Women’s Fashions and Politics in Seventeenth-Century Spain: The Rise and Fall of the Guardainfante *
Abstract Women’s clothes were at the center of political debate in the Spain of Philip IV (r. 1621–65), and no garment inspired more controversy than the wide-hipped farthingale, or hoopskirt, known as the guardainfante. Considered scandalous with its reputation for hiding illicit pregnancies, the guardainfante was banned in 1639. Nonetheless, the guardainfante became more popular than ever and turned into an enduring icon of Golden Age Spain during the reign of Philip’s second queen, Mariana of Austria (1649–65). Despite the guardainfante’s high level of visibility, most notably in court portraits by Diego Velázquez, very little is known about the historical experiences of the women who wore it. This article demonstrates that real women really did wear the guardainfante in a variety of contexts outside of portraiture and the theater. In Madrid and in cities throughout the Spanish empire, women of different stations and convictions participated in the political culture of their times by making, disseminating, and debating this controversial garment.
Signs of Identity in Lady with a Fan by Diego Velázquez: Costume and Likeness Reconsidered
The sitter in Lady with a Fan by Diego Velázquez has long defied identification, perhaps because vital clues in the portrait itself have been overlooked or misinterpreted. This essay analyzes the sitter's costume and attributes in view of seventeenth-century notions of decorum, national identity, and fashion. The identification of the sitter with Marie de Rohan, duchess of Chevreuse—a French aristocrat known to have been painted by Velázquez in Madrid in 1638—is proposed and supported with evidence from contemporary visual sources and documents, leading to a new reading of the portrait.
The Paradox of Perfection: Reproducing the Body Politic in Late Renaissance Venice
The gorgons had thus the same effect as paradoxes. For paralysis means: immobility; and immobility: to be unable to observe (Niklas Luhmann).Niklas Luhmann, “Sthenographie und Euryalistik,” Paradoxien, Dissonanzen, Zusammenbrüche, Hans Ulrich Gumbrecht und K. Ludwig Pfeiffer, eds. (Frankfurt a. M., 1991), 58. Recently, the “paradoxical” character of sixteenth-century Venetian politics and culture has become the focus of attention among scholars of early modern Venice. In her book on City Culture and the Madrigal at Venice, Martha Feldman states that “Venice was above all a paradoxical city,” given the “divided consciousness” of Venetians whose urban culture oscillated “in a peculiarly ambivalent counterpoise” to contemporary court culture.Martha Feldman, City Culture and the Madrigal at Venice (University of California Press, 1995), 10. Margaret Rosenthal has examined how Veronica Franco, poetess and prostitute in sixteenth-century Venice, portrayed herself as an “honest courtesan,” ingeniously appropriating the oxymoronic Venus-Virgin paradigm in Venetian iconography.Margaret F. Rosenthal, The Honest Courtesan: Veronica Franco, Citizen and Writer in Sixteenth-Century Venice (University of Chicago Press, 1992). According to Edward Muir, the doge's “two contrasting personae, one so humbled and the other so splendid,” were the complementary features of a “paradoxical prince.”Edward Muir, Civic Ritual in Renaissance Venice (Princeton University Press, 1981), 261. I would like to contribute to this debate by analyzing how the social practice of marriage among the patriciate and the language of perfection in sixteenth-century political discourse followed the logic of paradoxical constellations. Rather than arguing for a causal connection between social practice on the one hand and political theory on the other, I propose to apply one analytical framework to investigate the paradoxical qualities of different social, political, economic, and cultural phenomena which were at the center of politics and society in Late Renaissance Venice.