Payne Rainsford James]]. In the novel, she was depicted as the representation of maternalistic feudalism that the author espoused.<ref>{{cite book |last1=King |first1=Margaret F. |last2=Engel |first2=Elliot |title=Victorian Novel Before Victoria: British Fiction During The Reign Of William Iv 1830-37 |date=3 January 2016 |publisher=Springer |isbn=978-1-349-17604-5 |pages=102, 103 |url=https://books.google.com/books?id=-12wCwAAQBAJ&pg=PA102 |access-date=3 November 2021 |language=en}}</ref>
*The German dramatist [[:de:Hermann Hersch|Hermann Hersch]] wrote a one-act comedy in 1853 and a five-act tragedy in 1860 about her life. Other characters include Maximilian, von Ravenstein, Lady Hallwyn, John of Cleves etc.<ref>{{cite book |last1=Library |first1=Boston Public |title=Bulletin |date=1895 |page=182 |url=https://books.google.com/books?id=AafoAAAAMAAJ&pg=PA182 |access-date=27 May 2022 |language=en}}</ref><ref>{{cite book |last1=Hersch |first1=Hermann |title=Maria von Burgund: Lustspiel in 1 Aufzuge |date=1853 |publisher=Druck von C. Wolf & Sohn |url=https://books.google.com/books?id=Y3E7AAAAcAAJ |access-date=27 May 2022 |language=de}}</ref><ref>{{cite book |last1=Hersch |first1=Hermann |title=Maria von Burgund: Schauspiel in fünf Aufzügen |date=1860 |publisher=Sauerländer |url=https://books.google.com/books?id=RxDUDZyABc8C |access-date=27 May 2022 |language=de}}</ref>
*In ''Hieronymus Rides: Episodes in the Life of a Knight and Jester at the Court of Maximilian, King of the Romans'', a 1912 novel, written by [[Anna Coleman Ladd]], Mary was once loved by the jester and knight Hieronymus, who served his half-brother Maximilian.<ref>{{cite book |last1=Ladd |first1=Anna Coleman |title=Hieronymus Rides: Episodes in the Life of a Knight and Jester at the Court of Maximilian, King of the Romans |date=1912 |publisher=Macmillan and Company, Limited |url=https://books.google.com/books?id=-hoeAAAAMAAJ |access-date=25 January 2022 |language=en}}</ref><ref>{{cite book |title=The Bellman |date=1912 |url=https://books.google.com/books?id=-zA_AQAAMAAJ&pg=PA20 |access-date=25 January 2022 |language=en}}</ref>
*There are two paintings involving Mary and Maximilian among the principal historical paintings of the painter [[Anton Petter]] (1791 – 1858): one is ''Der Einzug Kaiser Maximilians I.in Gent'' (1822, Belvedere, Wien) in which Mary presented their son to her husband and the other is ''Kaiser Maximilian I und Maria von Burgund'' which describes their meeting.(1813, Joanneum at Graz).<ref>{{cite book |last1=Joanneum |first1=Steiermärkisches Landesmuseum |title=Das Steiermärkische Landesmuseum Joanneum und seine Sammlungen: mit zustimmung des Steuermärkischen Landes-Ausschusses zur 100 Jährigen Grundungsfeier des Joanneums hrsg. vom Kuratorium des Landesmuseums |date=1911 |publisher=Ulrich Mosers Buchhandlung (I. Meyerhoff) k.u.k. Hofbuchhändler |page=358 |url=https://books.google.com/books?id=S8wTE-D4JU4C&pg=RA1-PA358 |access-date=8 November 2021 |language=de}}</ref><ref>{{cite book |last1=Bryan |first1=Michael |title=Bryan's Dictionary of Painters and Engravers |date=1904 |publisher=Macmillan |page=105 |url=https://books.google.com/books?id=UV4VAAAAYAAJ&pg=PA105 |access-date=8 November 2021 |language=en}}</ref>
*An [[equestrian statue]] of Mary named ''Flandria Nostra'' stands in Golden Fleece Muntplein, created by [[Jules Lagae]].<ref>{{cite book |last1=Turner |first1=Christopher |title=Landmark Visitors Guide Bruges: Belgium |date=2002 |publisher=Hunter Publishing, Inc |isbn=978-1-84306-032-1 |page=76 |url=https://books.google.com/books?id=0G_MBiL5chUC&pg=PA76 |access-date=8 November 2021 |language=en}}</ref>
[[File:Bruges basilica Mary of Burgundy.JPG|thumb|150px|left|Gilded statue of Mary of Burgundy on the façade of the [[Basilica of the Holy Blood]] in Bruges, Belgium. The medallions show Maximilian and Margaret of York. The reliquary in the basilica is crowned with a crown believed to belong to Mary.<ref>{{cite web |title=Kościoły |url=https://en.belgiazwiedzanie.com/ko347cio322y6.html |website=BELGIA |access-date=8 November 2021 |language=pl}}</ref>]]

*In the 1994 historical romance ''Marie de Bourgogne: la princesse aux chaînes'' by [[:fr:André Besson|André Besson]], Mary loved Philippe de Ravenstein (Philip of Cleves) but had to sacrifice her feelings for [[National interest|raison d'État]].<ref>{{cite book |last1=Besson |first1=André |title=Marie de Bourgogne: la princesse aux chaînes |date=1994 |publisher=Nouvelles Editions Latines |isbn=978-2-7233-0480-1 |page=6 |url=https://books.google.com/books?id=5RS9y2gslUgC&pg=PT6 |access-date=3 November 2021 |language=fr}}</ref><ref>{{cite book |last1=Allard |first1=Yvon |title=Le roman historique: guide de lecture |date=1987 |publisher=Le Préambule |isbn=978-2-89133-078-7 |page=66 |url=https://books.google.com/books?id=A3AnAQAAIAAJ |access-date=3 November 2021 |language=fr}}</ref><ref>{{cite book |last1=Broomhall |first1=Susan |last2=Spinks |first2=Jennifer |title=Early Modern Women in the Low Countries: Feminizing Sources and Interpretations of the Past |date=13 May 2016 |publisher=Routledge |isbn=978-1-317-14680-3 |page=19 |url=https://books.google.com/books?id=oPooDAAAQBAJ&pg=PA19 |access-date=3 November 2021 |language=en}}</ref>
*''[[Maximilian (miniseries)|Maximilian – Das Spiel von Macht und Liebe]]'' ("Maximilian: The Game of Power and Love"), released in the United States as ''Maximilian and Marie De Bourgogne'' or simply ''Maximilian'', a 2017 German-Austrian three-part historical miniseries directed by [[Andreas Prochaska]], starring [[Jannis Niewöhner]] as Maximilian I and [[Christa Théret]] as Mary of Burgundy, recounts the story of their marriage and love.<ref name="being maximilian">{{cite web |title=Being Maximilian |url=https://dramaquarterly.com/being-maximilian/ |work=Drama Quarterly |first=Michael |last=Pickard |date=January 12, 2017}}</ref>
*''Maximilian – ein wahrer Ritter'' is a 2019 musical written by Florian and Irene Scherz about Maximilian and Mary of Burgundy.<ref>{{cite web |title=Musical "Maximilian – ein wahrer Ritter" |url=https://maximilian2019.tirol/en/events/detail/musical-maximilian-ein-wahrer-ritter-kinder-6/ |website=maximilian2019.tirol/ |language=en |access-date=26 January 2022 |archive-date=25 January 2022 |archive-url=https://web.archive.org/web/20220125055449/https://maximilian2019.tirol/en/events/detail/musical-maximilian-ein-wahrer-ritter-kinder-6/ |url-status=dead }}</ref><ref>{{cite web |title=Eigenproduktion: Der Kaiser auf der Neukloster-Bühne |url=https://www.noen.at/wr-neustadt/wiener-neustadt-eigenproduktion-der-kaiser-auf-der-neukloster-buehne-wiener-neustadt-theater-florian-scherz-133935766 |website=www.noen.at |language=de |date=1 February 2019}}</ref>
*In 2021, a [[docufiction]], entitled ''[[:fr:Saison 15 (2021) de Secrets d'Histoire#Marie de Bourgogne : seule contre tous|Marie de Bourgogne : seule contre tous]]'' ("Mary of Burgundy: alone versus all"), is dedicated to her as part (Season 15) of the program '' [[:fr:Secrets d'Histoire|Secrets d'Histoire]]'' and presented by [[Stéphane Bern]].<ref>{{cite web |title=Secrets d'Histoire - Marie de Bourgogne : seule contre tous |url=http://www.francetvpro.fr/contenu-de-presse/12102764 |website=FranceTvPro.fr |access-date=8 November 2021 |language=fr}}</ref>
[[File:Remparts de Beaune 020.jpg|thumb|Decorations on Porte Marie de Bourgogne, formerly Maison Calvet, [[Beaune]], France, renamed in 2001 in homage to the role played by the City of Beaune in the defense of the rights of Duchess Mary.<ref>{{cite book |title=Le Spectacle du monde/réalités |date=2001 |publisher=Compagnie française de Journaux |page=24 |url=https://books.google.com/books?id=lQl-ufgmiMUC |access-date=22 November 2021 |language=fr}}</ref><ref>{{cite web |title=De la Maison J. Calvet & Co à la Porte Marie de Bourgogne |url=https://www.beaune.fr/de-la-maison-j-calvet-co-a-la-porte-marie-de-bourgogne/ |website=Ville de Beaune |access-date=22 November 2021 |language=fr-FR}}</ref>]]
*There is a huge mural (created in 2019) in the centre of Bruges, named ''Maria Van Bourgondië'' (by Jeremiah Persyn), with Mary of Burgundy, still remembered as a strong and gentle ruler, as the central character, depicted as a Jesus-like figure with symbols of great religions, while Maximilian, whose rule coincided (and contributed to) the beginning of the 500-year decline of Bruges, is in the guise of the Brugge Fool (‘’Brugse Zot’’, the symbol of Bruges), riding a swan and holding a [[De Halve Maan|halfmoon]]. Other symbols of Bruges like the Basilica of Holy Blood and the Church of Our Lady are also featured.<ref>{{cite news |last1=KW |first1=Redactie |title=Streetartkunstenaar Stan Slabbinck wekt vier Brugse zotten tot leven vlak bij 't Zand |url=https://kw.be/nieuws/cultuur/streetartkunstenaar-stan-slabbinck-wekt-vier-brugse-zotten-tot-leven-vlak-bij-t-zand/ |access-date=29 January 2022 |agency=KW.be |date=25 April 2019 |language=nl}}</ref><ref>{{cite book |last1=Triennale de Bruges |title=Triennial Bruges 2021 |date=2021 |publisher=Triennale de Bruges |pages=18, 20 |url=https://cdn.uc.assets.prezly.com/4f71aa09-d97a-46a1-bb5c-73943523f6b7/-/inline/no/press-file-triennial-bruges-2021.pdf |access-date=29 January 2022}}</ref><ref>{{cite web |title=JamzJamezon |url=https://www.streetartbrugge.be/jeremiah-nieuw |website=Legendz |access-date=29 January 2022 |archive-date=29 January 2022 |archive-url=https://web.archive.org/web/20220129184554/https://www.streetartbrugge.be/jeremiah-nieuw |url-status=dead }}</ref>
*The Austrian artist Wilhelm Koller painted ''[[c:File:Hugo van der Goes Painting the Portrait of Mary of Burgundy.jpg|Hugo van der Goes painting the portrait of Mary of Burgundy]]''. She is shown holding her young son, who was playing with a dog. Eörsi remarks that the painting echoes Saint Luke painting the Virgin.{{sfn|Eörsi|2020|p=41}}
*[[Daniel Sternefeld]] (1905–1986) composed ''Zang en dans aan het hof van Maria Van Bourgondië'' (''Songs and dances at the Court of Mary of Burgundy''), for chamber or orchestra.<ref>{{cite book |last1=Delaere |first1=Mark |last2=Compeers |first2=Joris |title=Flemish Symphonic Music Since 1950: Historical Overview, Discussion of Selected Works and Inventory |date=2006 |publisher=Matrix, New Music Documentation Centre |isbn=978-90-77717-03-5 |page=72 |url=https://books.google.com/books?id=16sXAQAAIAAJ |access-date=19 May 2022 |language=en}}</ref>
*Miroir de Marie by [[:fr:Maxime Benoît-Jeannin|Maxime Benoît-Jeannin]] is a 2021 novel about her life.<ref>{{cite book |last1=Benoît-Jeannin |first1=Maxime |title=Miroir de Marie Bourgogne ! le Cycle de la Maison de Valois. |date=2021 |publisher=Le Cri editions |location=Namur |isbn=9782871067399}}</ref>
*In May 2022, a monument in [[Jabbeke]] was erected, created by the sculptor Livia Canestraro, depicting her fall from horse.<ref>{{cite news |last1=NWS |first1=VRT |title=Nieuw standbeeld 'De val van het paard' in Jabbeke: geïnspireerd op fatale val hertogin Maria Van Bourgondië |url=https://www.vrt.be/vrtnws/nl/2022/05/08/maria-van-bourgondie-palmt-centrum-van-jabbeke-in/ |access-date=19 May 2022 |work=vrtnws.be |date=8 May 2022 |language=nl}}</ref>