The rich iconography of Charlemagne is a reflection of Charlemagne's special position in Europe's collective memory, as the greatest of the Frankish kings, founder of the Holy Roman Empire, unifier of Western Europe, protector of the Catholic Church, promoter of education and of the Carolingian Renaissance, fictional precursor of the crusades, one of the Nine Worthies, a (contested) Catholic saint, and a national icon in Andorra, Belgium, France, Germany, Italy, Netherlands and Switzerland.
The Vita Karoli Magni written after Charlemagne's death by his servant Einhard has served ever since as a reference establishing his stature and charisma:
Charles was large and strong, and of lofty stature, though not disproportionately tall (his height is well known to have been seven times the length of his foot); the upper part of his head was round, his eyes very large and animated, nose a little long, hair fair, and face laughing and merry. Thus his appearance was always stately and dignified, whether he was standing or sitting; although his neck was thick and somewhat short, and his belly rather prominent; but the symmetry of the rest of his body concealed these defects. His gait was firm, his whole carriage manly, and his voice clear, but not so strong as his size led one to expect.
— Einhard, The Life of Charlemagne, translated by Samuel Epes Turner (New York: Harper & Brothers, 1880)
Contemporaneous depictions of Charlemagne and related rulers suggest he sported a mustache, but not a beard. [1] The motif of Charlemagne's beard appears in 11th-century chansons de geste and especially the Song of Roland , which has a verse describing Charlemagne: "Blanche ad la barbe et tut flurit le chef", which translates as "his beard is white, and all his hair is greying." [2] The expression "l'empereur à la barbe fleurie" came to refer specifically to Charlemagne in French, and was further popularized by Victor Hugo in a 1846 poem of la Légende des siècles :
Charlemagne, empereur à la barbe fleurie,
Revient d'Espagne ; il a le cœur triste, il s'écrie :
« Roncevaux ! Roncevaux ! ô traître Ganelon ! »
Car son neveu Roland est mort dans ce vallon
Avec les douze pairs et toute son armée.
— Victor Hugo, "Aymerillot"
The epithet "fleuri" in this context appears to have meant "greyish-white", alluding to Charlemagne's old age [3] - even though he was actually under 40 at the time of the historical battle of Roncevaux Pass. An alternative view is that the poem refers to Charlemagne's beard being kept unshaven during the arduous military campaign. [4]
In any case, the beard has remained a near-constant attribute of Charlemagne since the High Middle Ages, and a long white beard associated with his old age. A rare exception is his depiction in the fresco of the Coronation of Charlemagne in the Raphael Rooms of the Apostolic Palace, since this was made a likeness of Francis I of France for political reasons, and Francis was beardless at the time. [5] Some 20th- or 21st-century depictions of Charlemagne also show him beardless for historical accuracy.
Charlemagne has been generally depicted in military or ceremonial garb, with the style varying across time - typically, contemporary or at least recent in the Middle Ages and early modern period; ancient Roman in the 18th century; and aiming at historicist accuracy in the 19th century. He is often shown carrying, in his left hand, a globus cruciger , and in his right hand, either a sword (sometimes modeled on his attributed Joyeuse ) or a scepter; from the 17th century the latter has tended, at least in France, to be the scepter of Charles V then known as "scepter of Charlemagne". In images where Charlemagne is crowned, the crown is in some instances the Imperial Crown of the Holy Roman Empire, as in Albrecht Dürer's seminal portrait now in Nuremberg, or the coronation crown of the kings of France also known as Crown of Charlemagne, as in the Mass of Saint Giles now in London. In many other depictions, however, the crown does not refer to a specific existing object.
In the Holy Roman Empire, the Imperial eagle ( Reichsadler ) emblem was attributed retroactively to Charlemagne, at the latest at the time of his reburial under Emperor Frederick II in 1215. Meanwhile, following the marriage of Isabella of Hainault with Philip II of France in 1180, the French Capetian dynasty promoted its own claims to the memory and legacy of Charlemagne, including by linking him to the fleur-de-lis. [6]
The heraldic combination of the two shields, by either dimidiation (i.e. with only a half-Reichsadler on the "German" side) or more rarely impalement (full Reichsadler), is first attested in a poem of Ogier's Youth (Les Enfances Ogier) by Adenes Le Roi in the last third of the 13th century. This adaptation became accepted in France and in the Empire as well, thanks to the fleur-de-lis's symbolic and mythical association not only with the Capetians but also with their Frankish predecessors. [6]
In line with the prevailing conventions of precedence among European monarchies, French depictions generally placed the Imperial eagle on the more honorable left-hand half of the shield (worn on the right-hand side when displayed on Charlemagne's coat), as was naturally done in the Empire. [6]
Charlemagne was represented from medieval times in public settings including churches and civic landmarks. These include, among numerous others, the stucco statue of Charlemagne inside Saint John Abbey, Müstair (Switzerland), of uncertain date between the 9th and 12th centuries; a statue above the entrance of Osnabrück Town Hall; and a prominent 15th-century statue on one of the towers of the Grossmünster in Zürich (the original is now in the crypt, and a copy by Otto Münch was replaced on the tower in 1933). [7]
From the early modern era, several free-standing statues of Charlemagne were created for prominent public locations for various political purposes, including:
There are, in fact, two portraits of Charlemagne. One is the little bronze in the Louvre showing the emperor on a horse. The other, life-size and perhaps a death mask, is the golden face on the reliquary of Sainte-Foy in the treasury of Conques. The latter is usually called, inaccurately, a late Roman head. But traces of the distinctive crown of Charlemagne are easily seen when the head is removed from the body of the reliquary. During the preparation of the Louvre show Les Fastes du Gothique in the 1960s, I had the pleasure of taking Sainte-Foy apart and spotted the tell-tale details.
The Sainte-Chapelle is a royal chapel in the Gothic style, within the medieval Palais de la Cité, the residence of the Kings of France until the 14th century, on the Île de la Cité in the River Seine in Paris, France.
Aachen Cathedral is a Catholic church in Aachen, Germany and the cathedral of the Diocese of Aachen.
The Musée de Cluny, officially Musée de Cluny-Musée National du Moyen Âge, is a museum of medieval art in Paris. It is located in the 5th arrondissement of Paris, bordered by square Samuel-Paty to the south, boulevard Saint-Michel to the west, boulevard Saint-Germain to the north, and rue Saint-Jacques to the east.
The French Crown Jewels and Regalia comprise the crowns, orb, sceptres, diadems and jewels that were symbols of Royal or Imperial power between 752 and 1870. These were worn by many Kings and Queens of France as well as Emperor Napoleon. The set was finally broken up, with most of it sold off in 1885 by the Third Republic. The surviving French Crown Jewels, principally a set of historic crowns, diadems and parures, are mainly on display in the Galerie d'Apollon of the Louvre, France's premier museum and former royal palace, together with the Regent Diamond, the Sancy Diamond and the 105-carat (21.0 g) Côte-de-Bretagne red spinel, carved into the form of a dragon. In addition, some gemstones and jewels are on display in the Treasury vault of the Mineralogy gallery in the National Museum of Natural History.
The Crown of Louis XV is the sole surviving crown from the French ancien regime among the French Crown Jewels.
The Crown of Charlemagne was a name given to the ancient coronation crown of Kings of the Franks, and later Kings of France after 1237.
The Crown of Napoleon was a coronation crown made for Napoleon I and used in his coronation as Emperor of the French on December 2, 1804. Napoleon called this crown the "Crown of Charlemagne", which was the name of the ancient royal coronation crown of France that had been destroyed during the French Revolution. This name allowed Napoleon to compare himself to the famed medieval monarch Charlemagne, King of the Franks and Holy Roman Emperor.
The Church of Saint-Germain l'Auxerrois is a medieval Roman Catholic church in the 1st arrondissement of Paris, directly across from the Louvre Palace. It was named for Saint Germanus of Auxerre, a medieval bishop of Auxerre, who became a papal envoy and met Saint Genevieve, the patron saint of Paris, on his journeys. Genevieve is reputed to have converted Queen Clotilde and her husband, French king Clovis I to Christianity at the tomb of Saint Germain in Auxerre.
The Palace of Tau in Reims, France, was the palace of the Archbishop of Reims. It is associated with the kings of France, whose coronation was held in the nearby cathedral of Notre-Dame de Reims and the following coronation banquet in the palace itself. Because of its historical importance for the French monarchy, the Palace of Tau was inscribed on the UNESCO World Heritage List in 1991. Today, it serves to host cultural events for the city of Reims. In recent years it has been the setting for Sciences Po Paris's RIMUN association's annual gala.
Arrancy is a commune in the department of Aisne in the Hauts-de-France region of northern France.
The Holy Roman Emperor received the imperial regalia from the hands of the Pope, symbolizing both the pope's right to crown Christian sovereigns and also the emperor's role as protector of the Catholic Church. The Holy Roman empresses were crowned as well.
The accession of the King of France to the royal throne was legitimized by a ceremony performed with the Crown of Charlemagne at the Reims Cathedral. In late medieval and early modern times, the new king did not need to be anointed in order to be recognized as French monarch but ascended upon the previous monarch's death with the proclamation "Le Roi est mort, vive le Roi!"
Notre-Dame de Reims, known in English as Reims Cathedral, is a Roman Catholic cathedral in the French city of the same name, the archiepiscopal see of the Archdiocese of Reims. The cathedral was dedicated to the Virgin Mary and was the traditional location for the coronation of the kings of France. Reims Cathedral is considered to be one of the most important pieces of Gothic architecture. The cathedral, a major tourist destination, receives about one million visitors annually. It became a UNESCO World Heritage Site in 1991.
The Bust of Charlemagne is a reliquary from around 1350 which contains the top part of Charlemagne's skull. The reliquary is part of the treasure kept in the Aachen Cathedral Treasury. Made in the Mosan region, long a centre of high-quality metalwork, the bust is a masterpiece both of late Gothic metalwork and of figural sculpture.
A Carolingian-era equestrian statuette in bronze depicting either Charlemagne or his grandson Charles the Bald, a rare example of surviving Carolingian sculpture in metal, is exhibited in the Louvre Museum. In the 16th, 17th and 18th centuries it was kept in Metz Cathedral.
Charlemagne et ses Leudes, generally translated as Charlemagne and His Guards or Charlemagne and His Paladins, is a monumental bronze statue situated on the plaza (parvis) in front of Notre-Dame, in the 4th arrondissement of Paris, France. A joint work by the brothers Louis Rochet (1813-1878) and Charles Rochet (1815-1900), it was cast at the art foundry Fonderie Thiébaut Frères.
The Treasury of Saint-Denis, kept at the Basilica of Saint-Denis in Paris until the French Revolution, was the main repository of the regalia of the Kingdom of France, including the ancien régime portion of what are now known as the French Crown Jewels. Its surviving items are presently scattered between the Louvre, the Cabinet des Médailles of the French National Library, and other museums.
The statue of Charlemagne is a prominent public monument topped by an equestrian statue of Charlemagne in Liège, created by sculptor Louis Jehotte in 1867.
The scepter of Charles V, also known in the early modern period as scepter of Charlemagne, is one of the most prominent preserved regalia of the Kingdom of France. It was donated by Charles V to the abbey of Saint-Denis on 7 May 1380, shortly before his death. It has been used since for the coronation (sacre) of nearly all monarchs of France until Charles X, only excepting Charles VII and Henri IV. It has been kept at the Louvre since 5 December 1793.
Saint Charlemagne is an oil tempera on beech board painting by Czech painter Master Theodoric. It is included in the set made for the Chapel of the Holy Cross at Karlštejn by the artist himself. The portrait was placed in a prominent position in the middle of the row of rulers on the west wall of the nave. The quality of the artwork ranks it among the finest works of 14th century European painting. The painting is on display in the collection of medieval art of the National Gallery in Prague.