English summary: In the decades around 1600, the practice of canonization, which was re-established after the Council of Trent, was confronted with the self-representation of newly emerging orders, whose ambitions included establishing their founders as saints. The temporal compression of the time of death and canonization, as well as the rapid spread of the pictures, fundamentally changed the demand for portrait-like quality. Based on a selection of about ten convent personalities, Nina Niedermeier examines the strategies with which the new orders tried to justify the similarity of the first portraits to their candidates for canonization. The humble refusal of the ones who were canonized later to sit for a portrait, had such an influence on early portraiture so that the first portraits were allegedly created in two ways: as a posthumous portrait and as a portrait secretly made during their lifetime. The vagueness of memory ensured the need for flexibility in the question of portraits and ensured that the first portraits were in line with contemporary expectations of what a portrait of a saint should look like. German description: Die nach dem Konzil von Trient wieder aufgenommene Heiligsprechungspraxis sah sich in den Jahrzehnten um 1600 mit der Selbstinszenierung neu aufstrebender Orden konfrontiert, zu deren Ambitionen es gehorte, ihre Grunderpersonlichkeiten als Heilige zu etablieren. Die zeitliche Verdichtung von Todeszeitpunkt und Heiligsprechung sowie die rasch in Gang gesetzte Bilderverbreitung veranderte den Anspruch an Portratahnlichkeit grundlegend.
