Andrea Appiani depicted the Great Napoleon (circa 1805) as King of Italy, merging Roman (laurel wreath) and medieval symbols of power.
Here we see Napoleon, already a King, having left behind his role as the general of the Republic. This is the work that Andrea Appiani is believed to have created around 1805, when the Corsican seized control of Italy. This oil painting is now housed in the Napoleonic Museum (Musée Napoléonien) on the Isle of Aix. But what does such an image represent? It serves as evidence of power, as well as a construction of that very power. Napoleon dons both old and new symbols—he wears the laurel crown of the Roman Emperors while resting his hand on the Iron Crown of Lombardy, reminiscent of a new Charlemagne. Here, art becomes a servant of politics, and Appiani conveys the idea of the Sovereign. And this idea… how many wars did it ignite, how much blood did it spill? Reflecting on this, my soul sometimes grows weary.
The Staging of Glory
Every royal image is a form of staging. The painter composes what the viewer should see, and indeed what they should believe, transcending mere representation of what is visible. Appiani excelled in this.
The Inaccessible Gaze
First and foremost, the gaze. Where is Napoleon looking? His gaze extends beyond us, perhaps into an uncertain future, or towards the destiny he believed he was bringing forth. It is a gaze that is almost cold, filled with confidence yet tinged with melancholy, like that of men who achieve great things but are aware of the weight of history they carry. There is only the absolute certainty of a man who convinces himself that the laws and the gods are on his side. This certainty, bordering on hubris, is evident in his posture and the silence of his lips.
Gold and Iron
Next, the symbols. This attire is a heavy, almost purple cloak, adorned with gold and medals. The white lace around the neck reflects the fashion of the time, with the overall impression conveying wealth and power. And of course, the crowns. The laurel crown on his head evokes the Rome of Caesar—Napoleon as a new Augustus. However, his right hand rests upon another crown, the old one, the Iron Crown of Lombardy. This crown tells a different story. It recounts the history of the Gothic kings, the Lombards, and even Charlemagne. Napoleon seeks to be both a Roman Emperor and a successor to the medieval rulers of Europe. He connects everything, claiming it all as his own. Appiani painted all of this because it was how it needed to be perceived. Art as propaganda, an age-old concept, yet always the same.
