The Spanish Royal Tapestries

by Albert Frederick Calvert

Never was any expedition more popular. The Spanish people swarmed into Barcelona to bid God-speed to the departing fleet. At Cagliari Charles was joined by Doria with a company of German and Italian troops, galleys from Sicily and southern Italy, and a number of Knights Hospitallers enrolled to attack the infidel.

Goletta was selected as the first point of attack, so that the way might be cleared to Tunis. After a desperate siege the fortress fell into Charles’s hands, together with the whole corsair fleet of eighty-two galleys. Still the attack on Tunis seemed fraught with too much danger, and much against his will Charles decided to re-embark. At the last moment, however, bolder counsels prevailed. The army was hastily formed into advance-guard and rear-guard and started on its twelve-mile march to Tunis.

Charles’s army certainly laboured under grave disadvantages. Their guns had all to be dragged by hand; there were provisions for only five days. Between olive groves and the lagoons they moved with a front of but one thousand paces. The groves gave cover to the corsair chief as he moved to outflank the Emperor’s troops. But in appalling heat the Spaniards marched steadily forward. Barbarossa made two desperate attacks, but the Spanish troops stood their ground. The second encounter resulted in total defeat for the Moors and Turks, who recoiled before the deadly fire of the Christians. Turning to re-enter the fortress of Tunis, Barbarossa found it held by the Christian slaves who had risen against him. Tunis was captured, and a heavy blow struck at the power and prestige of the Turk.

A projected attack on Algiers had to be abandoned owing to the advancing season. Bona and Biserta, however, were secured, and these together with Goletta were retained by the Spaniards. Tunis itself Charles restored to its one-time ruler, Al-Hassan, who had joined his army in time for the march to the capital.

The result of this expedition was peculiarly fortunate for Charles. His reputation as a daring and successful soldier was established; Naples and Sicily looked on him as their saviour. All Europe admired the skill with which he had disposed of the natural ally of the French and checkmated Francis before that astute sovereign’s plans of attack had matured.

Jan Vermay, or Vermeyen, the Flemish painter, chosen by Charles to accompany him on his expedition to Tunis, was one of the best-known artists of the first half of the sixteenth century. As Court painter under Margaret of Austria he executed portraits of the Emperor and of every one of importance at the Court, which were sent as gifts to the different sovereigns of Europe. Later he became the special protégé of Mary of Hungary, and afterwards of Charles himself.

The Tapestries

Each tapestry has an explanatory legend in Spanish at the top, and a supplementary legend in Latin underneath. Translations of these have been made for the first time by the Conde Valencia de Don Juan.

Tapestry No. 1. Shows a map of the shore of the Mediterranean, where Charles embarked his army, and the opposite coasts of Africa. The translation of the upper legend reads: “The Conqueror, wishing to overcome the infidel armies of the Turk and the warrior who, obeying the orders of Soliman, raises cruel wars against the realms of Spain, Charles, the fifth of that name, with the blessing of heaven, gathers together the armies and fleets of Spain and Italy to threaten the African troops. He who knows not the meaning of delay, sails with his loyal companions.” On the right the figure of Vermeyen upholds a chart bearing the following curious inscription: “The conquest of Charles, Emperor of the Romans, the fifth of that name, and first of the kings of Spain, in Africa in 1535 had serious causes that the chronicles of the time recount more fully in their histories. These causes being left on one side, to this work is represented as exactly as possible the course of events.” Since for a clear understanding it is necessary to know the country where the events took place and what preparations had been made, the action is treated in this tapestry according to nature (all that concerns the cosmography leaving nothing to be desired). In the distance the coasts of Africa (like those of Europe and its boundaries) are seen with their chief ports, their broad gulfs, their islands, their winds at exactly the same distances at which they really lie (the author having taken much more care over their precise situation than over the accuracy of the painting). As all has been done—as also with the countries—in strict accordance with cosmography, and the painter has observed the canons of his art, considering that the spectator views it from Barcelona, where the embarkation for Tunis began. This last town lies between the spectator and the Midi, leaving the north behind, above the right shoulder. Accuracy being thus established, the peculiarities of the other tapestries can be better understood.

Tapestry No. 2. The upper legend declares that this piece represents “the arrival of the Emperor at Barcelona with his army: the magnificence of his brilliant body-guard, formed of gentlemen of his household and of his Court, who accompanied him to share the dangers of the campaign: included in his company are the Infante Louis, his half-brother, and many other Portuguese gentlemen who formed part of the troops for the expedition.”