Monarquía y virtud: estudio iconográfico del fresco de la bóveda de la Cámara de la Reina Margarita de Austria en el palacio de El Pardo
DOI:
https://doi.org/10.3989/aearte.2002.v75.i299.332Keywords:
Painting, Frescos, 1607, Dawn, MonarchyAbstract
If Felipe II in 1560 opted for a rich and sensual decoration for the private quarters of the El Pardo Palace, in 1607, after the 1604 fire, Felipe III approved a new program centered on the metaphor of the Catholic court adorned with all the theological and cardinal virtues. The intention of the decorative program of this vault appears to be explicit: the Spanish monarchy, personified by the Queen, mother of the heir, announces a new and happy dawn. The excellence of virtue as an attribute of the Queen - and above all, mother of the future king - is conceived in this decoration using a symbolic language in which mythological elements, emblems and sophisticated allegories are combined. Even within the iconographic program of a palace used by the Monarchy as a place of recreation, the private rooms demonstrated a system of thought controlled by the strictest Counter-Reformation decorum.
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