Philip Ii Of Spain

Philip II of Spain—ruler of the most extensive empire the world had ever known—has been viewed in a harsh and negative light since his death in 1598. Identified with repression, bigotry, and fanaticism by his enemies, he has been judged more by the political events of his reign than by his person. This book, published four hundred years after Philip's death, is the first full-scale biography of the king. Placing him within the social, cultural, religious, and regional context of his times, it presents a startling new picture of his character and reign. Drawing on Philip's unpublished correspondence and on many other archival sources, Henry Kamen reveals much about Philip the youth, the man, the husband, the father, the frequently troubled Christian, and the king. Kamen finds that Philip was a cosmopolitan prince whose extensive experience of northern Europe broadened his cultural imagination and tastes, whose staunchly conservative ideas were far from being illiberal and fanatical, whose religious attitudes led him to accept a practical coexistence with Protestants and Jews, and whose support for Las Casas and other defenders of the Indians in America helped determine government policy. Shedding completely new light on most aspects of Philip's private life and, in consequence, on his public actions, the book is the definitive portrayal of Philip II.

Philip II of Spain was a major patron of the arts, best known for his magnificent palace and royal mausoleum at the Monastery of San Lorenzo of El Escorial. However, neither the king’s monastery nor his collections fully convey the rich artistic landscape of early modern Iberia. In this book, Laura Fernández-González examines Philip’s architectural and artistic projects, placing them within the wider context of Europe and the transoceanic Iberian dominions. Philip II of Spain and the Architecture of Empire investigates ideas of empire and globalization in the art and architecture of the Iberian world during the sixteenth century, a time when the Spanish Empire was one of the largest in the world. Fernández-González illuminates Philip’s use of building regulations to construct an imperial city in Madrid and highlights the importance of his transformation of the Simancas fortress into an archive. She analyzes the refashioning of his imperial image upon his ascension to the Portuguese throne and uses the Hall of Battles in El Escorial as a lens through which to understand visual culture, history writing, and Philip’s kingly image as it was reflected in the funeral commemorations mourning his death across the Iberian world. Positioning Philip’s art and architectural programs within the wider cultural context of politics, legislation, religion, and theoretical trends, Fernández-González shows how design and images traveled across the Iberian world and provides a nuanced assessment of Philip’s role in influencing them. Original and important, this panoramic work will have a lasting impact on Philip II’s artistic legacy. Art historians and scholars of Iberia and sixteenth-century history will especially value Fernández-González’s research.

FOR three hundred years a bitter controversy has raged around the actions of Philip II. of Spain. Until our own times no attempt even had been made to write his life-history from an impartial point of view. He had been alternately deified and execrated, until through the mists of time and prejudice he loomed rather as the permanent embodiment of a system than as an individual man swayed by changing circumstances and controlled by human frailties. The more recent histories of his reign—the works of English, American, German, and French scholars—have treated their subject with fuller knowledge and broader sympathies, but they have necessarily been to a large extent histories of the great events which convulsed Europe for fifty years at the most critical period of modern times. The space to be occupied by the present work will not admit of this treatment of the subject. The purpose is therefore to consider Philip mainly as a statesman, in relation to the important problems with which he had to deal, rather than to write a connected account of the occurrences of a long reign. It will be necessary for us to try to penetrate the objects he aimed at and the influences, personal and exterior, which ruled him, and to seek the reasons for his failure. For he did fail utterly. In spite of very considerable powers of mind, of a long lifetime of incessant toil, of deep-laid plans, and vast ambitions, his record is one continued series of defeats and disappointments; and in exchange for the greatest heritage that Christendom had ever seen, with the apparently assured prospect of universal domination which opened before him at his birth, he closed his dying eyes upon dominions distracted and ruined beyond all recovery, a bankrupt State, a dwindled prestige, and a defeated cause. He had devoted his life to the task of establishing the universal supremacy of Catholicism in the political interests of Spain, and he was hopelessly beaten. The reasons for his defeat will be seen in the course of the present work to have been partly personal and partly circumstantial. The causes of both these sets of reasons were laid at periods long anterior to Philip’s birth.

Presents the life and accomplishments of Spain's monarch who led the Counter-Reformation and held the title of "Most Catholic Majesty."

The image of Philip II (1527-98) as stern and assiduous defender of his political inheritance and of the catholic faith is tempered and enriched by the image of patron and collector of art. During the forty-two years of his reign (1556-98) through widespread patronage and persistent guidance he transformed the arts in Spain, then largely provincial, into the international and modern. The building of the Escorial - known in its own time as the eighth wonder of the world - and other royal residences attracted artists and craftsmen to enter the royal service, among them Titian, Anthonis Mor, El Greco, Federico Zuccaro, Pompeo, Leoni and Alonso Sanchez Coello. Part of his collection was to form the basis of the Prado Museum when it was founded in the nineteenth century. Although Philip is recognized as one of the most important art patrons of the Renaissance little has been published in English on his remarkable achievement. This selection of essays by Rosemarie Mulcahy gives a sense of the variety of talent, both Spanish and foreign, that flourished under Philip II's patronage and provides fascinating insights into the king's artistic projects. The topics covered include: the function of religious art, court portraiture, art and diplomacy, art as propaganda, the use of preparatory drawings. The volume contains 16 colour plates and over 100 black and white illustrations.

Philip II is not only the most famous king in Spanish history, but one of the most famous monarchs in English history: the man who married Mary Tudor and later launched the Spanish Armada against her sister Elizabeth I. This compelling biography of the most powerful European monarch of his day begins with his conception (1526) and ends with his ascent to Paradise (1603), two occurrences surprisingly well documented by contemporaries. Eminent historian Geoffrey Parker draws on four decades of research on Philip as well as a recent, extraordinary archival discovery—a trove of 3,000 documents in the vaults of the Hispanic Society of America in New York City, unread since crossing Philip’s own desk more than four centuries ago. Many of them change significantly what we know about the king. The book examines Philip’s long apprenticeship; his three principal interests (work, play, and religion); and the major political, military, and personal challenges he faced during his long reign. Parker offers fresh insights into the causes of Philip’s leadership failures: was his empire simply too big to manage, or would a monarch with different talents and temperament have fared better?