The Court of Philip IV.: Spain in Decadence

by Martin A. S. Hume

Philip's own inclinations led him to idle and profitless pleasures, especially those which lent themselves to theatrical display or ostentatious decorations. The bull-fights, combats between wild beasts, equestrian parades, cane tourneys, masques, balls, comedies and banquets, alternated with religious processions and church ceremonies. In these rejoicings Philip and his wife took equal pleasure. It was the Augustan age of Spanish literature, and the drama of intrigue which Spaniards had invented to delight Europe in future was then in its full flood of malicious fertility. From October 1622 every Sunday and Thursday, except during the height of summer, dramas were performed by regular actors and actresses in the private theatre of the palace, the Queen being nominally the principal patron of the pastime. Some of the comedies then first represented may be mentioned as indicating the taste of the time. "The Scorned Sweetheart," "Jealousy of a Horse," and "The Loss of Spain" were three plays by Pedro Valdes, for which the Queen paid 300 reals, or £6 each. "The Fortunate Farmer," "The Woman's Avenger," "The Husband of his Sister," and "The Power of Opportunity" were other plays paid for by the Queen; and the total number of new dramas represented in the Queen's apartments in the palace during the winter of 1622-23 was forty-three, the fees for which reached 13,500 reals, equal to £270.[[13]]

The favourite convent of the Discalced Carmelites, by the Church of St. Martin, was the scene of constant royal visits and semi-religious dissipations, and one of the most pompous of the ceremonious festivities that beguiled the dazzled crowd at the beginning of the reign was the series of shows that celebrated the canonisation of three of the most popular of Spanish saints in 1622, when all Madrid, in alternating devotional ecstasy and frivolous jollity, followed the King and his wife in honouring St. Isidore, the husbandman, now the patron of Madrid, St. Teresa of Avila, and St. Ignatius Loyola, founder of the Jesuits. Accompanied by the bull-fights and ceremonial trials of accused heretics, called autos-de-fe, which specially delighted the crowd, this canonisation fete also revived an ancient Spanish diversion, which thenceforward became under Philip's patronage one of the most highly appreciated of the pleasures of his literary Court, namely, the Literary Academies, as they were called, and Floral Games, or poetical competitions, in which the poetasters tried their mettle one against the other, in hope of gaining the ear of powerful patrons for their verses. It was a struggle of keen wits; for in no time or court was poetry, especially satirical and dramatic poetry, ever so fashionable; and that it degenerated later into preciosity, extravagance, and affectation was the natural result of the universal struggle to gain a hearing in a chorus of verse.

An equestrian masque

There are abundant and for the most part tedious contemporary descriptions of these various courtly festivities, descriptions usually as pompous and dry as is to our taste the affected frivolity of the festivities themselves.[[14]] But though these turgid productions cannot be quoted to any great length in a book like the present, which is intended to suggest a general picture of the Court and times rather than a series of minute sectional photographs, an idea may be gained of the scale upon which the festivities were arranged, by giving a rigidly condensed translation of the account of a great masque and equestrian display given by Philip and his brother Carlos on the 26th February 1623.[[15]]

"All the Court was anxious for the day when his Majesty and the Infante Don Carlos should honour and delight it with the promised feast. It took place on Palm Sunday, with a magnificent mask notable not only for its beauty, its ingenuity, and costly garments, and the high nobles and gentlemen who took part, but also because his Majesty and his Highness appeared in it.

"Four enclosed courses had been made; the principal one before the palace, and the others before the Convent of Discalced Carmelites, in the Plaza Mayor, and at the Gate of Guadalajara,[[16]] many (side) streets being barricaded and occupied by mounted alguacils (constables), and no coaches being allowed in the streets. The best horses Andalucia could breed or the world could see were brought out that day, with glittering trappings and harness, liveries, devices and accoutrements, richer than had ever been beheld. The King had ordered all the maskers to be ready mounted at the Convent of the Incarnation[[17]] at one o'clock, a stage and canopy having been erected there from which his Majesty was to mount. At about two o'clock the Spanish and German Guards arrived,[[18]] very smart and handsome, under Don Fernando Verdugo and the Marquis de Rentin; and soon afterwards the royal horses came, having gone in procession through the streets where the maskers were to pass. This was the order in which they came. First twelve drummers, thirty trumpeters, and eight minstrels, all on horseback, and dressed in white and black velvet; after them came the pioneers on foot, and then the royal grooms, and thirty-six splendidly caparisoned horses covered with housings of crimson velvet fringed with gold, bearing upon each a crown of cloth of gold and a cipher of "Philip IV." They were led by thirty-six lackeys, some in black and some in crimson, their garments being trimmed with frizzed velvet, like embroidery. The farriers came next, distinguished from the lackeys by wearing caps instead of hats. Thirty-six postillions followed, dressed like slaves in silvered plush on a black ground, with hats to match....

An equestrian parade

"The first noble to put in an appearance (i.e. at the Incarnation) was Don Pedro de Toledo, Marquis of Villafranca, general of the Spanish cavalry. He was dressed in black, with cape and bonnet, and bore the insignia and baton of a general. With him came twelve lackeys in liveries of black velvet trimmed with gold, and twelve pages dressed similarly, but with white plumes in their caps. In like guise came the Marquis of Flores D'Avila, chief equerry of the King, whose noble presence and snowy hair, even if he had been alone, would have sufficed to dignify the feast. When the greater part of the nobles, the flower of Spain, had collected, the sun, to speak in poetical terms, envious of so much splendour and majesty, summoned up dark clouds which for a long time ceased not to pour water upon the festival. The feelings on the matter of the rain were divided. First it was a pity if the show were spoilt, the preparations being more beautiful and costly than had ever been made for a masquerade at Court, there being forty-eight pairs of horsemen, each with different liveries, besides his Majesty and his brother. The livery of the King and the Count of Olivares was steel grey with white plumes, whilst those of the Infante and the Marquis de Carpio were black and white with plumes to match. The second emotion aroused by the rain was rejoicing at the good it would do to the poor people who needed it so much for their crops, even though the maskers and merry-makers had to take shelter under the eaves. But soon the sky cleared, and the rain ceased; so that all were satisfied. The clarions by and by rang out and announced that the King and the Infante had mounted, and the maskers did the same. Then Don Fernando Verdugo and the Guards clearing the way, Don Pedro de Toledo led the cavalcade to the palace, where the course ended in front of the balcony in which our lady the Queen with the Infanta Maria, and the Cardinal Archbishop of Toledo, the Infante Fernando, were seated, the ladies in waiting occupying the rest of the balconies of the royal apartment. If I described the precious stones, the gold, the rich dresses and the wealth displayed, this work would be a long one. The first to run was Don Pedro de Toledo, with his accustomed gravity and dignity; and, having reached the end of the course, he bowed low to the Queen and their royal Highnesses, and then made a signal for the rest of the maskers to follow one another along the course. (Here follow the resounding names of the ninety-six Spanish nobles, dukes, marquises, and counts who formed the company.) The last pair to run were his Majesty the King and the Count of Olivares, with the dexterity and gallantry to be expected of them. The effect was strange and brilliant in the extreme, for each pair of horsemen wore different colours and devices. The splendid squadron was closed by the Spanish and German Guards and other troops, led by Verdugo. All the horsemen rode with great rapidity, but the Infante Carlos and the Marquis of Carpio went by like a flash of lightning, to the astonishment of everyone. This pair had hardly covered half the course when the Queen and the Infanta and the Cardinal Infante stood up in their balcony, because they saw that the King and the Count of Olivares were starting out, they being the last to run. They swept by, not on steeds, as it seemed, but on the wind itself, wafted onward by the blessings of those who saw them. Again they covered the course thus, and then the whole cavalcade rode to the plaza before the Convent of the Discalced Carmelites."

At various parts of the capital the same sumptuous show was repeated; the most popular and crowded exhibition being in the great square (the Plaza Mayor) then recently built, and but little altered since that time. The King, we are told, rode a beautiful bay stallion presented to him by the Marquis of Carpio; and when the running was over and night fell the horsemen still paraded the streets, which were illuminated by thousands of torches, the cost of the feast having amounted to more than 200,000 ducats.