The forces of Chiang Mai, after five years of skirmishing with the Ayutthayans, …

…attack Sukhothai and …

…Kamphaeng Phet to the south in 1515.

Ayutthaya’s King Ramathibodi II, with two of his sons, launches a strong counteroffensive, expelling Chiang Mai troops from Ayutthayan territory and rolling them back into Chiang Mai as far as the Wang River, near Lampang.

Victorious in battle there, Ramathibodi plunders Lampang and carries away a valuable Buddha.

Hetman Konstanty Ostrogski had entered Vilnius in triumph in December 1514.

To commemorate the victory over the Muscovites, two Orthodox churches are erected: the Church of the Holy Trinity and the Church of Saint Nicholas, which remain among the most impressive examples of Orthodox Church architecture in Lithuania.

Immediately after the victory, the Polish–Lithuanian state starts to exploit the battle for its propaganda aimed at other nations in Europe, with the intent of improving the image of Poland-Lithuania abroad.

Several panegyrical accounts of the battle are sent to Rome.

Maximilian, in order to reduce the growing pressures on the Empire brought about by treaties between the rulers of France, Poland, Hungary, Bohemia, and Russia, as well as to secure Bohemia and Hungary for the Habsburgs, meets with the Jagiellonian kings Ladislaus II of Hungary and Bohemia and Sigismund I of Poland at the First Congress of Vienna on July 22, 1515.

Here they arrange for Maximilian's granddaughter Mary to marry Louis, the son of Ladislaus, and for Anne (the sister of Louis) to marry Maximilian's grandson Ferdinand (both grandchildren being the children of Philip the Handsome, Maximilian's son, and Joanna of Castile.

The broad coalition against Lithuania and Poland ceases, but the war between the Grand Duchy of Lithuania and Grand Duchy of Moscow will last until 1520.

Wallpaper, using the printmaking technique of woodcut, had arrived in Europe from China at the beginning of the fifteenth century, gaining popularity in Renaissance Europe among the emerging gentry.

The elite of society are accustomed to hanging large tapestries on the walls of their homes, a tradition from the Middle Ages.

These tapestries add color to the room as well as providing an insulating layer between the stone walls and the room, thus retaining heat in the room.

However, tapestries are extremely expensive and so only the very rich can afford them.

Less well-off members of the elite, unable to buy tapestries due either to prices or wars preventing international trade, turn to wallpaper to brighten up their rooms.

Early wallpaper features scenes similar to those depicted on tapestries, and large sheets of the paper are sometimes hung loose on the walls, in the style of tapestries, and sometimes pasted as today.

Prints are very often pasted to walls, instead of being framed and hung, and the largest sizes of prints, which come in several sheets, are probably mainly intended to be pasted to walls.

Some important artists make such pieces, notably Albrecht Dürer, who works on both large picture prints and also ornament prints intended for wall-hanging.

The largest picture print is The Triumphal Arch commissioned by the Holy Roman Emperor Maximilian I and completed in 1515.

This measures a colossal 3.57 by 2.95 meters, made up of 192 sheets, and is printed in a first edition of seven hundred copies, intended to be hung in palaces and, in particular, town halls, after hand-coloring.

Very few samples of the earliest repeating pattern wallpapers survive, but there are a large number of old master prints, often in engraving of repeating or repeatable decorative patterns.

These are called ornament prints and were intended as models for wallpaper makers, among other uses.

The etchings produced by Albrecht Dürer from about 1515 are among the earliest important examples of the art, also practiced with great refinement by Altdorfer.

Selim's forces capture the great fortress of Kamakh and establish control over Kurdistan, formerly a Persian vassal, which is now incorporated into the Ottoman Empire.

The subject of La velata, or La donna velata ("The woman with the veil"), one of the most famous portraits by Raphael, appears in another portrait, La Fornarina, and is traditionally identified as the fornarina (bakeress) Margherita Luti, Raphael's Roman mistress.