Titian’s 1548 painting, The Emperor Charles V on Horseback in Muehlberg, marks an important point in the evolution of the grand equestrian portrait as a genre. As depicted in the painting, Charles is equipped in the manner of light cavalry with a half pike. This theme of power, faith and devotion to both earthly power as well as divine authority is an essential part of Titian’s work throughout his career.
This religious sentiment is seen in his later masterpiece, Abduction of Europa (1559–62). Charle’s abdication of worldly power—this time depicted by Europa being swept away on the bull—summarises Titian’s stance towards rulership. The representational inevitability placed upon rulers by their status is seamlessly integrated into this painting making it one of his greatest works.
