Table Of ContentCharles V, Prince Philip, and the Politics of Succession
EuropEan FEstival studiEs: 1450–1700
Founding Editor
J. R. Mulryne, Uni ver sity of Warwick, UK
Series Editors
Margaret Shewring, Uni ver sity of Warwick, UK
Margaret M. McGowan, CBE, FBA, Uni ver sity of Sussex, UK
Marie-Claude Canova-Green, Uni ver sity of London (Goldsmiths), UK
Publications Advisory Board
Maria Ines Aliverti, Uni ver sity of Pisa, Italy; Sydney Anglo, FBA, FSA, Uni ver sity of
Wales, UK; Richard Cooper, Uni ver sity of Oxford, UK; Noel Fallows, FSA, Uni versity
of Georgia, USA; Iain Fenlon, Uni ver sity of Cambridge, UK; Bernardo J. García García,
Universidad Complutense de Madrid, Spain; Maartje van Geldaer, Uni versity of Amsterdam,
Netherlands; Pieter Martens, Vrije Universiteit Brussel, Belgium; R. L. M. Morris, University
of Cambridge, UK; Elaine Tierney, Research Institute, Victoria & Albert Museum, UK
This Series, in association with the Society for European Festivals Research,
builds on the current surge in interest in the circumstances of European
Festivals – their political, religious, social, economic, and cultural impli-
cations, as well as the detailed analysis of their performance (including
ephemeral architecture, sceno graphy, scripts, music and soundscape, dance,
costumes, processions, and fireworks) in both indoor and outdoor locations.
Festivals were interdisciplinary and, on occasion, international in scope.
They drew on a rich classical heritage and developed a shared pan-European
icono graphy as well as exploiting regional and site-specific features. They
played an important part in local politics and the local economy, as well
as international negotiations and the conscious presentation of power,
sophistication, and national identity, and sometimes in a global context.
The Series, including both essay collections and mono graphs, seeks to
analyse the characteristics of individual festivals as well as to explore generic
themes. It draws on a wealth of archival documentary evidence, alongside
the resources of galleries and museums, to study the historical, literary,
performance, and material culture of these extravagant occasions of state.
Charles V, Prince Philip,
and the Politics of Succession
Imperial Festivities in Mons and Hainault, 1549
Edited by
MARGARET M. McGOWAN
and MARGARET SHEWRING
F
Cover image: Prince Philip Habsburg, later King Philip II of Spain,
by Hans Liefrinck the Elder, Antwerp, c. 1543–1544. Rijksmuseum,
Amsterdam, inv. no. RP-P-1932-144. Image in the Public Domain.
British Library Cataloguing in Publication Data
A catalogue record for this book is available from the British Library.
© 2020, Brepols Publishers n.v., Turnhout, Belgium.
All rights reserved. No part of this publication may be reproduced,
stored in a retrieval system, or transmitted, in any form or by
any means, electronic, mechanical, photocopying, recording,
or otherwise without the prior permission of the publisher.
D/2020/0095/139
ISBN: 978-2-503-58615-1
e-ISBN: 978-2-503-58616-8
DOI: 10.1484/M-EFS-EB.5.118357
Printed in the EU on acid-free paper.
Table of Contents
List of Illustrations 7
Acknowledgements 11
Editors and Contributors 13
Margaret M. McGowan and Margaret Shewring
Introduction: Imperial Festivities in Mons and Hainault, 1549
Festivités impériales dans le Hainaut, 1549 17
Part I – Setting the Scene
Margaret M. McGowan
Chapter 1. Prince Philip’s Itinerary across Europe, 1548–1550: An Overview 29
Hugo Soly
Chapter 2. 1549: A Year of Grace for Emperor Charles V
and His Subjects in the Low Countries 47
M. J. Rodríguez-Salgado
Chapter 3. The Transformation of Philip, Prince of Spain,
into the Lord of the Low Countries 61
Félix Labrador Arroyo and José Eloy Hortal Muñoz
Chapter 4. The Entourage of Prince Philip in Connection
with the Felicissimo Viaje: Τhe Beginning of
Burgundian Etiquette at the Spanish Court? 79
Part II – Entries
Francesca Bortoletti
Chapter 5. Concordia principum: The Triumphal Entry
of Prince Philip into Milan (1548) 103
Yves Pauwels
Chapter 6. Prince Philip’s Entry into Ghent, 1549:
History, Language, Architecture 141
6 table of contents
Stijn Bussels
Chapter 7. The Importance of Being Present:
The Performances of Prince Philip in Binche and Antwerp 157
Part III – Decor
Jessie Park
Chapter 8. The Enchantment of Woven Surfaces: The Seven Deadly
Sins Tapestries and Habsburg Propaganda in Binche, 1549 179
Lisa Wiersma
Chapter 9. A Garden of Cast Flowers: The ‘Enchanted Salon’
and the Making of Sculptures for Festivals 205
Part IV – Entertainments
Sydney Anglo
Chapter 10. The Tournament at Binche 223
Tobias Capwell
Chapter 11. Theatre of War: Armoured Combat at the Festivals of Binche 243
Margaret M. McGowan
Chapter 12. Masquerades at Binche: A New or Traditional Spectacle? 321
R. L. M. Morris
Epilogue: Munich 1568 – Fashioning Identities in
Habsburg-ruled Lands: The 1568 Wedding of Wilhelm V,
Duke of Bavaria, and Renée, Duchess of Lorraine 337
Appendix
Prince Philip’s Journey across Europe, 1548–1550:
A Timetable of Dates and Places 355
Index 359
List of Illustrations
Plates
Plate I. Anon., Interview of Philip ‘the Fair’ and Ferdinand
‘The Catholic’ at Remesal. 93
Plate II. Fabrizio Castello, The Battle of Saint Quentin. The Royal Tent. 93
Plate III. Parmigianino, Allegorical portrait of Charles V (1530). 121
Plate IV. Giulio Romano, The Chamber of the Giants (1530–1535). 122
Plate V. Anonymous, The Great Hall at Binche in 1549, sixteenth century. 181
Plate VI. Gluttony, Seven Deadly Sins, designed by Pieter Coecke van Aelst,
c. 1532–1534, woven in the workshop of Willem de Pannemaker c. 1548–1549. 182
Plate VII. Lust, Seven Deadly Sins, designed by Pieter Coecke van Aelst,
c. 1532–1534, woven in an unidentified workshop in Brussels, c. 1545. 182
Plate VIII. Anger, Seven Deadly Sins, designed by Pieter Coecke van Aelst,
c. 1532–1534, woven in the workshop of Willem de Pannemaker c. 1548–1549. 183
Plate IX. Envy, Seven Deadly Sins, designed by Pieter Coecke van Aelst,
c. 1532–1534, woven in the workshop of Willem de Pannemaker c. 1548–1549. 183
Plate X. Avarice, Seven Deadly Sins, designed by Pieter Coecke van Aelst,
c. 1532–1534, woven in the workshop of Willem de Pannemaker c. 1548–1549. 184
Plate XI. Sloth, Seven Deadly Sins, designed by Pieter Coecke van Aelst,
c. 1532–1534, woven in the workshop of Willem de Pannemaker before 1544. 184
Plate XII. Titian, Tityus, in Quattro Damnati, 1548–1549, oil on canvas. 193
Plate XIIIa. Pieter Coecke van Aelst, Procession of Sultan Süleyman through
the Atmeidan, from Moeurs et fachons de fair de Turcz, 1553, woodcut. 194
Plate XIIIb. Detail of Plate XI. Süleyman the Magnificent, in Sloth. 194
Plate XIV. Silk fabric, fifteenth century, velvet. 195
Plate XV. Detail of Plate X. Midas, in Avarice. 195
Plate XVI. Detail of Plate VI. Hachures, Man carrying pitchers,
in Gluttony. 196
Plate XVII. Detail of Plate IX. Zoilus, in Envy. 196
Plate XVIII. Detail of Plate VIII. Medea, in Anger. 196
Plate XIX. The enchanted chamber at Binche palace
on the night of 30 to 31 August 1549. 207
8 list of illustrations
Plate XX. Wenzel Jamnitzer, Table ornament [detail], 1549. 208
Plate XXI. Prince Philip Habsburg, later King Philip II of Spain,
by Hans Liefrinck the Elder, Antwerp, c. 1543–1544. 249
Plate XXII. The ‘Strapwork’ or ‘Lacework’ garniture of the future
King Philip II of Spain, made by Desiderius Helmschmid and etched
by Ulrich Holzmann, Augsburg, 1544–1546. 250
Plate XXIII. The ‘Eagle’ garniture of Ferdinand II, Archduke
of Austria, made by Jörg Seusenhofer and etched by Hans
Perckhammer, Innsbruck, 1547. 251
Plate XXIV. An armour for the free tourney, made for Ferdinand II,
Archduke of Austria in 1551, and pieces of exchange for a closely
similar armour, ‘Thun sketchbook’, Augsburg, c. 1550–1560. 252
Plate XXV. Tonlet armour for foot combat in the champ clos, part of the
‘1549’ garniture of the future Emperor Maximilian II, made by Matthäus
Frauenpreiss the Elder and etched by Jörg Sorg, Augsburg, 1549. 253
Plate XXVI. Longsword combat, from the Opus Amplissimum de Arte
Athle tica of Paulus Hector Mair, illustrated by Jörg Breu the Younger,
c. 1544–1458. 253
Plate XXVII. The ‘Hunt’ armour of Charles V, made for tournament
foot combat by Kolman Helmschmid, c. 1535. 254
Plate XXVIII. Foot combat at the barriers, held at Düsseldorf in 1585
to celebrate the wedding of Duke Johann Wilhelm of Jülich-Cleves-
Berg and Jakoba of Baden, Netherlandish, c. 1585. 254
Plate XXIX. Philippe de Lalaing, Count of Hoogstraten (d. c. 1555),
by Hans Liefrinck the Elder, Antwerp, dated 1544. 255
Plate XXX. Horse armed for war and mock-war, from the Confectbuch von
Abrichtung vollständiges Turnierbuch, of Jeremias Schemel, Augsburg, c. 1570. 256
Plate XXXI. The armour for the free tourney, shown disassembled, as
worn, and in action, from an armour album, Augsburg, c. 1560–1570. 257
Plate XXXII. Right gauntlet for the free tourney, from the 1549
garniture made for the future Emperor Maximilian II by Matthäus
Frauenpreiss the Elder and etched by Jörg Sorg, Augsburg, 1549. 258
Plate XXXIII. Visor for a close-helmet in the form of a dragon mask,
north Italian, probably Milan, c. 1525–1550. 258
Plate XXXIV. The Emperor Maximilian, in the guise of ‘Freydal’,
overthrows the Devil (Der Teufl) or a member of the Teufl family
taking that role, in a joust at the tilt, from Freydal, German, c. 1512–1515. 259
list of illustrations 9
Plate XXXV. Dagger-fighting on horseback, from the Opus Amplis-
simum de Arte Athletica of Paulus Hector Mair, illustrated by Jörg
Breu the Younger, c. 1544–1548. 260
Plate XXXVI. The ‘Lion’ armour, probably French or Flemish, c. 1550. 260
Figures
Figure 4.1. Prince Philip’s Household of Burgundy. 87
Figure 5.1. Giovanni Alberto Albicante, Trattato dell’ intrar in Milano,
di Carlo V, C. Sempre Aug. con le proprie Figure de li Archi […] (1541). 113
Figure 5.2. Hans Burgkmair, The White King Receiving His Daughter
Margaret and the Children of King Philip (1514–1516). 117
Figure 5.3. Giovanni Alberto Albicante, Trattato dell’ intrar in Milano,
di Carlo V, C. Sempre Aug. con le proprie Figure de li Archi […]. 118
Figure 5.4. Leone Leoni, Hercules/Atlas Bearing the Globe. Philip II,
Milan (1556). 119
Figure 5.5. Bernardino Luini, Hercules and Atlas (1513–1515). 124
Figure 5.6. Leone Leoni, The Fall of the Giant (1548–1551). 131
Figure 5.7. Perspective View of Venice (fifteenth century). 132
Figure 6.1. Arcus triumphales quinque, Tuscan arch. 143
Figure 6.2. Arcus triumphales quinque, Doric arch. 145
Figure 6.3. Arcus triumphales quinque, Ionic arch. 146
Figure 6.4. Arcus triumphales quinque, Corinthian arch. 147
Figure 6.5. Arcus triumphales quinque, Composite arch. 148
Figure 6.6. Serlio, Generale reglen der architecturen…, Antwerp, 1539,
Ionic façade. 151
Figure 6.7. Serlio, Des antiquités…, Antwerp, 1550, Arch of Septimus Severus. 152
Figure 7.1. The Great Druon Antigon on the Grande Place, from
Grapheus, Spectac ulorum, fol. L4v. 162
Figure 7.2. Philip and Charles as Hercules and Atlas, from Grapheus,
Spectaculorum, fol. M3v. 166
Figure 9.1. Frans Hogenberg (attr.), Sugar banquet for the wedding of
John William, Duke of Jülich Cleves-Berg and Jakobea of Baden, 1587. 210
10 list of illustrations
Figure 10.1. Title page, Thournier Kampff vnnd Ritterspiel (1550). 225
Figure 10.2. Storming of Norabroc’s castle. 227
Figure 10.3. A feeble ‘magnificent banquet’. 229
Figure 10.4. Juan Quixada allegedly passing over the water. 230
Figure 10.5. Juan Quixada allegedly being crowned for success in the lists. 231
Figure 10.6. Title page, Theuerdank (Egenolff, 1553). 237
Figure 10.7. The same woodcut as in Figure 10.1, used to illustrate a
joust at Binche. 239
Figure 11.1. The complete ‘1549’ garniture, as documented by
Jeremias Schemel, from his Confectbuch von Abrichtung voll
ständiges Turnierbuch, Augsburg, c. 1570. 264
Figure 11.2. Pictorial record of the ‘1549’ garniture, from the armour
album of Jörg Sorg, Augsburg, 1548–1563. 267
Figure 11.3 a–b. A tonlet armour for tournament combat on foot,
shown both disassembled and as worn, from an armour album,
Augsburg, c. 1560–1570. 270
Figure 11.4. Tonlet armour made for Wilhelm ‘the Rich’,
Duke of Jülich-Cleves-Berge by Desiderius Helmschmid and
etched by Jörg Sorg, recorded in the Sorg album and dated 1553. 272
Figure 11.5 a–b. Two details showing armoured foot combat, from
the Opus Amplissimum de Arte Athletica of Paulus Hector Mair,
illustrated by Jörg Breu the Younger, c. 1544–1548. 275
Figure 11.6. Illustration of the tournament at the investiture of
Ferdinand, King of Bohemia and Hungary (Prague, 1527), by
Jörg Breu the Elder, c. 1530. 295
Figure 11.7. Detail from a German print by Raphael Hofhalter
depicting a tournament on the theme of Venus and Mars, held
outside the walls of Vienna in June 1560. 299
Figure 11.8. Close-helmet, the visor in the form of a griffin mask,
Milan or Brescia, c. 1550. 308
Figure 11.9. Close-helmet, the visor embossed as the head of a lion,
Augsburg, c. 1540. 309
Figure 11.10. Pair of tassets, from an armour made for the Emperor
Charles V by Kolman and/or Desiderius Helmschmid, Augsburg,
c. 1530–1540. 310
Figure 11.11. Middle piece from a three-part front saddle steel, the
etching attributed to Jörg Sorg, Augsburg c. 1550. 311
