The Coronation of Napolean

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He witnessed the coronation first-hand and spent an expansive amount of time reconstructing the scene in his studio, using cardboard models and wax figurines for reference. He also had most of the participants from the ceremony come into his studio and pose for him. It is clear that Napoleon is the most important subject in the composition, which is supported by his centered placement in the painting, and that he stands above the rest of the clergy, including the pope. The distinct disconnect of this painting’s historical accuracy comes from the subjects included. Napoleon’s two brothers and two sisters were placed on the left, and his mother, Maria Letizia Ramolino, sits center frame above him in the balcony seats. None of them were actually present during his coronation and were placed in the painting by David per Napoleons request. In reality, his mother refused to come in protest to a qualm between Napoleon and his brothers, both of whom also chose not to participate. It has been debated over the purpose of their inclusion, but the consensus seems to infer that Napoleon wanted to showcase the importance of solidarity with family. Another controversy deals with the placement of Pope Pius VII, who had no intention of attending the coronation until Napoleon required him to take part. David had originally painted the Pope with his hands on his knees, but Napoleon requested that he shift his physical expression to show him blessing the coronation. It is with these alterations that one must consider the intentionality of Napoleon’s decisions over the context of the painting.

In conclusion, it is clear that Napoleon used his influence to deviate from the representational accuracy of the coronation. By adapting the focus and hierarchy of subjects, including individuals who were not actually in attendance, and modifying the actions of those who were there, he dismantled the integrity of the event. Whether or not Napoleon’s intentions were genuine, Jaques-Louis David complied to his requests and depicted a ceremony that was undeniably fictitious.