This sculpture was commissioned by Charles V (1500- 1558) in 1549 from the Italian sculptor Leone Leoni. The artist had it cast in Milan in separate pieces: the nude figure of the Emperor and the detachable armour in 1551 (inv. E000273/001), the figure of Fury in 1553 (inv. E000273/002, E000273/003), and the pedestal with its trophies and weapons in 1555 (inv. E000273/004, E000273/005). The Latin inscription on the base: «CAESARIS • VIRTUTE • DOMITUS • FUROR» [The Fury is dominated by Caesar´s v

Retrato de busto sobre pedestal original de jaspe en el que el monarca aparece representado en su madurez, con barba, bigote y amplias entradas en la frente, vistiendo cuello con gorguera. Perteneció a la colección de don Diego Hurtado de Mendoza (h. 1503-1575), quien realizó labores diplomáticas bajo el reinado de Felipe II, aunque debido a una disputa, fue desterrado de la corte en 1568. Por la semejanza con el retrato del rey pintado por Sofonisba Anguissola ( P1036) en 1565 y que fue retocad

The son of Emperor Carlos V and Empress Isabel of Portugal, Felipe II was born in Valladolid in 1527. In October, 1555 he was named ruler of the Low Countries and in January, 1556 he became King of Spain. The following year he married his third wife, Isabel of Valois and in 1570 he married Ana de Austria, mother of the future Felipe III. He died in El Escorial in 1598. Dressed in Armor, he is represented at the age of 24. He carries a baton in his left hand while his right hand rests on his swor

An image of the Emperor (1500-1558) with the armor he wore during the Battle of Mühlberg and the customary attributes of his power: the Golden Fleece and the Sash. The profuse carving on the armor shows numerous motives. A low relief on the breastplate Christ standing on the Cross, alluding to the Emperor´s condition as a “soldier of Christ”, or “defender of the Faith.” The epaulettes have a winged figure bearing a palm leaf, symbolizing Victory. The pedestal shows an eagle, symbolizing the

This larger than life-size statue represents the Emperor (1500-1558) on foot, with half-armor and a baton. The Golden Fleece hanging on his chest, the sword in his right hand and the robes he gathers with his left, complete the symbols of his royal authority. The base of this sculpture bears a helmet with fantastic motives on which the Emperor rests his leg, behind the imperial eagle. This image is closely related to classical representations and is of the type called all´antica during the Renai

The Emperor (1500-1558) is represented with attributes alluding to his power: armor, the necklace of the Golden Fleece and a crossing sash. The armor has a low relief of the Virgin Mary carved on the chest, representing the armor Carlos V wore during the Battle of Mühlberg in 1547. The bust sits on a base carved from the same piece of marble and adorned with the mask of a satyr. It is also held by two small figures of a man and woman ending in fish tails. An oval cartouche in the center bea

Together with her brother Charles V, Mary of Hungary (1505–1558) was Leone Leoni’s most important patron at the imperial court. Leoni and Mary, governor of the Low Countries, met on three occasions: in Brussels in 1549, in Augsburg three years later, and again in Brussels in 1556.The present bronze, together with a further nine, full-length figures, was commissioned in 1549 for the dynastic gallery that Mary had devised for her palace at Binche. In fact, Leoni delayed the execution of the projec

This life-size bust of Felipe II (1527-1598) has a breastplate, a gorget and a cord with the Golden Fleece as its only ornamental elements. The lower part ends in a winged figurehead. The polished surface and the head´s details raise doubts as to which member of the Leoni family made this work, and some consideration has been given to the possibility that it was made by a marble cutter´s workshop in Carrara. While its origin is uncertain, it was probably made for a portrait gallery, as these wer

The Empress Isabella (1503-1539) wears a luxurious ornamental skirt with grutesco decorations in fashion during the fifteen thirties. Carlos V commissioned Leone Leoni to make this statue along with other portraits of the Hapsburgs. It was carried out years after Isabel´s death, and the artist based it on certain portraits by Titian (P415, for example). Stylistically, it is inspired by the statue of Margarita de Austria in the Mausoleum of Maximilian I at Innsbruck. Its finishing details were ch

The bust of Isabel of Portugal (1503-1539) is represented in profile in a profusely sculpted frame, just like the relief carving of Emperor Carlos V (E00291) that is paired with this one. Beginning with the image of the Empress appearing on medals he, himself, has crafted at an earlier date, Leoni represents her with the same clothing and jewels. These are repeated in various of his works and constitute her most customary image. The detailed and precise style of the bust is similar to that of a

Mary, the sister of Charles V, was regent of the Low Countries from 1531 to 1555. Somewhat larger than life-sized, Maria of Hungary appears wearing a widow´s headdress, in a manner very similar to the full-length sculpture Leone Leoni also made of her (E00263), which is in the Prado Museum as well. The pedestal is made from the same piece of marble, with various Renaissance decorations, including garlands, sphinxes, inverted pyramids and a winged seraph on the front. Leoni made various similar b

Somewhat larger than life-sized, this statue of Isabel of Portugal (1503-1539) was made after her death. The empress wears an embroidered dress, following the guidelines of the bronze statue (E00274) made earlier by Leone Leoni, the artist´s father. Nevertheless, his son Pompeo approaches the present work with less interest in the details. Besides a paternal influence, this work is clearly related to the portrait of Isabel made by Titian, as well as the bronze images on the tomb of Emperor Maxim