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Oll  IX

Virgin  (Berlin,  Gemäldegalerie)  and  the  Magdalen  (Detroit,  Museum  of
Fine  Arts)  on  the  physiognomy  of  the  sitter  in  the  Vienna  portrait.  Nevertheless,
  why  is  a  portrait  of  Mary  Rose  by  Sittow  not  mentioned  in  Margaret ­
  of  Austrias  collection  1516  inventory?
The  answer  may  be  that  the  portrait  had  left  the  Netherlands  and  was
with  her  father,  the  Holy  Roman  Emperor  Maximilian  I.  The  death  of
Louis  XII  of  France  on  1  January  1515  soon  after  his  marriage  to  Mary
Rose  Tudor  placed  her  once  more  on  the  marriage  market.  Keen  to
cement  an  alliance  with  the  English,  and  ignoring  his  own  prophetic
comment  on  Marys  French  marriage  that  “Wenn  man  einen  alten  Mann
ins  Grab  bringen  will,  gibt  man  ihm  eine  junge  Frau”  Maximilian  became
  interested  in  the  widow  for  himself  and  requested  a  portrait  of  her
from  Margaret 50 .  The  portrait  was  duly  sent  and  his  secretary  informed
Margaret  that  her  father  looked  at  it  for  a  full  half-hour  or  more  and,
when  reassured  that  it  was  a  good  likeness,  that  he  had  urged  his  daughter
  to  contact  Henry  VIII  with  a  marriage  proposal  for  his  sister 51 .  He  was
too  late,  however,  for  Mary  had  already  married  Charles  Brandon.  It  is

Fig.  6:  Anonymous  after  Pieter  van  Coninxloo  (?),
Mary  of  Austria.  Vienna.,  Kunsthistorisches
Museum,  Picture  Gallery,  inv.  no.  9691.

riage.  See  Ruth  M.  Anderson,  “Spanish  dress  worn
by  a  Queen  of  France”,  in  Gazette  des  Beaux-Arts,
6 e  per.,  vol.  XCVIII  (1981),  pp.  215-222.
43  In  particular,  the  sort  of  cloth  hood  worn  by  the  sitter ­
  didn’t  catch  on  in  Spain  or  England  until  the
1530s,  although  it  was  populär  in  the  Netherlands
and  France  from  around  the  turn-of-the-century
onwards.  For  Spanish  headgear  see  Anderson  1979
(cited  note  42),  pp.  169—179.  Interestingly,  in  contrast
  to  the  gable  hoods  which  were  in  fashion  in
England  up  until  the  late  1520s  the  head-dress  in  the
Vienna  panel  resembles  that  worn  in  the  portrait
miniature  of  Princess  Mary  when  she  was  betrothed
to  Charles  V.  For  Spanish  costume  see  Carmen  Bernis
  Madrazo,  Indumentaria  medieval  espanola,  Madrid,
1956;  Carmen  Bernis,  “Indumentaria  espanola  del
siglo  XV:  la  camisa  de  mujer”,  in  Archivo  espanol  de
arteXXX  (1957),  pp.  187-209;  Carmen  Bernis,  Indumentaria ­
  espanola  en  tiempos  de  Carlos  V,  Madrid,
1962;  Carmen  Bernis,  Trajes  y  modas  en  la  Espana  de
los  Reyes  Catolicos,  2  vols.,  Madrid,  1978—1979.
44  For  the  copies  in  miniature  see  Günter  Heinz,  “Das
Porträtbuch  des  Hieronymus  Beck  von  Leopoldsdorf”, ­
  in  Jahrbuch  der  kunsthistorischen  Sammlungen
in  Wien  LXXI  (1975),  pp.  196-198,  no.  11,  and
p.  206,  no.  20.  There  is  a  related  copy  on  panel  of
the  portrait  of  Eleanor  in  the  Depot  of  the  Kunsthistorisches ­
  Museum,  Vienna.  A  portrait  of  Isabel  of
Austria  on  panel  in  the  Bayerische  Staatsgemäldesammlungen, ­
  Munich,  is  probably  a  copy  of  a  lost
portrait  from  the  series:  see  Campbell  1985  (cited
note  13),  p.  33.  Similar  costumes  are  worn  in  a  diptych
  of  the  Habsburg  children  formerly  in  the  Museo
de  Santa  Cruz,  Toledo,  which  is  attributed  to  the
workshop  of  the  Master  of  the  Guild  of  St  George  at
Malines;  see  Exhibition  Catalogue  Fran^ise  Baudson,
  ed.,  Van  Orley  et  les  artistes  de  la  cour  de  Marguerite
  dAutriche,  Bourg-en-Bresse,  Musee  de  l’Ain,
1981,  p.  82.  Another  portrait  of  Isabel  of  Austria  in
this  sort  of  costume  was  formerly  with  the  London
dealer  Dowdeswell  (see  the  photograph  in  the  Witt,
Courtauld  Institute  of  Art,  London).  Similar  portraits
  of  Isabel  and  (?)  Eleanor  of  Austria  attributed
to  the  workshop  of  Bernard  van  Orley  are  in  the  collection ­
  of  HM  the  Queen  (see  Campbell  1985,  cited
note  13,  pp.  107-108,  nos.  68  and  69).  Scallop  shells
are  also  seen  on  the  headdress  of  Margaret  of  Austria
in  her  portrait  by  Jean  Hey  in  the  Metropolitan
Museum  of  Art,  New  York  (see  C.  Sterling,  M.W.
Ainsworth,  C.  Talbot,  M.  Wolff,  E.  Haverkamp-Begemann,
  J.  Brown,  and  J.  Hayes,  The  Robert  Lehman ­
  Collection  II.  Fifteenth  to  Eighteenth  Century
European  Paintings  in  the  Robert  Lehman  Collection.
France,  Central  Europe,  The  Netherlands,  Spain,  and
Great  Britain,  Princeton,  New  Jersey,  1998,  pp.  11-18,
  no.  3).
45  This  had  appeared  with  Tudor  roses  at  both  her
first  wedding  on  14  November  1501  to  Arthur,  Prince
of  Wales,  and  at  her  second  on  11  June  1509  to
Henry  VIII.  See  Hildegard  Schneider,  “On  the  Pomegranate”,
  in  Bulletin  of  the  Metropolitan  Museum  of
Art,  N.S.  vol.  IV  (1945-1946),  pp.  117-120.  See
the  woodcut  illustration  from  Stephen  Hawe’s  Joyful
medytacyon  to  all  Englonde  ofthe  Coronacyon  of  Henry
the  eyght{  1509);  see  Edward  Hodnett,  English  Woodcuts ­
  1480-1535,  Oxford,  1973,  p.  257;  and  the  facsi-