Emperor Charles V at Mühlberg

1548. Oil on canvas. Museo del Prado

The painting
This portrait commemorates Charles V’s victory over the Schmalkaldic League at Mühlberg on
24 April 1547. The Emperor is equipped with a half pike and wheel-lock pistol. His suit of armour
has an image of the Virgin and Child on the breastplate. Charles is depicted as the heir to the
Roman tradition but also as the incarnation of the ‘soldier of Christ’ (described by Erasmus of
Rotterdam).

Roberto Calvo 2020

The significance of the lance connects with Longinus (the Roman soldier who pierced the side of
Jesus and who some modern Christian traditions described as a convert to Christianity.

Saint Longinus piercing the side of Jesus

The lance also reminds us of Saint George (the Christian knight par excellence).

Saint George slaying the dragon

But the lance also functions as a symbol of the supreme power of the Roman emperors.

However, the circumstances and period at which the portrait was painted mean that the political
connotations of this work were more significant than the religious ones. Imperial propaganda
presented the campaign against the Schmalkaldic League not as a religious conflict, but as a
political one. The campaign was not a religious war, but rather a means of punishment for those
who had revolted against their legitimate ruler.

Roberto Calvo 2020

In fact, leading Lutheran nobles (such as Maurice of Saxony) supported Charles. The emperor’s
army was primarily made up of Protestants. Furthermore, while Titian was painting this portrait,
Charles V was giving his support in a last attempt to bring Catholics and Protestants together.
Charles is not presented in this painting as the champion of Catholicism, or as the arrogant victor
over his own subjects. He is rather depicted as an emperor who is capable of ruling over a
heterogeneous group of states and religions. Therefore, there are no references in the painting
to the battle. Pietro Aretino suggested that the defeated should be depicted trampled under the
hoofs of the horse, but that idea was rejected.

Saint James represented as the ‘Moor-slayer’. Charles V is depicted in a very different way

This portrait was owned by Mary of Hungary. When she died, an inventory of her possessions
was made. In this inventory, this portrait by Titian is described in political rather than religious
terms, stating that Charles is shown “in the manner in which he went against the rebels”.

Roberto Calvo 2020

The Emperor Charles V at Mühlberg could be compared to classical and Renaissance sculpture,
such as Marcus Aurelius on Horseback and Verrocchio’s Colleoni, as well as to German art,
particularly Dürer’s Knight, Death and Devil.

Verrocchio’s Colleoni

Marcus Aurelius on horseback

Dürer’s Knight, Death and Devil Hans Burgkmair the Elder’s Maximilian I on Horseback

Immediately after the battle of Mühlberg, Charles commissioned an equestrian sculpture, but
ultimately it was never executed. The intention was obviously to reinforce the image of Charles
as Emperor, in a way which would be appropriate to the particular political situation in 1547-8.

Roberto Calvo 2020