Log In Sign Up. Black and the Royal Image. He La historia imaginada. Mayer y la pintura Austrias. Nacionalismo y arte moderno Continued on back flap In association with: It incor- porates all the colours, as it is the sum of the rest, and it is therefore the negation of colour because it absorbs all colours. In the history of western civilization, black has traditionally had a sinister meaning owing to its associations with darkness and night, death, mourning and sorrow.
However, throughout the history of costume, black has fascinated wearers for its visual and symbolic power, laden as it is with meanings that are often far from negative.
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In our culture black clothing was associated for centuries with political and spiritual power and stood for an unchangeability that was almost opposed to fashion — if we take fashion to mean change, novelty and movement. Indeed, during the last century it made its full appearance in clothing with a broad variety of intentions — it could be the colour of rebellion and transgression, but also became established as the colour of etiquette, distinction and elegance as we are used to seeing in our own day.
The reasons for this choice appear to date back to the first decades of the fifteenth century, when black burst on to the scene during the apogee of the duchy of Burgundy, a court famous for its magnificence and accustomed to sumptu- ous, brightly coloured outfits. There Philip the Good was first to wear it as a sign of mourning for his father, John the Fearless, assassinated by the French in The fact that he later continued to dress in black, adopting it as his favourite and only colour fig.
Adorned with the collar of the Golden Fleece, his black attire took on a religious connotation, becom- 1. Black was thus infused with an even graver character, becoming synonymous with Christian piety. Admittedly, documentation of this type is not abundant and during an entire century the rules of the Royal Household were largely transmitted orally, thanks to the memories of successive generations; it was not until the middle of the century that the compilation generally used by scholars of the Spanish Golden Age court was made, in which we search in vain for references to black as the standard dress code.
But even before that, the grandson of Maximilian I and the Catholic Monarchs had stressed his Burgundian roots and his wish to revive Christian chivalry by sporting the collar of the order of the Golden Fleece on all grand occasions. The identification of his kingdom with the idea of a crusade was one of the aims of the extensive international campaign that forged his reputation in Europe: According to his pro- pagandists, Charles displayed it in his customs with a wise combination of moderation and magnificence — a royal decorum that made the modesty of his 4.
Implicitly contrasting with the sump- tuousness of other colours, black was interpreted as an expression of moral virtue. Flemish artist, Charles V, c. Spanish black, Italian black Perhaps Charles would not have been so inclined towards black had he not been steered towards it by an already existing trend in Spanish dress. Sebastiano del Piombo, Andrea Doria, 6b. Titian and Lambert Sustris, c.
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Jan Gossaert, Francisco de los Cobos, 7b. Spanish artist, Diego Hurtado de Mendoza, c. The drawings that illustrate this manuscript — now in the Germanisches Nationalmuseum in Nuremberg11 — provide various examples of black worn not only as a sign of mourn- ing but also as an everyday colour by people of varying status: Several point out that before Naples became the 9. This custom, viewed as an expression of his devout and humble character, was later taken up by his son Ferrante — and the Neapolitan court, which uniformly adopted dark clothing as a reflection of the sober taste of its kings from the middle of the Quattrocento onwards.
There is perhaps no point in discussing whether the colour was genuinely Italian or the result of Spanish influence; whatever the case, the formal and chronological parallels in the development of Lombard and Spanish fashion during the period of Habsburg rule are splendidly confirmed by the large gallery of male portraits by Giovanni Battista Moroni, prominent among which is the refined Cavaliere in nero in the Museo Poldi Pezzoli fig.
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Giovanni Battista Moroni, Gentleman in Black, c. When Philip, still a prince, first travelled to England to marry Mary Tudor in , black velvet commonly featured in the outfits he sported for his introduc- tion to the foreign court. Anthonis Mor, Philip II, c. Anthonis Mor painted him clad in black velvet and white satin, both fabrics embroidered with gold and silver fig. Sofonisba Anguissola, Philip II, 12b. Sofonisba Anguissola, Anne of Austria, c. Tintoretto evoked the royal entry into Mantua fig.
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El Greco, Allegory of the Holy League, term: From America to Europe The international spread of Spanish black found its best ally in a large-scale mercantile phenomenon — the introduction to Europe of dyes from the New World. Cochineal Dactylopius coccus , The new dyestuffs solved two major challenges posed to master dye makers for some time: Imports of these bugs exceeded those of all other colorants brought from the New World, as cochineal dye was highly appreciated for the intense luminosity and slightly orangey hue of its reds. Another means of achieving black was through the successive super- imposition of primary colours, but even then this painstaking process did not guarantee a deep black.
Both methods were often combined, but the fabrics ended up smelling so foul that they then needed to be boiled with soap and left to soak with aromatic herbs for twenty-four hours.
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Too many complications for a result that was unsatisfactory and further- more expensive, making black the colour of wealthy people and, accordingly, a mark of social distinction. Known as palo campeche, this red wood was found in Campeche bay in Mexico and its discovery and dissemination throughout Europe via the Iberian Peninsula can be described as revolutionary. Obtained by boiling chips of this wood and allowing them to reach fermentation point, the new dye began to be applied to fabrics in a process which, although lasting five or six days, hugely simplified the previous distill- ing and ineffective methods and resulted in a deep, lustrous jet-black that was called ala de cuervo lit.
It was adopted as a sort of uniform by the European princes raised at the Madrid court, such as Ferdinand I of Habsburg, of whom there is a suit in Prague Castle fig. Artist from Le Marche Italy , In his opinion, the moral authority and austere style of the great reformers had repercussions on the civilian dress of the period, which embodied the severe and combative spirit of its chiefs.
As the ground we are now treading is explored by other authors in this book, let us now return to the Iberian Peninsula to continue studying the survival of black at the Habsburg court during the seventeenth century. It is foreign more than national observers who give us a better idea of the idiosyncratic nature of the Spanish way of dressing in that period.
It is not surprising to learn that black was predominant in this careful observation, either alone or combined with brighter colours. Although literary sources confirm that black continued to be worn at the court in the early seventeenth century, they do not refer to Philip III dressing in the same way as his father; on the contrary, he seems to have wished to strike a difference by sporting opposite colours and luxurious details: Knowing that the king insisted on being represented in a lifelike manner — even if it meant showing his facial flaws59 — we may conclude from this iconography that he wore black from the start to the finish of his long reign —65; fig.
He therefore carried on an iconographic tradition that was part of the legacy of his blood- line, which had made black a visual metaphor of Habsburg greatness. John Closterman, Alexander Stanhope, —99, oil on canvas, x cm, peace with Europe. As such, it often Kent, The Administrative Trustees received high-ranking diplomatic missions of the Chevening Estate and was the starting point for strategic marriage alliances with other crowns.
To put it in a way relevant to this study: In this case the equation is illus- trated by a few examples of how foreigners perceived and practised the distinction of the Spanish court. New Product November 01, White Paper October 23, Application Note September 14, New Product September 10, White Paper July 11, Scientific Articles June 04, White Paper May 14, Featured Page April 25, Application Note April 01, New Investigator Program Setting up a new lab?
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