Seite - 331 - in Die Repräsentation der Habsburg-Lothringischen Dynastie in Musik, visuellen Medien und Architektur - 1618–1918

Representation of the Habsburgs in Croatian Historical Lands 331 A closer look at the monument and the two busts (Fig. 2) reveals, however, that de- spite the traces of restorations visible in the imperial busts, which have to some extent altered their original appearance9, these two sculptures show considerable differences: in the sculptor’s understanding of form, in the details of their decorative elements, and in their typological features. The figure of Charles VI is sculpturally accomplished, the head separated from the base and sculpturally fully articulated, showing a discrete con- trapposto despite the constrictions of the given proportions and the form of portraiture. The bust of Emperor Leopold I, on the other hand, reveals an artist of a far weaker sculptural rhetoric. Frontally observed, the figure appears rigid, while in profile it fully adheres to the base, somewhat resembling a relief. The bust of Charles VI, with his opulent wig abounding in voluminous locks, ample draping of his garments, and the substantially realistic description of his armour and his left hand – since his right hand that originally held a commander’s staff has obviously been reconstructed – is in strong contrast to the bust of Leopold I. As a whole, Charles VI’s bust suffers from the obvious lack of space-volume interaction, while his wig, garments, and bodily features show a considerable amount of graphic quality, as if the bust had been made after a graphic model. Even though both physiognomies have been heavily damaged, the portrait of Charles VI has retained its credibility owing to its outspoken naturalism. Figure 2: Rijeka, high-relief portrait busts of emperors Leopold I and Charles VI on the pediment of the City Gate.