During scientific study of a painting in 1998, restorer Isabel Molina and her team used X-ray imaging to reveal a second portrait hidden beneath the surface. The image shows a mirrored figure facing left, suggesting an earlier, unfinished study rather than the final version currently visible on the canvas.
The Prado Museum notes that the unfinished portrait is likely the initial likeness of King Charles V’s father. However, the lower portions of the canvas are too deteriorated to confirm a definitive finish, according to a senior Prado technician from the Restoration and Technical Office.
Scholars generally believe the work may be the same portrait by Titian that depicts Charles V and was lost in the 1604 Pardo fire, known through copies by Pantoja de la Cruz from the El Escorial Monastery.
Researchers observe that the overlapping halves of the faces resemble one another closely, reinforcing the view that this might be an earlier version of the same subject. They also note how common it is to reuse ready-made canvases for a variety of reasons, from economic constraints to shifts in taste, or even as practice material for apprentices. A canvas once primed and prepared could be revived for another purpose or subject.
There are examples of Titian’s work being altered or rebuilt; for instance, the restoration of St. John the Baptist is recorded as having been reworked on multiple occasions. In the case of Carlos V’s son, the exact sequence of events remains uncertain, but historical letters suggest that the final result did not fully satisfy the Spanish court. A letter from May 16, 1551, written by the then-prince to Maria of Hungary, expresses a critical view of Titian’s portraits and hints at ongoing revisions in the artist’s studio. This letter is the only preserved document or image that clearly shows the armed heir. It is believed the canvas was created after Titian’s meetings in Augsburg or Milan, around the mid-1550s, when Philip II was in his mid-twenties.
According to art historian Miguel Hermoso, the painting appears to have been conceived quickly, even if the bill of delivery was elaborate. The most debated aspect remains the sitter’s posture: whether the arm is extended or held back, creating a sense of tension or balance depending on the perspective.
González Moro notes that Titian may have aimed to win the favor of Philip II by presenting a striking, favorable image. The commission likely came during Titian’s invitation to paint the emperor in Augsburg, while Charles V was still resisting the pressures of the throne.
The restorer believes that the sitter’s reaction to the final result might have mattered less on the Augsburg court, where audiences were accustomed to more elaborate painterly styles. Titian’s brushwork in this piece is often described as looser or less restrained than what some contemporaries favored, a contrast that Carlos V’s tastes reportedly tolerated better than others.
Scholars remark that Titian painted the prince with a certain stylization, which some readers interpret as conveying a sense of authority tempered by a personal likeness. The face is clear and recognizable, though the composition may not be perfectly finished, inviting ongoing discussion about the artist’s intention and technique.
Portraits within the palace often carry symbolic messages, and in this case, the portrayal of Philip II is interpreted as projecting stable power. Hermoso explains that the sitter’s posture communicates readiness for action without overt aggression, signaling a controlled, prepared stance rather than a direct threat.
Titian’s prominence in later Spanish painting remains undisputed. He is regarded as a foundational influence on the development of court portraiture in Spain, with many later artists drawing on his conventions. Before arriving at the Spanish court through Charles V, Titian painted nobles across Italy and beyond, including the Gonzaga family of Mantua. His approach helped shape how portraits could convey status, lineage, and political intent, leaving a lasting impact on Spanish artistic practice and beyond.