Número #19 del 2018 año, 231-241

TO THE QUESTION OF SPANISH WOMEN'S PORTRAITS OF THE ROYAL FAMILY OF THE SECOND HALF OF THE XVI CENTURY

K. Elokhin

The article is dedicated to the emblematic space of the 16th c. Spanish court . Analysis of portraits of Spanish royal family women of the second half of the 16th c. (daughters, wives, sisters) and representatives of the highest Spanish Habsburg aristocracy (usually closely connected with the royal family by blood ties or clientele obligations) showed that despite the demand for arms and total heraldrization of Spanish society, portraits of women of the Spanish royal family and the court aristocracy, with rare exceptions, had no arms or badges. However, they had a common feature in the presence of a special kind of aiguillettes, which were used as decorations and had an additional semantic sense. Aiguillettes of females of the royal family (but not aristocrats imitating them) were inherited and used by the Spanish Habsburgs as a gender marker. The tradition of using them can be considered an original and even unique phenomenon for the Spanish emblematic tradition and heraldry as a whole. In the portraits of women of the Spanish royal family and the highest aristocracy of the 16th-early 17th c., we deal with special lineal signs in the form of special aiguillettes that were systematically applied with various purposes functionally similar to badges, and which can also be recognized as a kind of badge itself.

Palabras claves:
Heraldry, Spain, devices, portraits, XVI century, kings, queens, aristocracy, nobility, aiguillette
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