DOCSLIB.ORG

The Royal Armory in Spanish Court Portraits La Real Armería En El Retrato Español De Corte Fig

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
The Royal Armory in Spanish Court Portraits La Real Armería En El Retrato Español De Corte Fig The Royal Armory in Spanish Court Portraits La Real Armería en el retrato español de corte fig. 21 (PP.150-151) Justus Tiel, Allegory of the Education of Philip III, detail cat. 60 Justus Tiel, Alegoría de la educación de Felipe III, detalle cat. 60 primera consideración que suscita la first question that arises comparación entre un objeto y su when comparing an imagen en una pintura es discernir object with its image in a Lasi esta última se corresponde o no con el natural. La percep- Thepainting is whether or not the latter is true to life. The ción de la realidad que refleja la obra de un pintor es siempre reality conveyed by a painter’s work is always subjective, as subjetiva, porque incluso los más realistas pueden haber resal- even the greatest realists may emphasize or omit details and tado u omitido detalles y elementos a su conveniencia. Influ- elements at their convenience. This perception is also ye también la posición del objeto, el tratamiento de la luz y un influenced by the position of the object, the artist’s handling sinfín de matices y condicionantes por parte del autor que ni of light, and a host of nuances and conditioning factors that siquiera la fotografía actual puede cubrir por completo. En el not even modern photography can fully encompass. The caso del retrato armado estas premisas son igualmente válidas, same applies to portraits showing the sitter in armor, as they por no ser reflejos exactos de la realidad. Tampoco pueden ser are not exact reflections of reality. However, nor can they be sin embargo despreciados a priori como imágenes necesaria- dismissed a priori as images that are necessarily inaccurate mente inexactas y, por lo tanto, no fiables1. La confrontación and therefore unreliable.1 Comparison between armors and entre armaduras y pinturas nos permite considerar que, con paintings, irrespective of the degree of accuracy of the independencia de la mayor o menor precisión de la represen- depiction, always proves to be an enriching contribution to tación, siempre es un ejercicio enriquecedor para el estudio de the study of both, despite the differences we may find. ambas obras de arte a pesar de las divergencias que podamos Regardless of its artistic value, painting may be considered a apreciar. Al margen de sus valores artísticos, la pintura puede valid source of information for studying armors. It ser considerada para el estudio de las armaduras como una documents possible owners and lost pieces or decorative valiosa fuente de información. Permite documentar, en el caso features of surviving armor, but also enables us to analyze de las armaduras conservadas, posibles propietarios o elemen- objects and models that are no longer extant. Conversely, tos y tratamientos decorativos perdidos, pero también mues- armors can shed new light on the commissioning or tra objetos y modelos no conservados en la actualidad. Por su symbolic significance of painting. The present essay parte, las armaduras aportan a la pintura nuevas lecturas sobre examines some of these mutual contributions, dealing sus encargos o simbología, por lo que este trabajo se centra en mainly with the holdings of the Royal Armory and the el tratamiento de algunas de estas aportaciones mutuas funda- paintings or portraits with which they are connected. mentalmente a partir de los fondos de la Real Armería y de las A second aspect considered in this essay is the pinturas o retratos con los que se relacionan. circumstances in which relationships developed between the Un segundo aspecto a considerar en este ensayo son las cir- court painters and the holdings of the current Royal cunstancias en las que se desarrolló la relación entre los pinto- Armory—particularly monarchs’ choices of certain suits of res de corte y las armaduras de la Real Armería, entre las que armor for their portraits or paintings, the purpose of these podemos señalar la elección por parte de los monarcas de deter- pictures, the pictorial fortunes of certain armors, the minadas armaduras para sus retratos o pinturas, el destino de importance of certain portraits as models for later works, los mismos, la fortuna pictórica de algunas armaduras, la tras- and the conceptual changes witnessed in the relationship cedencia de algunos retratos como modelos de obras posterio- between armors and portraits between the sixteenth and res y los cambios conceptuales o de planteamiento que se pro- eighteenth centuries. An aspect that has yet to be clarified ducen en la relación entre las armaduras y los retratos entre los owing to the dearth of existing information is the siglos XVI y XVIII. En este sentido, un aspecto aún no suficien- circumstances surrounding painters’ access to the collection. temente aclarado por falta de datos es el de las circunstancias As is known, no sitter of the Renaissance period has left a que rodearon el acceso de los pintores a la colección. Como es description of how his portrait was painted and how he sabido, en el retrato renacentista ningún modelo de la época ha posed for the painter.2 It is to be assumed that in some cases dejado una descripción de cómo se le retrató y de su relación the painter must have received instructions on how the con el pintor durante el posado2. Es de suponer que en algunos client conceived the work and what objects he would casos los pintores recibirían indicaciones sobre cómo concebía provide the painter with as aids. In the case of portraits in el comitente la obra y los medios que aportaba. En el caso del armor, the only known record of Spanish court painters retrato armado, la única documentación conocida sobre el acce- having access to the Royal Armory holdings relates to the so de los pintores de la corte española a los fondos de la Real sending of pieces to a workshop, as occurred with other Armería se refiere al envío de piezas a un taller, al igual que types of objects such as jewels or rich clothing.3 The sucedía con otros tipos de objetos como joyas o ricos vestidos3. document in question is the instructions given to the Royal Es el caso de las órdenes dadas a la Real Armería en 1628 para Armory in 1628 for Rubens and Velázquez to be supplied que se facilitaran a Rubens y Velázquez todas las cosas necesa- with everything they needed to paint some portraits, one of rias para unos retratos, uno de los cuales ha sido identificado which has been identified as the lost equestrian portrait of con el ecuestre perdido de Felipe IV, cuya copia se conserva en Philip IV, a copy of which is housed in the Galleria degli la florentina Galleria degli Uffizi y que será objeto de debate Uffizi in Florence. This portrait will be discussed later on.4 posteriormente4. Even so, several mutually non-exclusive hypotheses may Con todo, podemos suponer hipotéticamente varias posi- be drawn from the history of these paintings and the bilidades, no excluyentes entre sí, a partir de la historia de las accuracy with which they depict the armor shown—which pinturas y de la fidelidad con la que se han representado las proves that they were painted from life. Firstly, it is evident armaduras, prueba de la observación directa por el pintor. En that the painter had access to the armors when he and the primer lugar, el acceso a las armaduras es evidente cuando pin- client happened to be in the same city.5 Secondly, we must tor y comitente se han encontrado circunstancialmente en la assume that the painter made some sort of record or misma ciudad5. En segundo lugar, debemos suponer algún memorized a decorative pattern of the armor.6 Thirdly, tipo de recordatorio o la interiorización de un patrón decora- permission to study the holdings of the Royal Armory must tivo de la armadura por parte del pintor6. En tercer lugar, los have been given to the painters who worked for the Spanish pintores de la corte española debieron tener acceso a la Real court as part of their status as well as to other painters who Armería para la observación de los modelos en su condición were not in royal service but were entrusted with specific de pintores de corte o, los que no lo eran, por haber recibido commissions to decorate the royal palaces. This is suggested encargos específicos para la decoración de los palacios reales. by the accuracy of some of these portraits and the variations Así lo sugieren la precisión de algunos de ellos y las variantes found among various works depicting the same armor. It mostradas entre diversas obras en las que se ha recurrido como should be remembered in this connection that the Royal modelo a una misma armadura. En este sentido, debemos Armory stood on the square opposite the Alcázar palace, recordar que la Real Armería cerraba la plaza situada frente which burned down in 1734 and formerly occupied the site al Alcázar, palacio incendiado en 1734 que antecedió al actual of today’s Royal Palace in Madrid. Some painters lived in Palacio Real de Madrid. Algunos pintores vivían en él o en the palace or nearby—very close to the collection to which sus inmediaciones y por tanto muy cerca de la armería7. they had access.7 Sobre los primeros retratos en armadura carecemos, sin Nevertheless, we lack information on the earliest portraits embargo, de información. Como se ha apuntado en el capítu- of sitters in armor. As stated in the essay on the history of lo precedente al tratar la historia de la Real Armería, el retrato the Royal Armory, such portraits were alien to the Spanish armado era a finales del siglo XV ajeno a la tradición pictórica tradition of painting at the end of the fifteenth century.
Load more

Recommended publications
  • The Commemorated Page Numbers in Bold Type Refer to Illustrations
    Church Monuments Vols I–XXXII (1985–2017) The Commemorated Page numbers in bold type refer to illustrations Abbott, Christopher, 1686, XXIX: 80, 82 Allington, Lionel and Dorothe, 1638, V: 62, Abbys, Thomas, 1532/3, XXXII: 30 63; VII: 46, 74 Abell, William, 1500, XVI: 123 Allington, Richard, 1561, VII: 38; XXIII: 93 Aberford, Henry of, c.1328, XIII: 109 Alonso, Infante, 1493, VII: 27 Abernoun, John d’, 1327, I: 10; VI: 5; VIII: 5, Alphonse and Jean, sons of Louis VIII, king of 7; IX: 38; XV: 12 France, 1213, XXX: 51 Abernoun, John III d’, 1335–50, II: 13, 17–19; Alsace, Marguerite d’, 1194, XXIV: 28, 29, VII: 17 30, 31, 43 Abney, George and Ellen, 1577/8, VI: 38 Alsace, Mathieu d’, 1173, XXIV: 31, 33, 36, Accarigi, Tommaso, XXIII: 110 38 Acé, Hugues d’, 1333, XII: 23, 24, 33 Anast, Thomas d’, bishop of Quimper, 1322, Achard, Robert, 1353, IX: 46; XXXII: 24 XXX: 45 Acton, John and Elizabeth, 1625, XXIII: 81 Ancaster see Bertie Acton, Thomas, 1489, XXXII: 30 Anderson, Alexander, 1811, XV: 99 Adair family, 1852–1915, XVI: 92, 123 Anderson, Edmond, 1638, XXX: 129, 130 Adams, Richard, 1635, XXIX: 75 Anderson, Edmund, 1670, IX: 84, 85, 86 Adderley, Ralph, Margaret and Philota, 1595, Anderson, Francis, VII: 89, 90, 91, 93 VI: 40 André, Philippe and Marie, 1845, XV: 91, 93, Adelaide of Maurienne, queen of France, 1154, 96 XIX: 34 Andrew, Thomas, Frances and Mary, 1589, Adornes, Jacques, 1482, VII: 28 VIII: 54 Adyn, Edith, c.1560, XXIX: 82 Andrew, Thomas, Katherine and Mary, 1555, Aebinga, Hil van, XXXI: 118 n.
    [Show full text]
  • Colnaghistudiesjournal Journal-01
    EDITORIAL COMMITTEE Charles Avery Art Historian specializing in European Xavier F. Salomon Peter Jay Sharp Chief Curator, The Frick Sculpture, particularly Italian, French and English. Collection, New York. Colin Bailey Director, Morgan Library and Museum, New York. Salvador Salort-Pons Director, President & CEO, Detroit Francesca Baldassari Art Historian. Institute of Arts. Piers Baker-Bates Visiting Research Associate in Art History, Jack Soultanian Conservator, The Metropolitan Museum of Colnaghi Studies Journal is produced biannually by the Colnaghi Foundation. Its purpose is Art, New York. The Open University. to publish texts on significant pre-twentieth-century artworks in the European tradition Bruce Boucher Director, Sir John Soane’s Museum, London. Nicola Spinosa Former Director of Museo di Capodimonte, Naples. that have recently come to light or about which new research is underway, as well as Till-Holger Borchert Director, Musea Brugge. Carl Strehlke Adjunct Emeritus, Philadelphia Museum of Art. on the history of their collection. Texts about artworks should place them within the Antonia Boström Keeper of Sculpture, Metalwork, Ceramics Holly Trusted Senior Curator of Sculpture, Victoria & Albert broader context of the artist’s oeuvre, provide visual analysis and comparative images. & Glass, Victoria & Albert Museum, London. Museum, London. Edgar Peters Bowron Former Audrey Jones Beck Curator of Manuscripts may be sent at any time and will be reviewed by members of the journal’s Benjamin van Beneden Director, Rubenshuis, Antwerp. European Art, The Museum of Fine Arts, Houston. Editorial Committee, composed of specialists on painting, sculpture, architecture, Mark Westgarth Programme Director and Lecturer in Art History Xavier Bray Director, The Wallace Collection, London.
    [Show full text]
  • Bodies of Knowledge: the Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2015 Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Geoffrey Shamos University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the History of Art, Architecture, and Archaeology Commons Recommended Citation Shamos, Geoffrey, "Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600" (2015). Publicly Accessible Penn Dissertations. 1128. https://repository.upenn.edu/edissertations/1128 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/1128 For more information, please contact [email protected]. Bodies of Knowledge: The Presentation of Personified Figures in Engraved Allegorical Series Produced in the Netherlands, 1548-1600 Abstract During the second half of the sixteenth century, engraved series of allegorical subjects featuring personified figures flourished for several decades in the Low Countries before falling into disfavor. Designed by the Netherlandsâ?? leading artists and cut by professional engravers, such series were collected primarily by the urban intelligentsia, who appreciated the use of personification for the representation of immaterial concepts and for the transmission of knowledge, both in prints and in public spectacles. The pairing of embodied forms and serial format was particularly well suited to the portrayal of abstract themes with multiple components, such as the Four Elements, Four Seasons, Seven Planets, Five Senses, or Seven Virtues and Seven Vices. While many of the themes had existed prior to their adoption in Netherlandish graphics, their pictorial rendering had rarely been so pervasive or systematic.
    [Show full text]
  • J. J. González García, Charles V and the Habsburgs' Inventories, RIHA
    RIHA Journal 0012 | 11 November 2010 Charles V and the Habsburgs' Inventories. Changing Patrimony as Dynastic Cult in Early Modern Europe Juan uis !on"#lez !arc$a Peer revie% and editing organized by& Instituto Amatller de Arte Hispánico, Barcelona 'evie%ers& Antoni José itarch, "antia#o Alcolea Blanc! (bstract Apart from a deep respect for the achievements of the Habsburgs, Emperor Maximilian I transmitted to his heirs a practical attitude towards their art collections. Pearls and precious stones were extracted from set pieces to produce new ones; old fashioned !eweller" or silver ob!ects were melted down; and tapestries, paintings and sculptures were publicl" sold to pay off debts. #" stud"ing how some of these goods were reused, recycled, and recirculated among the Habsburg famil" members, I will explain how crown patrimon" changed owners and $ingdoms, and how the cult of their d"nast", activel" promoted b" %harles &, heightened the notion of a collective consciousness which served as a topos for aristocratic collecting in the 'enaissance. Contents Introduction $!e %r#ani&ation o' (arl) Habsbur# Inventories and t!e Hierarchy o' *edia +!an#in# $aste and t!e *anipulation o' t!e %b,ect +!arles -'s Inventories and t!e +reation o' an (mpire /)nastic *arria#es, /)nastic Inventories Introduction ()* +he ro"al inventories of the Habsburgs are documents of extraordinar" importance for the anal"sis of art collecting in the Modern Age. +he" are often the onl" available tools to interpret the value, arrangement, uses and original functions of the ever changing princel" possessions , today !ust partiall" preserved ,, and provide us with references about the best European painters, sculptors, goldsmiths, weavers, or armourers of the time, to name but a few.
    [Show full text]
  • Los Papeles De Velázquez
    Los Papeles de Velázquez John Phillips August 2007 A hand emerges from a lace cuff, pointed out tiny scraps of paper secreted and droops over the arm of a chair. It is in the corners of Velázquez’s Lances and painted impressionistically, and appears Equestrian Portrait of Philip IV. ‘These bits relaxed. Yet clutched between the thumb of paper serve no purpose in the paintings’, and forefinger, a folded sheet of paper twists she declared with mild indignation, ‘they awkwardly, contravenes perspective, and are blank’. Could I explain them? I shook pushes forward to petition the viewer. This my head. A tiny scrap of paper buried in a small dramatic detail, set against a velvet composition, we reasoned, might carry an backcloth, is a fragment of a full-length inscription or a signature, but blank slips portrait of Archbishop Fernando de Valdés. were either an enigma or an oversight. ‘Had The exactingly carefree brushstrokes and someone, perhaps Velázquez, over-painted inscription on the contorted sheet identify them?’ ‘Had he overlooked to sign these Velázquez as its painter. Whoever cut this paintings off?’ ‘Might similar fragments, fragment from the larger canvas, considering half-hidden in other paintings, provide more perhaps that value resided in its signature, clues?’ ‘What messages or meanings lay may have unintentionally revealed something buried in these unwritten documents?’ were hidden in the larger composition; the artist’s questions that we raised, but had no means aspiration inscribed on an imaginary sheet to answer. So, in the days that followed, I of paper. 2 resolved to investigate the artist through the My interest in Velázquez’s papers narrow prism of his papers.
    [Show full text]
  • 1 the Association for Diplomatic Studies and Training Foreign Affairs
    The Association for Diplomatic Studies and Training Foreign Affairs Oral History Project ARNOLD DENYS Interviewed by: Self Copyright 1998 ADST TABLE OF CONTENTS Acknowledgements A out the Author Note to the Reader Preface A Crisis in the Life of a Foreign Service Officer My Beginnings (S Citi)enship Return to Civilian Life Panama Assignment Crisis in Panama London Egypt Athens Mexico Canada ,ashington, DC Antwerp ,ashington to Tijuana Tijuana Tijuana to Retirement Conclusion DIARY Son of Flanders The Making of a Consul. Diary of an American Foreign Service Officer In Memory of Emiel Denys 01103411767 8odelieve Maria Denys 01101411117 AC9NO,LED8MENTS 1 I feel deep gratitude to my late parents for their encouragement to write this memoir. The late Mrs. 9atherine McCook 9nox, an art historian from ,ashington, DC, was in great part responsi le for my efforts in compiling letters and notes on the American Foreign Service. My thanks also go to Rhoda Riddell, Ph.D., a writer and teacher, who transcri ed and edited my handwritten account, which was taken from my diary. I also wish to thank Art Drexler, who completed the editing and prepared the book for printing. I wish also to thank the following persons, whom I have known in the long course of my foreign service career, and who have meant so much to me both personally and professionally, and deserve special acknowledgment. Consul 8eneral John D. Barfield Vice Consul 0Ret.7 Frank J. Barrett Miguel Angel 8arcia Charles Stuart 9ennedy, Director of the Association for Diplomatic Studies, who inspired me with his work on the Foreign Affairs Oral History Program.
    [Show full text]
  • J. J. González García, Charles V and the Habsburgs' Inventories, RIHA
    RIHA Journal 0012 | 11 November 2010 Charles V and the Habsburgs' Inventories. Changing Patrimony as Dynastic Cult in Early Modern Europe Juan Luis González García Peer review and editing organized by: Instituto Amatller de Arte Hispánico / Amatller Institute of Hispanic Art, Barcelona Reviewers: Antoni José Pitarch, Santiago Alcolea Blanch Abstract Apart from a deep respect for the achievements of the Habsburgs, Emperor Maximilian I transmitted to his heirs a practical attitude towards their art collections. Pearls and precious stones were extracted from set pieces to produce new ones; old-fashioned jewellery or silver objects were melted down; and tapestries, paintings and sculptures were publicly sold to pay off debts. By studying how some of these goods were reused, recycled, and recirculated among the Habsburg family members, I will explain how crown patrimony changed owners and kingdoms, and how the cult of their dynasty, actively promoted by Charles V, heightened the notion of a collective consciousness which served as a topos for aristocratic collecting in the Renaissance. Contents Introduction The Organization of Early Habsburg Inventories and the Hierarchy of Media Changing Taste and the Manipulation of the Object Charles V's Inventories and the Creation of an Empire Dynastic Marriages, Dynastic Inventories Introduction [1] The royal inventories of the Habsburgs are documents of extraordinary importance for the analysis of art collecting in the Modern Age. They are often the only available tools to interpret the value, arrangement, uses and original functions of the ever-changing princely possessions – today just partially preserved –, and provide us with references about the best European painters, sculptors, goldsmiths, weavers, or armourers of the time, to name but a few.
    [Show full text]
  • Spanish Painting;
    A SPANISH PAINTING TEXT BY A. DE BERUETE Y MORET (DIRECTOR OF THE PRADO MUSEUM, MADRID) 192 I EDITED BY GEOFFREY HOLME “THE STUDIO,” Ltd., LONDON, PARIS, NEW YORK Digitized by the Internet Archive in 2016 https://archive.org/details/spanishpaintingOOberu ) ) LIST OF ARTISTS WHOSE WORKS ARE REPRODUCED IN THIS VOLUME IN COLOURS PLATE El Greco (Domenico Theotocopuli) ( “ ” La Gloria de Felipe II The Glory of Philip II) . iii Francisco de Ribalta San Pedro ( Saint Peter) . vii Don Diego Rodriguez de Silva y Velazquez Venus y Cupido ( Venus and Cupid) ..... xii Francisco de Goya y Lucientes El Columpio ( The Swing) ...... xxiv Joaquin Sorolla Saliendo del Baho ( After Bathing) ..... xxxiii Luis Masriera Sombras Reflejadas ( Reflected Shadows) .... xxxvi Jose Pinazo Crepusculo Twilight xxxlx ( ....... Jose Benlliure Gil Haciendo Bolillos Lace-making xlii ( ) ..... Fernando Alvarez de Sotomayor Paisanas Gallegas ( Galician Peasant-women xlv ) .... Francisco Sancha Un Pueblo Andaluz ( An Andalusian Village) .... xlviii IN MONOTONE Hernando Yanez de la Almedina Santa Catalina ( Saint Catherine) ...... i Juan Pantoja de la Cruz Philip II . ii El Greco (Domenico Theotocopuli) San Pablo ( Samt Paul) ....... iv El Entierro del Conde de Orgaz ( The Burial of the Count o) Orgaz) v . vi Retrato de un Caballero ( Portrait of a Nobleman) . Francisco de Zurbaran El Beato Dominico Enrique Suzon ( The Dominican, Henry Suzon) viii Don Diego Rodriguez de Silva y Velazquez Calabacillas el Calabacillas the . ix Bufon ( , Buffoon) Las Meninas ( The Maids of Honour) x detail xi » m ,, » ( • • xiii Philip IV . Infante Baltasar Carlos ....... xiv detail • • • • • ,, „ „ ( ) xvi La Dama del Albanico ( The Lady with a Fan) .... Fray Juan Rizi de Guevara Un Caballero Joven (A Young Cavalier) ....
    [Show full text]
  • A Portrait by Jacob Esselens by Wolfgang Stechow - 3
    ALLEN MEMORIAL ART MUSEUM OBERLIN COLLEGE FALL 1963 The covet design by Forbes Whiteside is based upon his design for the Allen Memorial Art Museum monogram. ALLEN MEMORIAL ART MUSEUM BULLETIN VOLUME XXI, NUMBER 1 FALL 1963 Contents A Portrait by Jacob Esselens by Wolfgang Stechow - 3 Cezanne and a Pine Tree by Ellen H. Johnson - - - - 11 Viaduct at I'Estaque: A Footnote by Ellen H. Johnson 25 Christina of Denmark by Michael Coxie by Patricia Rose ----- 29 Nils Gosta Sandblad 52 Notes Baldwin Lecture Series 1963-64 53 Oberlin Archaeological Society - - - - - 53 Fall and Winter Exhibitions - - - - - 53 Friends of Art Film Series ----- 54 Loans to Museums and Institutions - - - - - 55 Friends of the Museum - - - - - - 57 Printed three times a year by the Department of Art of Oberlin College, Oberlin, Ohio. $6.00 a year, this issue $2.00; mailed free to members of the Oberlin Friends of Art. 1. Jacob Esselens, Portrait of a Lady Oberlin A Portrait by Jacob Esselens Again and again in the course of a comprehensive view of Dutch painting of the seventeenth century, one is struck by the phenomenon of a master of secondary rank surpassing his ordinary level of achieve­ ment and approaching that of the elect few. The circumstances in which this occurs vary: a special meeting of mind between teacher and pupil, the discovery of unsuspected developments in other artistic centers of the land, a journey abroad, a theme or a sitter holding a particular personal appeal to the painter — all these may accomplish it. No collection known to this writer can boast of more happv surprises of this kind than that of one of the great connoisseurs of our time, Mr.
    [Show full text]
  • Black Nobility
    DON TRUMP, IRAN, & BLACK NOBILITY BLACK NOBILITY PALLAVICINI Prince Moroello Diaz della Vittoria Pallavicini and his brother Prince Sigieri Diaz della Vittoria Pallavicini are top members of the international banking mafia and the primary owners of the Armenian Mafia with some financial interests in the Lucchese crime family. The Pallavicinis have an Austrian branch and also a Hungarian branch which manage some Slavic-Serbian mafia clans. The Pallavicinis are nobles of Milan, Rome, Vienna, and Genoa. The Genoese were the most dominant bankers for centuries. They financed the creation of what is today called the Bank of America and the Genoese nobles the Pallavicinis, Odescalchis, Dorias, and Cattaneos have covert shares in. Prince Sigieri Pallavicini has worked with Merrill Lynch stated on his business profile for Athena Investments and Bank of America owns Merrill Lynch. The Pallavicinis invest in crime families for the other Black Nobility. Mafias are business enterprises and it costs money to create them and costs money to protect them. Prince Moroello and Prince Sigieri have worked at various international banks and created Global Wealth Management Gwm a private investment firm in Italy, Malta, Switzerland, and Luxembourg and together with JP Morgan in December of 2019 purchased multiple buildings including one in front of the American embassy in Rome. The Pallavicinis have an Italian Muslim branch which are Imams in Milan with Prince Imam Yahya Sergio Yahe Pallavicini. The Pallavicinis are related to ancient Iranian royals and the Pahlavi dynasty which later established itself in Armenian as the Pahlavunis. Mohammad Reza Pahlavi the Shah or Iran was a Vatican Knight of the Order of the Golden Spur.
    [Show full text]
  • A Study of the Visual Representation of the Martial Political Identity of Philip
    A study of the visual representation of the martial political identity of Philip IV, through an analysis of palace decoration, festivals, book illustrations and prints. Keywords : Philip IV, visual culture, political identity. Un estudio de la representación visual de la identidad política marcial de Felipe IV, a través del análisis de la ornamentación palaciega, festivales, ilustraciones de libros e impresos. Palabras claves: Felipe IV, cultura visual, identidad política. «… pongamos ahora a contemplar a España: de yerro es esta ilustre Provincia, toda es Marcial, y bellicosa…»1. «Sepan pues todos los Principes del Mundo, que aunque sean Martes fortisimos, aunque sean altisimos como Saturno, aunque sea cada uno dellos un Iupiter en fortuna, y riquezas: si se apartaren del Sol esplendissimo de Espana, se abatiran aunque les pese: quando llegaren a hazerle oposicion, llegaran al Perigeo de su periodo, al lugar mas infimo de su infortunio»2. 1 Juan , Ἡσπανο-σθημα. Declaracion Mystica de Las Armas de España, Invictamente Belicosa, Brussels, Lucas de Meerbeque, 1636, p. 24. 2 Ibíd., p. 58. 134 uan Caramuel Lobkowitz’s Declaracion Mystica de Las Armas de España, Invictamente Belicosa3, published in 1636 and dedicated to the Cardinal Infante Ferdinand, gives voice to a renewed confidence J in Spain’s military capacity following the dedicatee’s victory over the Protestant forces at Nördlingen in 1634, as well as the successful defence of Louvain in 1635 where Caramuel participated as military engineer4. The symbolic importance of Nördlingen and its victorious general was made wholly apparent in 1635 in the elaborate arches and stages adorned with portraits, historical scenes, allegory and heraldry created in Antwerp under the direction of Peter Paul Rubens to celebrate both the victory and authority of Habsburg rule, that of both the Austrian and Spanish houses5.
    [Show full text]
  • Download Article
    This edition of the Technical Bulletin has been supported National Gallery Technical Bulletin by Mrs Charles Wrightsman volume 36 Titian’s Painting Technique from 1540 Series editor: Ashok Roy Photographic credits © National Gallery Company Limited 2015 All images © The National Gallery, London, unless credited All rights reserved. No part of this publication may be transmitted otherwise below. in any form or by any means, electronic or mechanical, including CAMBRIDGE photocopy, recording, or any storage and retrieval system, without © Fitzwilliam Museum, Cambridge: 51, 52. prior permission in writing from the publisher. CINCINNATI, OHIO Articles published online on the National Gallery website © Cincinnati Art Museum, Ohio / Bridgeman Images: 3, 10. may be downloaded for private study only. DRESDEN Gemäldegalerie Alte Meister, Staatliche Kunstsammlungen Dresden First published in Great Britain in 2015 by © Photo Scala, Florence/bpk, Bildagnetur für Kunst, Kultur und National Gallery Company Limited Geschichte, Berlin: 16, 17. St Vincent House, 30 Orange Street London WC2H 7HH EDINBURGH Scottish National Gallery © National Galleries of Scotland, photography by John McKenzie: 250–5. www.nationalgallery.co.uk FLORENCE British Library Cataloguing-in-Publication Data. Gabinetto dei Disegni e delle Stampe, Galleria degli uffizi, Florence A catalogue record is available from the British Library. © Soprintendenza Speciale per il Polo Museale Fiorentino, Gabinetto Fotografico, Ministero per i Beni e le Attività Culturali: 12. ISBN: 978 1 85709 593 7 Galleria Palatina, Palazzo Pitti, Florence © Photo Scala, ISSN: 0140 7430 Florence – courtesy of the Ministero Beni e Att. Culturali: 45. 1040521 LONDON Apsley House © Stratfield Saye Preservation Trust: 107. Publisher: Jan Green Project Manager: Claire Young © The Trustees of The British Museum: 98.
    [Show full text]