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The period between 1530 and 1533 was crucial for the formulation of the image of Charles V. The image that ultimately proved most influential was invented by Jacob Seisenegger who painted five full-le [+]
This portrait commemorates Charles V’s victory over the Schmalkaldic League at Mühlberg on 24 April 1547. The Emperor is equipped in the manner of the light cavalry with a half pike and wheel-loc [+]
The literary source for the Furies is Ovid´s Metamorphoses (IV, 447-464) and Virgil´s Aeneid (VI, 457-8), which recounts the eternal sufferings in Hades of Tityus, whose liver was devoured by a vultur [+]
Philip II was Titian’s most important patron, and the pair’s artistic relationship was one of the most fecund of the Renaissance. They met twice while Philip was still a prince, in Milan (December 154 [+]
In his Metamorphoses Ovid recounts the torments of the Giant Tityus, whose punishment for having attempted to rape the goddess Leto was to have two vultures devouring his continually regenerating live [+]
A bust of the Roman emperor, Antoninus Pius (86-161 A.D.), of a type set by the government itself from the moment he took power. This type of portrait went essentially unchanged during his entire reig [+]
In 1562 and 1565 Philip II commissioned the Bonanome brothers to execute two series of busts of the “Twelve Emperors” of whom Suetonius wrote biographies. The monarch was not satisfied with the busts [+]
This bust -bronze (head) and coloured marble (bust)-, bequeathed to Philip III by Count Ernst of Mansfeld, Governor of the Low Countries, was in the castle of La Fontaine in Luxembourg until 1608. Tho [+]
Following the instructions of the Emperor Hadrian, Lucius Verus (130-169 AD) and Marcus Aurelius were adopted in the year 138 by Hadrian’s successor Antoninus Pius. Lucius, who was co-emperor with his [+]
