brightly as the dawn", was crowned as Queen of Heaven and united with Christ, her bridegroom and son, at the highest place in Heaven. Rothenberg opines that Dürer's Festival of the Rose Garlands (see below) was its "direct visual counterpart". The idea was also reflected in the scene of the Assumption seen in the Berlin Book of hours of Mary of Burgundy and Maximilian (commissioned when Mary of Burgundy was still alive, with some images added posthumously). Among some authors, Maximilian has a reputation as the "media emperor". The historian Larry Silver describes him as the first ruler who realized and exploited the propaganda potential of the print press both for images and texts. The reproduction of the Triumphal Arch (mentioned above) in printed form is an example of art in service of propaganda, made available for the public by the economical method of printing (Maximilian did not have money to actually construct it). At least 700 copies were created in the first edition and hung in ducal palaces and town halls through the Reich. Historian Joachim Whaley comments that: "By comparison with the extraordinary range of activities documented by Silver, and the persistence and intensity with which they were pursued, even Louis XIV appears a rather relaxed amateur." Whaley notes, though, that Maximilian had an immediate stimulus for his "campaign of self-aggrandizement through public relation": the series of conflicts that involved Maximilian forced him to seek means to secure his position. Whaley further suggests that, despite the later religious divide, "patriotic motifs developed during Maximilian's reign, both by Maximilian himself and by the humanist writers who responded to him, formed the core of a national political culture." Historian Manfred Hollegger notes though that the emperor's contemporaries certainly did not see Maximilian as a "media emperor": "He achieved little political impact with pamphlets, leaflets and printed speeches. Nevertheless, it is certainly true that he combined brilliantly all the media available at that time for his major literary and artistic projects". Tupu Ylä-Anttila notes that while his daughter (to whom Maximilian entrusted a lot of his diplomacy) often maintained a sober tone and kept a competent staff of advisors who helped her with her letters, her father did not demonstrate such an effort and occasionally sent emotional and erratic letters (the letters of Maximilian and Margaret were often presented to foreign diplomats to prove their trust in each other). Maria Golubeva