Representation, Replication, Reproduction: The Legacy of Charles V in Sculpted Rulers' Portraits of the Sixteenth and Early Seventeenth Century

All rulers' portraits are, in several senses, forms of representation. In the first and most obvious instance, all portraits epitomize one of the basic functions of visual art as imitation ( mimesis ). Portraits represent a person by providing his or her likeness. The Renaissance sculptor Vincenzo Danti (1530–1576), a contemporary of the artists discussed here, pointed to this basic mimetic function when he defined one of the fundamental forms of artistic imitation as ritrarre , using a verb related to the Italian word for portrait, ritratto . Because they are works in three dimensions, sculpted portraits may approach this end even more directly, as seen in the sculpted heritage of Charles V that is the subject of this paper. In any case, hyperrealist works of the 1970s and wax sculpture of the past, including a small wax sculpture of Emperor Rudolf II with a favorite hound (London, Victoria and Albert Museum) (see Figure 1), demonstrate that sculpture may make the effort to portray individuals as close to life as possible.