26 - ITALIAN OR FLEMISH SCHOOL, 16TH CENTURY.

ITALIAN OR FLEMISH SCHOOL, 16TH CENTURY. “Charles V, Emperor of the Holy Roman Empire.” High-relief medallion in patinated bronze, with glass eyes. Inscription: “CHARLES – QUINT.” Molded circular frame. Measurements: 63 cm (diameter) x 8 cm (depth) This effigy of Charles V (Ghent, 1500–Yuste, 1558) is an outstanding example of Renaissance imperial portraiture, a genre that acquired extraordinary importance during the 16th century as an instrument of political representation, dynastic legitimization, and the exaltation of power. Its large size, the high-relief execution, and the unique incorporation of glass eyes give the work an unusual presence among sculptural representations of the emperor. The piece is part of the artistic tradition developed in the Italian and Flemish territories linked to the Habsburg monarchy, where the image of Charles V played a fundamental role in the construction of an imperial iconography of European scope. The depiction of the sovereign takes on special significance due to its relationship with the models of official portraiture established during his reign. The image of Charles V underwent a profound artistic renewal that sought to reconcile physical likeness with the ideals of authority inherited from classical antiquity. Sculptors, medalists, and painters developed a recognizable iconography, characterized by the depiction of the emperor in armor, the emblems of his dignity, and an expression of marked solemnity. In this relief, the presence of the collar of the Illustrious Order of the Golden Fleece directly references the chivalric tradition of the House of Burgundy and its connection to the Habsburg dynasty. This attribute constitutes one of the principal symbols of legitimacy and prestige associated with the imperial image. One of the most interesting aspects of the work is its connection to the sculptural tradition of the great portraitists of Charles V, particularly Leone Leoni (Arezzo, ca. 1509–Milan, 1590), who played a decisive role in the creation and dissemination of the emperor’s official image. Having served Charles V since the mid-16th century, Leoni produced an extraordinary body of work—including sculptures, busts, reliefs, and medals—that helped establish a new conception of the portrait of power, inspired by depictions of Roman emperors. His work combines a revival of classical models with a rigorous physiognomic characterization, transforming the monarch’s image into a symbol of political authority and historical continuity. Particularly relevant is the comparison with the bronze relief of Charles V created by Leone Leoni around 1551–1554 and housed in the Louvre Museum, whose monumental format and commemorative nature constitute a significant reference point within Renaissance sculpture. Although the compositions are not identical, both works share the same tradition of imperial exaltation, in which the sculptural portrait transcends individual representation to become an image intended to perpetuate the sovereign’s memory. The inclusion of glass eyes is one of the most striking features of this medallion. This technique, used in various European sculptural traditions to enhance the naturalism of the figures, lends the effigy a special liveliness and reinforces the individuality of the face. Its combination with the modeling of the bronze and the attention paid to the details of the armor reveals an intention to endow the image with a physical presence of remarkable intensity. The inscription “CHARLES – QUINT,” which identifies the emperor by his French name, is also a significant element in the dissemination of his image throughout the various territories associated with the Habsburgs. The significance of this iconography must be understood in the context of the extraordinary territorial extent of Charles V’s monarchy. As heir to the Burgundian domains and the Spanish crowns, as well as to the Habsburg hereditary territories, his election as emperor in 1519 made him one of the most powerful political figures in modern Europe. The diversity of his possessions made it necessary to construct a dynastic image that could be recognized across territories with different languages and cultural traditions. In this process, the official portrait played an essential role, and its dissemination through paintings, sculptures, medals, engravings, and commemorative objects contributed decisively to consolidating the emperor’s image as the embodiment of an ideal of universal power. Within this tradition, sculptural portraits of Charles V took on special significance in aristocratic and courtly collections. Their function went beyond a merely decorative one, as they served as testimonies of dynastic loyalty, instruments of the representation of power, and objects intended to preserve the memory of a pivotal figure in European history. The production of imperial effigies in various materials and formats also reflects t