The Duty to Display Princely Perfection: Portraits of Carlos II as Child-King

Abstract

Extant likenesses of Carlos II accord with conventional representations of Philip IV’s other sons who survived infancy, princes Baltasar Carlos and Felipe Próspero. But while the two princes died before inheriting the throne, Carlos II actually succeeded his father as king. To acclaim the rule of a rey-niño, therefore, a new artistic genre evolved, the ‘palatine portrait’, which stressed the setting of a formal gallery as a classical stage on which to define the nature of majesty. This essay considers court portraits of the young Carlos II that mark notable thresholds of his life: his investiture with the Order of the Golden Fleece (1665); his tutoring in a Habsburg curriculum of formal studies under Queen Mariana’s guidance (1666); his physical education in traditional skills of the hunt and mastery of equestrian exercises (1670); his training in the use of his father’s administrative office; and his schooling in the arts of diplomacy which culminated in the attainment of his majority (1675).

Notes

1 Jonathan Brown and John Elliott, A Palace for the King, The Buen Retiro and the Court of Philip IV (New Haven-London, 1980; 2004 rev. edn); Barbara von Barghahn, Philip IV and the ‘Golden House’ of the Buen Retiro: In the Tradition of Caesar, 2 vols (New York-London, 1986); María Teresa Chaves Montoya, ‘El Buen Retiro y el Conde Duque de Olivares’, Anuario Dept. Historia y Teoría del Arte 4 (Madrid, 1992), pp. 217-30.

2 Alfonso E. Pérez Sánchez, ‘Las colecciones de pintura del Conde de Monterrey (1653)’, Boletín de la Real Academia de Historia 174 (1977), pp. 417-59; Andrés Úbeda de los Cobos, ‘El Ciclo de la Historia de Roman Antigua’, in Andrés Úbeda de los Cobos et al., El Palacio del Rey Planeta. Felipe IV y el Buen Retiro (Madrid, 2005), pp. 169-239; Von Barghahn, Philip IV and the ‘Golden House’, pp. 44-62, 124-36.

3 M. Owen Lee, Fathers and Sons in Virgil’s Aeneid. Tum Genitor Natum (Albany, 1979); G. Karl Galinsky, Aeneas, Sicily and Rome (Princeton, 1969); Marie Tanner, The Last Descendant of Aeneas. The Hapsburgs and the Mythic Image of the Emperor (New Haven, 1993).

4 Jesús María González de Zárate, ‘El retrato en el barroco y la Emblemática: Velázquez y La lección de equitación del príncipe Baltasar Carlos’, Boletín del Museo e Instituto Camón Aznar 27 (1981), pp. 27-38; Alejandra Franganillo, ‘The Education of an Heir to the Throne: Isabel of Borbón and Her Influence on Prince Baltasar Carlos’, in Grace E. Coolidge (ed.), The Formation of the Child in Early Modern Spain (New York-London, 2016), pp. 143-63, p. 155.

5 Carmen Ariza Muñoz, Los Jardines del Buen Retiro, 2 vols (Madrid, 1990).

6 Francisco Guillén Robles, ‘El Casón del Buen Retiro’, Catálogo del Museo de Reproducciones Artísticas (Madrid, 1912), pp. xxiii-xxv.

7 Enriqueta Harris, ‘Velázquez’s Portrait of Prince Baltasar Carlos in the Riding School’, The Burlington Magazine 118, no. 878 (1976), pp. 266-73, p. 275; José Álvarez Lopera, ‘Diego Velázquez (1599–1660), La Lección de equitación del principe Baltasar Carlos, ca. 1639–1640’, El Palacio del Rey Planeta, pp. 75-7.

8 John H. Elliott and José F. de la Peña, Memoriales y cartas del Conde-Duque de Olivares, 2 vols (Madrid, 1978-80), vol. 2, document XIIc; Angel González Palencia, La Junta de Reformación (Valladolid, 1932); Eulogio Zudaire Huarte, ‘Ideario político de D. Gaspar de Guzmán, privado de Felipe IV’, Hispania 25 (1965), pp. 413-25.

9 Juan Mateos, Origen y dignidad de la caza (Madrid, 1982); Matilde López Serrano, ‘Reflejo Velázqueño en el Arte del Libro Español de su Tiempo’, Varia Velázqueña, Homenaje a Velázquez en el III Centenario de su muerte, 1660–1960, 2 vols (Madrid, 1960), vol. 1, pp. 499-513, pp.505-6.

10 Glòria Fernández Baytón, Inventarios Reales. Testamentaría del Rey Carlos II. 1701–1703, 3 vols (Madrid, 1975), vol. 2, p. 253: Historia de Alejandro Magno: No. 291 (six panels) and No. 295 (five panels).

11 Julián Gállego, ‘El principe Baltasar Carlos en el picadero’, in Antonio Domínguez Ortíz, Alfonso E. Pérez Sánchez, and Julián Gállego (eds), Velázquez (Madrid, 1990), pp. 247-54, pp. 252-3; Walter A. Liedtke and John F. Moffitt, ‘Velázquez, Olivares, and the Baroque Equestrian Portrait’, The Burlington Magazine 123 (1981), pp. 529-37; Martín Warnke, ‘Das Reiterbildnis des Balthasar Carlos von Velázquez’, in Kurt Badt and Werner Gross (eds), Amici Amico. Festschrift für Werner Gross zu seinem 65. Geburtstag am 25.11.1966 (Munich, 1968), pp. 217-27.

12 John H. Elliott, The Count-Duke of Olivares. The Statesman in an Age of Decline (New Haven, 1986), pp. 18-19, 138, 140.

13 Andreas Gehlert, ‘“¡O Zaragoza, y quánto perdiste!”, la elegía de Velázquez a la muerte del príncipe heredero Baltasar Carlos en Zaragoza en 1646’, Boletín del Museo e Instituto Camón Aznar 105 (2010), pp. 97-156.

14 On this practice, see Luis Cortés Echánove, Nacimiento y Crianza de personas reales en la corte de España: 1566-–1884 (Madrid, 1958), pp. 33-35.

15 Francisco Javier Sánchez Cantón, Los Pintores de Cámara de los Reyes de España (Madrid, 1916), p. 95.

16 Varia Velazqueña, vol. 2, Document 209; Archivo Histórico Protocolos de Madrid, Protocolo de Juan de Burgos, N.^o 8.137, Año 1660, folios 693-709: Inventario de los Bienes que dejaron a su muerte D. Diego de Silva Velázquez y su Mujer D^a Juana Pacheco; Francisco Javier Sánchez Cantón, ‘Como vivía Velázquez’, Archivo Español de Arte 15 (1942), pp. 69-91.

17 Mercedes Llorente, ‘Portraits of Children at the Spanish Court in the Seventeenth Century: The Infanta Margarita and the Young King Carlos II’, Bulletin for Spanish and Portuguese Historical Studies 35 (2010), pp. 30-47, p. 32.

18 Franganillo, ‘The Education of an Heir’, pp. 152-4, informs Juan de Issasi Idiáquez, first count of Pie Concha was Baltasar Carlos’s tutor in 1634, the same year Mazo became his drawing master as Usher of the Prince’s Chamber. The guitarist Pablo de Herrera and violinist Manuel de Vega trained Baltasar Carlos in music.

19 Franganillo, ‘The Education of an Heir’, pp. 152-4; Mercedes Llorente, ‘Mariana of Austria’s Portraits as Ruler-Governor and Curadora by Juan Carreno de Miranda and Claudio Coello’, in Anne J. Cruz and Maria Galli Stampino (eds), Early Modern Habsburg Women. Transitional Contexts, Cultural Conflicts, Dynastic Continuities (Farnham-Burlington, 2013), pp. 197-222, p. 200.

20 Álvaro Pascual Chenel, ‘La construcción visual de la imagen regia durante el reinado de Carlos II. Simulacros de Majestad y propaganda política’, in Bernardo J. García García and Antonio Álvarez-Ossorio Alvariño (eds), Vísperas de Sucesión. Europa y la Monarquía de Carlos II (Madrid, 2015), pp. 297-331, pp. 300-1.

21 Luis Ribot, ‘El rey ante el espejo: Historia y memoria de Carlos II’, in Luis Ribot (ed.), Carlos II: El rey y su entorno cortesano (Madrid 2010), pp. 12-52.

22 Silvia Z. Mitchell, ‘Growing Up Carlos II: Political Childhood in the Court of the Spanish Habsburgs’, in The Formation of the Child, pp. 189-206 (see essays on Habsburg children by Martha K. Hoffman, Alejandra Franganillo and Laura Oliván Santasliestra in Part 2, ‘Children at Court’ in this same informative book). Also see Martha K. Hoffman’s study of the children of Philip III, Raised to Rule. Educating Royalty at the Court of the Spanish Habsburgs, 1601–1634 (Baton Rouge, 2011).

23 Alphonse-Jules Wauters, ‘David Teniers et son fils le troisième du nom’, Annales de la Société d’Archéologie de Bruxelles 11 (1897), pp. 5-40; Hans Vlieghe, ‘David Teniers II en David Teniers III als patroonschilders voor de Tapijtweverijen’, Artes Textiles 5 (1959–60), pp. 78-102. Teniers II, court artist of Archduke Leopold Wilhelm (1647), also served don Juan José of Austria in the Netherlands (1656).

24 Enrique Pardo Canalis, ‘Don Luis Guillén de Moncada, duque de Montalto’, Goya:Revista de Arte 139 (1977), pp. 20-1. Moncada was elevated to cardinal (1667).

25 Montalto’s individual file is in the Archivo del Palacio, Madrid (herafter AGP), Personal, Caja 696, expediente 7. My thanks are given to Silvia Z. Mitchell for providing this information.

26 Spanish rulers were neither anointed or consecrated, and therefore, the bestowing of the Order of the Golden Fleece was a notable event. Álvaro Pascual Chenel, ‘La construcción visual’, pp. 297-331; Idem,. ‘El retrato de Estado durante el reinado de Carlos II. Imagen y propaganda’, PhD diss., Universidad de Alcalá de Henares, 2010.

27 For these double-portraits consult: Álvaro Pascual Chenel, ‘Retórica del poder y persuasión política. Los retratos dobles de Carlos II y Mariana de Austria’, Goya: Revista de Arte 331 (2010), pp. 124-45; idem, El retrato de Estado, pp. 45-52; Mercedes Llorente, ‘Imagen y autoridad en una regencia: los retratos de Mariana de Austria y los límites del poder’, Studia Historica. Historia Moderna 28 (2006), pp. 211-38.

28 Silvia Z. Mitchell, ‘Habsburg Motherhood: The Power of Mariana of Austria, Mother and Regent for Carlos II of Spain’, in Anne J. Cruz and Maria Galli Stampino (eds), Early Modern Habsburg Women. Transitional Contexts, Cultural Conflicts, Dynastic Continuities (Farnham, 2013), pp. 174-94, pp. 178-9 (tutor, governor with Regency Council, curador) and at 179-81 (king’s household of men established April 14, 1675). For Carlos II’s entourage, consult Mitchell, ‘Growing up Carlos II’, pp. 195-7. See Llorente, ‘Mariana of Austria’s Portraits’, p. 218 (1666 and 1686 inventories of the Madrid Alcázar regarding changes to royal patrimony); 209 (Alcázar’s Ruby Room).

29 Adolf Martínez Ruiz, ‘Francisco Ramos del Manzano y la Educación de Carlos II’, Chronica Nova 12 (1981), pp. 127-33; Fernando Jesús Bouza Alvarez, ‘La herencia portuguesa de Baltasar Carlos de Austria: El Directorio de fray António Brandão para la educación del heredero de la monarquía católica’, Cuardernos de Historia Moderna 9 (1998), pp. 47-61.

30 Francisco Ramos del Manzano, Reynados de Menor Edad (Madrid, 1672).

31 For legalities of the succession, see María del Carmen Sevilla González, ‘La Junta de Gobierno de la minoridad del Rey Carlos II’, in José Antonio Escudero (ed.), Los Validos (Madrid, 2005), 583-616.

32 No plan exists of the Quarto Bajo del Verano. However, a study of this sector of the palace is provided by Gloria Martínez Leiva and Ángel Rodríguez Rebollo, El inventario del Alcázar de Madrid, de 1666, Felipe IV y su colección artística (Madrid, 2015), pp. 109-49. Also consult José Manuel Barbeito, El Alcázar de Madrid (Madrid, 1993), pp. 154-5.

33 Francisco de los Santos, Descripcion breue del monasterio de S. Lorenzo el Real del Escorial (Madrid, 1667), f. 100v. See Miguel Morán Turina, ‘Carlos II y El Escorial’, in Luis Ribot (ed.), Carlos II. El rey y su entorno cortesano (Madrid, 2009), pp. 220-8, at 225-7. Bonaventura Bassegoda, El Escorial como museo. La decoración pictórica mueble en el Monasterio del El Escorial desde Diego Velázquez hasta Frédéric Quilliet (1809) (Barcelona, 2002), pp. 219-35.

34 Javier Portús (ed.), Velázquez. Las Meninas and the Late Royal Portraits (Madrid-London, 2014), pp. 108-13; Pascual Chenel, ‘La construcción visual’, pp. 301-2.

35 Paul Ackroyd, Dawson Carr and Marika Spring, ‘Mazo’s Queen Mariana of Spain in Mourning’, National Gallery Technical Bulletin 26 (2005), pp. 43-55; Mercedes Llorente, ‘Queen Mariana of Austria as Regent and the Boundaries of her Power in Mazo’s Portrait’, Object 12 (2010), pp. 24-40; Yves Bottineau, ‘A Portrait of Queen Mariana in the National Gallery’, Burlington Magazine 97 (1955), pp. 114-16 and 98 (1956), 68-75. See also Álvaro Pascual Chenel, ‘Entre regentes y consortes. Mujer, poder y cultura política en el retrato de las reinas de la Monarquía de España durante la Edad Moderna’, in Cristina Bravo Lozano y Roberto Quirós Rosado (eds), La corte de los chapines: mujer y sociedad política en la monarquía de España, 1649–1714 (Rome, 2018), pp. 241-342; Rocío Martínez, ‘La legítima sucesora: el uso político de la imagen de la infanta Margarita de Austria’, in Carme López Calderón, Inmaculada Rodríguez Moya, y María de los Ángeles Fernández Valle (eds), Iberoamérica en perspectiva artística. transferencias culturales y devocionales (Castellón de la Plana, 2016), pp. 339-59; Alfonso Rodríguez G. de Ceballos, ‘Retrato de Estado y propaganda política: Carlos II (en el tercer centenario de su muerte)’, Anuario del Departamento de Historia y Teoría del Arte 12 (2000), 93-109.

36 José María de Azcárate, ‘Noticias sobre Velázquez en la corte’, Archivo Español de Arte 33 (1960), pp. 357-85, pp. 367-73; Antonio Bonet Correa, ‘Velázquez arquitecto y decorador’, Archivo Español de Arte 33 (1960), pp. 215-49, pp. 225-7 and 233-5; Yves Bottineau, ‘Antoine du Verger et l’Alcázar de Madrid en 1711’, Gazette des Beaux-Arts, 6^th ser., 77 (1976), pp. 178-80; Barbeito, El Alcázar de Madrid, pp. 157-73 (Pieza Ochavada); Idem,‘Velázquez y la decoración escultórica del Alcázar’, Velázquez: Esculturas para el Alcázar, exhibition catalogue (Madrid, 2007), pp. 113-32.

37 Martínez Leiva and Rodríguez Rebollo, El inventario del Alcázar de Madrid de 1666, pp. 52-61, inclusive of scale drawings by Daniel Martínez Díaz; Barbeito, ‘Velázquez y la decoración escultorica del Alcázar’, pp. 112-31, pp. 121-2; Barbeito, El Alcázar de Madrid (1992), pp. 110, 169-70.

38 Luc Smolderen, ‘Bacchus et les sept Planètes’ par Jacques Jonghelinck’, Revue des Archéologues et des Historiens d’Art de Louvain 10 (1977), pp. 102-43.

39 For the setting of Las Meninas and other relevant discussions about the work, consult Fernando Marías Franco (ed.), Otras Meninas (Madrid, 1995). Also see Martínez Leiva and Rodríguez Rebollo, El Inventario del Alcázar de Madrid de 1666, pp. 97-107; Mercedes Llorente, ‘Prince Baltasar Carlos’s Chamber in Las Meninas’, Bulletin for Spanish and Portuguese Historical Studies, 40 (2015), pp. 89-104.

40 Lorenzo Magalotti (1637–1712), Viaje de Cosme de Médici por Espana y Portugal (1668–1669), eds Angel Sánchez Rivero and Angela Mariutti de Sánchez Rivero, 2 vols (Madrid, 1933), vol. 1, pp. 114-17, 123, and 136. Harold Acton, The Last Medici (London, 1958 ed.), p. 103; Neil MacLaren, National Gallery Catalogues: The Spanish School (London, 1952), pp. 27-9 and 52-4.

41 Eighteen paintings were commissioned for the Alcázar’s Octagonal Hall and Bóvedas by Cardinal-Infante Ferdinand according to dispatches to Madrid (22 June and 22 July 1639). Max Rooses and Charles Ruelens, Correspondance de Rubens et documents épistolaires concernant sa vie et ses œuvres, publiés, traduits, annotés, 6 vols (Antwerp, 1887-1909), vol. 6, pp. 232 and 237; Steven N. Orso, Philip IV and the Decoration of the Alcázar of Madrid (Princeton, 1986), pp. 153-62; Yves Bottineau, ‘L’Alcázar de Madrid et l’Inventaire de 1686’, Bulletin Hispanique 60 (1958), pp. 57-9; Arnout Balis, Rubens’s Hunting Scenes, Corpus Rubenianum Ludwig Burchard XVIII (London, 1986); Alejandro Vegara, Rubens and his Spanish Patrons (Cambridge, 1999), pp. 131-3; Peter C. Sutton and Marjorie E. Wieseman (eds) with Nico van Hout. Drawn by the Brush: Oil Sketches by Peter Paul Rubens (New Haven, 2004): Diana and Nymphs hunting Fallow Deer; Death of Sylvia’s Stag; Hercules strangling the Nemean Lion; Bear Hunt.

42 Bottineau, ‘A Portrait of Queen Mariana in the National Gallery’, pp. 114-16; MacLaren, National Gallery Catalogues, pp. 52-4.

43 The play La fiera, el rayo y la Piedra was first performed on 22 December 1651, Queen Mariana’s birthday. See Frederick A. de Armas, ‘The Art of Making Gods: Hermeticism and Spectacle in La fiera, el rayo y la Piedra’, in Manuel Delgado Morales (ed.), The Calderonian Stage. Body and Soul (Lewisburg, 1997), pp. 45-68, pp. 51-2 and 239 n. 39 (máscara with dancers signifying Ptolemaic planets and zodiac signs). De Armas addresses: the astral-Hermetic aspects of the play and Calderón’s elevation of Philip IV as the Sun Planet accompanied by Aurora; the playwright’s confluence of two enemy goddesses, Diana-Luna and Venus; and syncretism of the Virgin Mary with the chaste Diana and Venus, a goddess identified with the ‘Morning Star’. Maintaining the Queen was equated with Luna, the reflection of the king’s light, De Armas informs Mariana’s name was changed to ‘Diana’ in laudatory poetry. Everett W. Hesse, ‘Court References in Calderón’s Zarzuelas’, Hispanic Review 15 (1947), pp. 365-77, p. 370 (‘Mari-Diana’ in Calderón’s loa to El golfo de las sirenas). Calderón’s play La fiera, el rayo y la Piedra highlights the stories of Anaxarete and Pygmalion, narratives that pertain to the animation of sculpture. The play was performed the same year the Octagonal Hall was furnished with additional bronzes — Satyr, Orator, Athlete with a Discus (Palacio Real, Madrid).

44 De Armas, ‘The Art of Making Gods’, p. 50.

45 Juan Allende-Salazar and Francisco Javier Sánchez Cantón, Retratos del Prado (Madrid, 1919), p. 237; José Moreno Villa, Locos, enanos, negros y niños palaciegos: gente de placer que tuvieron los Austrias en la Corte Española desde 1563 a 1700 (Mexico City, 1939), pp. 125-30; Fernando Jesús Bouza, Locos, enanos y hombres de placer (Madrid, 1996); Paloma Sánchez Portillo, ‘En torno a las Meninas: Algunas noticias de Nicolás Pertusato’, Anales de Historia del Arte 12 (2002), pp. 149-66.

46 Ángel Aterido, ‘Pintores y pinturas en la corte de Carlos II’, in Luis Ribot (ed.), Carlos II. El rey y su entorno cortesano (Madrid, 2009), pp. 186-218, p. 188, cites (p. 215: n. 7), [Archivo General de Simancas], Contaduría Mayor de Cuentas III, leg. 1.306 Journals, 21 and 30 June 1677.

47 Aterido, ‘Pintores y pinturas en la corte de Carlos II’, p. 214, n. 6, payment for the gilding ‘un carroçita pora Juegue su Mgd. en los Salones’, AGP Adm., leg. 5.264 (1668–71).

48 Aterido, ‘Pintores y pinturas en la corte de Carlos II’, p. 189 and n.10-11. See also Marcelo Aranda, ‘Instruments of Religion and Empire: Spanish Science in the Age of the Jesuits, 1628–1756’, PhD diss., Stanford University, 2013, who devotes an entire chapter to the gift.

49 Varia Velazqueña, vol. 2, Document 181, 300: Memorial de Juan Bautista Martínez del Mazo al Rey pidiendo el Paso de la Plaza de Ujier a su Hijo Gaspar, por haber sido el nombrado Ayuda de la Furriera (AGP, Felipe IV, Casa, Leg. 79, N.^o 360; Petitions by Mazo dated 3 and 7 October 1658). Mazo served Diego Velázquez as Keeper of the Keys to Aranjuez Palace on 13, 14 and 18 January of 1658. Varia Velazqueña, vol. 2, Document 178, p. 299 (27 March 1658: AGP, Felipe IV, Casa, Leg. 79, N.^o 431). See Varia Velazqueña, vol. 2, Document 211, p. 401 (13 October 1660-December: AGP, Pago al Nieto de Velázquez, Gaspar Mazo, de la pensión otorgada por el Rey); Juan Antonio Gaya Nuno, ‘Juan Bautista del Mazo, El Gran Discípulo de Velázquez’, Varia Velazqueña, vol. 1, pp. 472-3; Sánchez Cantón, Los Pintores de Cámara de los Reyes de España, pp. 95-6; Pascual Chenel, Álvaro, El retrato de Estado, pp. 43, 352-3 cat. PC11.

50 Elizabeth du Gué Trapier, ‘Martínez del Mazo as a Landscapist’, Gazette des Beaux-Arts 61 (1963), pp. 293-310.

51 Baltasar Carlos with a Musket (Madrid, Museo del Prado), and another version, Baronscourt, County Tyrone, Ireland, Collection of the Duke of Abercorn, both dated ca. 1635–6. Baltasar Carlos was given a toy gun by Francesco I d’Este, duke of Modena to mark his inauguration as knight of the Golden Fleece (24 October 1638).

52 Variants exists (Palacio Real, Madrid; Hermitage, St. Petersburg). See Álvaro Pascual Chenel, ‘Un nuevo retrato ecuestre de Carlos II, por Herrera Barnuevo’, Archivo Español de Arte 78, No. 310 (2005), pp. 170-83; Idem, ‘Sebastián de Herrera Barnuevo y los retratos ecuestres de Carlos II durante su minoría de edad. Fortuna iconográfica y propaganda política’, Reales Sitios, 182 (2009): pp. 4-27. Aterido, ‘Pintores y pinturas en la corte de Carlos II,’ pp. 202, 216 n. 52.

53 Miguel Hermoso Cuesta, ‘Los retratos ecuestres de Carlos II y Mariana de Neoburgo por Lucas Jordán. Una aproximación a su studio’, Artigrama 14 (1999), pp. 293-304; Luis Ribot, ‘El rey ante el espejo: Historia y memoria de Carlos II’, in Ribot (ed.), Carlos II: El rey y su entorno cortesano, p. 24.

54 A similar version in The Hermitage, St. Petersburg, shows the Madrid Alcázar’s Hall of Mirrors and royal balcony of the southern façade. A single erote holds the king’s crown. The appointments of the salón grande come to life. An animated eagle grasps a sword and laurel wreath and a lion with a scepter paws the globe. José Luis Sancho and José Luis Souto, ‘El arte regio y la imagen del soberano’, in Luis Ribot (ed.), Carlos II. El rey y su entorno cortesano (Madrid, 2009), pp. 166-85, especially pp. 167-75; José Luís Souto y José Luís Sancho, ‘El primer retrato del rey: una composición alegórica dibujada por Herrera Barnuevo’, Reales Sitios 184 (2010), pp. 42-63; Víctor Mínquez, ‘El espejo de los antepasados y el retrato de Carlos II en el Museo Lázaro Galdiano’, Boletín del Museo e Instituto Camón Aznar 45 (1991), pp. 71-81; Diego Angulo Iñiguez, ‘Herrera Barnuevo y el retrato de Carlos II del Museo de Barcelona’, Archivo Español de Arte 137 (1962), pp. 71-2.

55 Llorente, ‘Mariana of Austria’s Portraits’, pp. 199-200, provides documentation for sixteen portraits of Carlos II and Mariana, inclusive of miniatures (1671–7) and their destinations; Idem, ‘Imagen y autoridad’ pp. 211-28; Steven N. Orso, ‘A Lesson Learned: Las Meninas and the State Portraits of Juan Carreño de Miranda’, Record of the Museum Princeton University 41(1982), pp. 24-34; Alfonso E. Pérez-Sánchez, Juan Carreño de Miranda (1614–1685) (Avilés, 1985), pp. 75-6; Carreño, Rizi, Herrara y la Pintura Madrileña de su Tiempo (1650–1700), exhibition catalogue (Madrid, 1986); Pascual Chenel, El retrato de Estado, pp. 87-145.

56 Inventories of royal houses after Carlos II’s death verify he sought to keep the Patrimony intact. The 1701–3 inventory of the Buen Retiro ([AGP], IG-112, folios 474-586), reveals galleries remained substantially the same since installation under Philip IV. The 20 February 1640 fire resulted in some shifting of art from original placement about 1634–5, i.e. Hall of Realms and antechambers. The Retiro’s holdings were augmented by Luca Giordano’s paintings in the Casón [Queen’s Ballroom, vault fresco], and hermitages of the outlying gardens. Carlos II’s concern for heritage has been addressed by Aterido, ‘Pintores y pinturas en la corte de Carlos II’, pp. 206-8 and Appendices 212-14.

57 Rosemary A. Marzolf, ‘The Life and Work of Juan Carreño de Miranda (1614–1685)’, Ph.D. diss., Ann Arbor, 1961, pp. 202, 226-9.

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Barbara von Barghahn

Barbara von Barghahn is the Chair of Art History at the George Washington University. In 1993 President Mario Soares of Portugal conferred on her the title O Grão Comendador (Knight: 3rd tier) of the Order of Prince Henrique the Navigator for her academic and scholarly achievements. She is author of three books on Iberian court art, the latest of which is Jan van Eyck and Portugal’s “Illustrious Generation” (2014). Her additional publications concern cultural crosscurrents between Flanders, Spain, Portugal and the Americas. She has been a primary curatorial advisor for exhibitions in the United States and Europe, and has served as consultant to international cultural institutions.