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Three Revolts in Images: Catalonia, Portugal and Naples (1640-1647)

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Three revolts in images: Catalonia, Portugal and Naples (1640-1647) Joana Margarida Ribeirete de Fraga ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) i a través del Dipòsit Digital de la UB (diposit.ub.edu) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX ni al Dipòsit Digital de la UB. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) y a través del Repositorio Digital de la UB (diposit.ub.edu) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR o al Repositorio Digital de la UB. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR o al Repositorio Digital de la UB (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. En la utilización o cita de partes de la tesis es obligado indicar el nombre de la persona autora. WARNING. On having consulted this thesis you’re accepting the following use conditions: Spreading this thesis by the TDX (www.tdx.cat) service and by the UB Digital Repository (diposit.ub.edu) has been authorized by the titular of the intellectual property rights only for private uses placed in investigation and teaching activities. Reproduction with lucrative aims is not authorized nor its spreading and availability from a site foreign to the TDX service or to the UB Digital Repository. Introducing its content in a window or frame foreign to the TDX service or to the UB Digital Repository is not authorized (framing). Those rights affect to the presentation summary of the thesis as well as to its contents. In the using or citation of parts of the thesis it’s obliged to indicate the name of the author. UNIVERSITAT DE BARCELONA Facultat de Geografia i Història THREE REVOLTS IN IMAGES: CATALONIA, PORTUGAL AND NAPLES (1640-1647) Department d’Història Moderna Societat i Cultura 2012/2013 Director: Doctoranda: Joan Lluís Palos Peñarroya Joana Margarida Ribeirete de Fraga Codirector: Pedro Almeida Cardim Barcelona 2013 UNIVERSITAT DE BARCELONA Facultat de Geografia i Història THREE REVOLTS IN IMAGES: CATALONIA, PORTUGAL AND NAPLES (1640-1647) Department d’Història Moderna Societat i Cultura 2012/2013 Director: Doctoranda: Joan Lluís Palos Peñarroya Joana Margarida Ribeirete de Fraga Codirector: Pedro Almeida Cardim Barcelona 2013 This dissertation was possible thanks to the support of the Fundação para a Ciência e Tecnologia, Ministério da Educação e Ciência (Portugal) TABLE OF CONTENTS PART ONE pages Introduction……………………………………………………………………..13 Acknowledgements 13 Presentation 14 State of the Art 15 Methodology 22 Sources 30 Chapter 1: The revolts: a political background ………………………………40 1.1.Aggregation and Integration: Catalonia, Portugal and Naples in the Spanish Monarchy 41 1.2.The monarchy and the three territories: the first signs of tension 43 1.2.1. Administration 45 1.2.1.1. Figures of Authority: the viceroys 49 1.2.2. Taxation system 51 1.2.3. The war 56 1.2.3.1. Overseas: the Portuguese colonies 57 1.2.4. Three societies in the Spanish Monarchy 58 1.2.4.1. The clergy 58 1.2.4.2. The ruling class 60 1.2.4.3. The population 63 1.3.Insurrection and legitimation 66 1.3.1. The protagonists 66 1.3.2. The three revolts 69 1.3.2.1. Narrative and ritual 70 1.3.2.2. The outburst 71 1.3.2.3.The reaction from the authorities 73 1.3.2.4. From riot to revolt 75 1.3.2.5. The end of the revolts 79 1.3.2.6. Symbols of the revolts 79 1.4. The reaction of the central power 83 1.5. The role of France 85 1.6. Conclusion 86 Chapter 2: Visual communication: the role of the image in the Early Modern Age……..…………………………………………………………………89 2.1. Introduction 89 2.2. The importance of the image 89 2.3. Studying the image through the centuries 97 2.3.1. The image in the 20th century 103 2.3.2. Methodological approaches 109 2.4. Problems and actual dangers 119 2.5. The role of the image in Early Modern Age 123 2.5.1. The new possibilities of the images 124 2.5.2. The image as propaganda 127 2.5.3. The image as a tool of power 130 PART TWO Chapter 3: Catalonia (1640-1652): a revolt without images?............................149 3.1. Introduction 149 3.2. Corpus: typologies and characteristics 149 3.3. State of the Art 150 3.4. Political Arguments 152 3.4.1. Protagonists 152 3.4.1.1. Pau Claris 152 3.4.1.2. Louis XIII 157 3.5. Religious Arguments 159 3.5.1. Saint Eulalia 159 3.6. French Engravings 162 3.7. Symbolic Images 167 3.7.1. Emblems 169 3.7.2. The books 175 3.7.3. Human figures 177 3.7.4. Coins and medals 177 3.8. Other images 179 3.9. Problematic around the question of the image production 180 3.10. Conclusion 186 Chapter 4: Portugal (1640-1668): John of Braganza and the legitimation of a new king…………………………………………………………………………..189 4.1. Introduction 189 4.2. Corpus: typologies and characteristics 189 4.3. State of the Art 190 4.4. Political Arguments 191 4.4.1. The 1st December 192 4.4.2. Royal Ceremonies 194 4.4.3. The Restoration War 196 4.4.4. D. Duarte 201 4.4.5. The peace negotiations in Westphalia 205 4.4.6. Rome: royal imagery and the incident of the Bishop of Lamego 212 4.4.7. Political Allegories 215 4.5. Historical Arguments 218 4.6. Religious Arguments 224 4.6.1. The miracle of Ourique 226 4.7. Representing the King 230 4.8 Image production 241 4.8.1. Commissioning an image 241 4.8.2. Writers, painters and engravers 242 4.9. Image consumption: diffusion and reception 248 4.10. Conclusion 253 Chapter 5: Naples (1647-1648): Masaniello and the construction of a hero…255 5.1. Introduction 255 5.2. Corpus: typologies and characteristics 256 5.3. State of the Art 259 5.4. Political Arguments 260 5.4.1. Masaniello 260 5.4.2. The family of Masaniello 274 5.4.3. Other characters of the revolt 278 5.4.4. Images of the revolt 281 5.4.5. The repression of Juan José de Austria and the count of Oñate 288 5.5. Image production 290 5.5.1. Artists and patronage 290 5.6. Image consumption: diffusion and reception 292 5.6.1. International diffusion 296 5.7. The images of the king: a visual counter-offensive 304 5.8. Conclusion 311 Conclusions ………………………………………………………………………315 6.1. Introduction 315 6.2. Subjects 315 6.2.1. Protagonists: the construction of a hero 315 6.2.2. Other protagonists 319 6.3. Religious elements 320 6.4. Others 323 6.5. Political rupture, cultural continuance 325 6.6. Dissemination and consumption 330 6.7. Final balance 334 Bibliography……………………………………………………………………..337 Primary sources 337 Secondary sources 345 PART THREE Appendixes………………………………………………………………………395 1.1. Brief Commentary 395 1.2. Appendix I: Catalonia I 1.3. Appendix II: Portugal XXX 1.4. Appendix III: Naples LXVI LIST OF ABBREVIATIONS ANTT Arquivo Nacional da Torre do Tombo BB Biblioteca Universitaria di Bologna BNC Biblioteca Nacional de Catalunya BGUC Biblioteca Geral da Universidade de Coimbra BNE Biblioteca Nacional de España BNF Bibliothèque Nationale de France BNP Biblioteca Nacional de Portugal BNN Biblioteca Nazionale di Napoli BPE Biblioteca Pública de Évora BUB Biblioteca de la Universitat de Barcelona MNSMN Museo Nazionale di San Martino Napoli SNSP Società Napoletana di Storia Patria MNAA Museu Nacional de Arte Antiga PART ONE INTRODUCTION Acknowledgements I would like to thank to those who have helped me carrying out my research. First of all, I would like to express my gratitude to my advisers Joan Lluís Palos and Pedro Cardim, for their advices and their constant encouragement. I would like to offer my special thanks to all the members of the Department of Early Modern History of the University of Barcelona for their help in offering me the resources needed for my research, especially to the professors María de los Ángeles Pérez Samper, Eva Serra, Fernando Sánchez Marcos, Xavier Gil and Jaume Dantí. Advice given throughout the years in conferences, meetings, seminars and other numerous occasions by several people has been of great help as well. My special thanks to Professors Mafalda Soares da Cunha, Éva Guillorel, Cristina Fontcuberta, Melissa Calaresu, Richard Kagan, Francesco Benigno, Rodrigo Bentes, Giovanni Muto, Gabriel Guarino and Alain Hugon.
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  • Map As Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid

    Map As Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid

    The Art Bulletin ISSN: 0004-3079 (Print) 1559-6478 (Online) Journal homepage: http://www.tandfonline.com/loi/rcab20 Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid Jesús Escobar To cite this article: Jesús Escobar (2014) Map as Tapestry: Science and Art in Pedro Teixeira's 1656 Representation of Madrid, The Art Bulletin, 96:1, 50-69, DOI: 10.1080/00043079.2014.877305 To link to this article: http://dx.doi.org/10.1080/00043079.2014.877305 Published online: 25 Apr 2014. Submit your article to this journal Article views: 189 View related articles View Crossmark data Full Terms & Conditions of access and use can be found at http://www.tandfonline.com/action/journalInformation?journalCode=rcab20 Download by: [Northwestern University] Date: 22 September 2016, At: 08:04 Map as Tapestry: Science and Art in Pedro Teixeira’s 1656 Representation of Madrid Jesus Escobar “Mantua of the Carpentana, or Madrid, Royal City” reads the attributed to the overreach of Philip IV’s royal favorite and Latin inscription on the banderole that hovers above Pedro prime minister, Gaspar de Guzman, the count-duke of Teixeira’s monumental map of the Spanish capital, the Topo- Olivares (1587–1645). In 1640, in the midst of the Thirty graphia de la Villa de Madrid (Topography of the town of Years’ War, rebellions arose in Catalonia and Portugal, com- Madrid) (Fig. 1). The text refers to a place from the distant pounding the monarchy’s ongoing financial crises and lead- Roman past, the purported origin of Madrid, as well as the ing to Olivares’s ouster.