Throughout history, fashion has been a vivid reflection of societies and their values, finding its most captivating stage in the royal court. Under the reign of Philip III, fashion becomes a key element illustrating the cultural and social richness of an era marked by elegance and refined taste that characterized the third king of the Habsburgs. In this article, we will embark on a journey through three majestic portraits set in the royal court at the end of the 17th century.
Philip III's reign began with his ascension to the throne in September 1598 and ended in March 1621. This period is notable for its contrasts between artistic splendor and political complexities that shaped Spain at the beginning of the 17th century. In this context, fashion at Philip III’s court marked a unique era where elegance and splendor intertwined with the history of the Golden Age of Spain.
Fashion and attire have always been associated with royalty and the court. At the beginning of the 17th century, "dressing à la espagnole" was a reference among European royal courts, although gradually, the preference for Spanish clothing faded due to new trends emerging in the court of Louis XIII (Colomer & Descalzo Lorenzo, 2014, p. 59).
To understand the male fashion that developed during Philip III's reign, we must turn to his portraits. The physical image of the king is abundantly reflected in the numerous portraits preserved of him (García Cárceles, 2003, p. 237). An example can be found in the work by artist Bartolomé González, who portrayed the monarch in 1621.
The artist depicts the king in full body following the prototypes of Juan Pantoja de la Cruz. Regarding the attire that the king wears in this portrait, we must consider the influence of fashion from Flanders; an example is found in the voluminous collar of his shirt, which reached its largest size during the monarch's reign. This was achieved by mounting multiple pleats on a complex framework to give it this voluptuous form, also visible in the cuffs (Herrero García, 2014, p. 30).
Regarding the torso attire, it is important to mention that during the 17th century, two essential garments in a man's wardrobe were the jubón (doublet) and the calzas (breeches). The first of these was worn over the shirt, which was an undergarment. Considering the portrait we are discussing, we deduce that beneath the armor lies this garment, as its function was to hold up the breeches attached in the manner shown in the work. In this way, the two most important pieces of a man's outfit were united into one piece. Moreover, we must understand this portrait as a military representation because the king wears an armor over his doublet, which is inspired by Milanese armor collections belonging to the king.
The pose and demeanor that the king presents in the portrait are characteristic of royal power. Thus, we see the monarch posing with a serious expression and his left hand on the helmet, which is placed on a table next to gloves. Additionally, he is depicted holding a sword, symbolizing royal authority, along with a staff of command.
To conclude this exploration of the attire that the king wears in this portrait, it is essential to discuss the collar of the Golden Fleece, which the monarch wears as he was one of its great masters.
While male fashion reflected a sober elegance, female attire plunged into a world of exuberance and refinement. The portrait of Margaret of Austria-Este (1621) by Bartolomé González represents the elegance and taste of the queen consort. As mentioned earlier, the artist depicts the queen in full body following early 17th-century prototypes. This portrait references works from Pantoja de la Cruz in 1606 representing the queen with a similar pose, supporting her left hand on a chair while holding a delicate lace handkerchief in her right hand. Additionally, she is adorned with a pearl diadem shaped like a sun.
Delving into the attire that the queen wears in this portrait, we can observe her refinement and personal elegance. Luxurious fabrics and meticulously placed adornments enhance the message of power and distinction conveyed by the queen. A very curious detail related to her attire is the use of a «cotilla»; this garment served as a whalebone corset worn as an undergarment before placing the doublet over it (Herrero García, 2014, p. 216).
As mentioned earlier regarding the king's attire, the female doublet emerged as the central piece of clothing. This garment was made from rich materials such as taffeta and silk, adorned with gold and silver threads. Next, we will discuss the manga style known as "«mangas acuchilladas»" (sabre-shaped sleeves) made in Venetian satin, which is very similar to the neckline shape (Herrero García, 2014, p. 295). Finally, we will focus on the saya skirt, made of ormesí and embroidered with gold threads.
A curiosity about this portrait lies in the queen's figure, which presents a triangular silhouette where the opulence of fabrics intermingles with jewels, highlighting the "rich jewel" (joyel rico). This majestic piece is formed by a large faceted diamond known as the "«diamond of the pond»," from which hangs the "«wandering pearl»" (Ruiz Gómez, 2001, p. 17).
To conclude, we will analyze the portrait of Infanta Ana Mauricia of Austria, by Juan Pantoja de la Cruz in 1602.
In this portrait, we see Infanta Ana Mauricia in her infancy, sitting on a cushion and dressed as children of that age were during the period. The attire she wears is white, with an elaborate lace bib adorning her chest and lap.
From this portrait, we can highlight the Latin cross of gold and diamonds on the young girl's chest, as well as the coral in her right hand considered to be the best protection against illness.
In conclusion, the works displayed in the Galería de las Colecciones Reales (Royal Collections Gallery) not only capture the grandeur of fashion during that era but also offer a fascinating glimpse into the art of dressing that left an indelible mark on Spanish royal history.
Bibliography
Colomer, J. L., & Descalzo Lorenzo, A. (2014). Vestir a la española en las cortes europeas (siglos XVI y XVII), vol.I. Centro de Estudios Europa Hispánica.
Herrero García, M. (2014). Estudios sobre indumentaria española en la época de los Austrias. Centro de Estudios Europa Hispánica.
Peña, M. (2003). “The search for peace and the ‘general remedy’.” In: García Cárcel, R. (coord.). History of Spain in the 16th and 17th centuries : the Habsburg era. Cátedra.
Ruiz Gómez, L. (2001). El Greco and Spanish Renaissance Painting. Museo del Prado.
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