Portraits of the Emperor Charles V of Habsburg in Germany: features of order and execution

Abstract

Given the territorial expansion of the German nation in the Holy Roman Empire, a heterogeneous mixture with German areas dominating, the spread of Reformation ideology required Charles V to carry out reforms aimed at centralising his power and restoring the religious unity of the country, as well as a number of measures aimed at consolidating the empire according to principles of nationality. As an enlightened ruler supporting humanist culture and art, Charles skilfully used them to further his own political interests. In shaping the imperial structure, he paid special attention to the emperor's portrait. Numerous portraits of Charles V created by masters of various European countries on the occasion of his coronation in Aachen in 1520, and the depictions of the placing of the imperial crown on his head by Pope Clement VII in Bologna in 1530, of the triumphantly arranged procession, of his arrival at Augsburg and of the assembled Reichstag are contrasted in execution and carry different iconographic programs. Giving the painters freedom of choice in matters of typology and stylistics, Charles, acting as an arbitrator, preferred those variants that would depict his political career and ambition in allegorical form. From this point of view, the program of works by German artists (Christoph Amberger, Lucas Cranach the Elder) looks more demonstrative than the images in paintings by Titian (1530, known by copies) or Bernard van Orley and Jan Cornelisz.