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Philip IV (Spanish: Felipe IV, 8 April 1605 – 17 September 1665) was King of Spain between 1621 and 1665, sovereign of the Spanish Netherlands, and King of Portugal (as Philip III, Portuguese: Filipe III) until 1640. Philip is remembered for his patronage of the arts, including such artists as Diego Velázquez, and his rule over Spain during the challenging period of the Thirty Years War (1618 – 48). On the
eve of his death in 1665, the Spanish
empire had
reached
its seventeenth century territorial zenith spanning almost
12,200,000 km², but
in other respects was
in decline, a process for which Philip's inability to achieve
successful domestic and military reform is felt to have contributed. Philip IV
was born in Valladolid,
and
was
the eldest son of Philip
III and his wife Margaret
of
Austria. Aged ten, he was married to Isabella of
France in 1615,
although the relationship does not appear to have always been close;
some have even suggested that Olivares,
his
key minister, later deliberately tried to keep the two apart to
maintain his influence, encouraging Philip to take mistresses instead. Philip had seven children,
but only one son, through Isabella, Baltasar
Carlos who died
young at the age of sixteen in 1646. The death of his son deeply
shocked the king, who appears to have been a good father by the
standards of the day. Isabella was able to conspire with other Spanish
nobles to remove Olivares from the court in 1643, and for a brief
period she held considerable influence over Philip; by the time of her
death, however, she was out of favour following manoeuvering by
Olivares' successor, de
Haro. Philip
remarried in 1646, following the deaths of both Queen Isabella and his
only legitimate heir. His choice of his second wife, Maria Anna,
known as Mariana
of
Austria, Philip's niece and the daughter of the Emperor
Ferdinand, was guided by politics and Philip's desire to
strengthen
the relationship with Habsburg Austria. Maria Anna had six
pregnancies, but only successfully gave birth to one girl and, after
her first son Philip died young, finally to the
future Charles
II
of Spain in 1661
- but he was sickly and considered in frequent danger of dying, making
the line of inheritance potentially uncertain. Perceptions
of
Philip's
personality have altered considerably over time. Victorian
authors were inclined to portray Philip as a weak individual,
delegating excessively to his ministers, and ruling over a debauched, Baroque court. Victorian historians even
attributed the early death of Baltasar to debauchery,
encouraged
by
the gentlemen entrusted by the king with his education.
The doctors that treated the Prince at that time in fact diagnosed smallpox,
although
modern
scholars attribute his death to appendicitis. Historians'
estimation
of Philip gradually improved in the 20th century, with
comparisons between Philip and his father being increasingly positive -
some noting that he possessed much more energy, both mental and
physical, than his diffident father. Philip
was idealised by his contemporaries as the model of Baroque kingship. Outwardly he
maintained a bearing of rigid solemnity; foreign visitors described
Philip as being so impassive in public he resembled a statue, and he was said to have
been seen to laugh only three times in the course of his entire public
life. Philip certainly had a strong sense of his 'royal dignity',
but
was
also extensively coached by Olivares in how to resemble the
Baroque model of a sovereign,
which
would form a key political tool for Philip throughout his reign.
Philip was a fine horseman, a keen hunter and a devotee of bull-fighting,
all
central
parts of royal public life at court during the period. Privately,
Philip
appears
to have had a lighter persona. When he was younger, he
was said to have a keen sense of humour and a 'great sense of fun'. He privately attended
'academies' in Madrid throughout his reign - these were light hearted
literary salons, aiming to analyse contemporary literature and poetry
with a humorous touch. A
keen theatre-goer, he was
sometimes criticised by contemporaries for his love of these
'frivolous' entertainments. Others
have captured his
private personality as 'naturally kind, gentle and affable'. Academically competent,
those close to him claimed he had a good grasp of Latin, geography,
and
could
speak French, Portuguese and Italian well. Like many of his
contemporaries, including Olivares, he had a keen interest in astrology. His handwritten translation
of Francesco
Guicciardini's texts on political history still exists. Although
interpretations of Philip's role in government have improved in recent
years, Diego
Velasquez's contemporary description of Philip's key weakness -
that 'he mistrusts himself, and defers to others too much' - remains
extant. Although Philip's Catholic beliefs no longer attract criticism
from English language writers, Philip is still felt to have been
'unduly pious' in his personal life.
Notably, from the 1640s
onwards he sought the advice of a noted cloistered abbess, Sor María
de
Ágreda, exchanging many letters. This did not stop Philip
becoming known for his numerous affairs, particularly with actresses,
the
most
famous of these being his actress-mistress María
Inés Calderón (La Calderona),
with
whom he had a son in 1629, Juan
José, who was brought up as a royal prince. By the end of the reign,
and with the health of Carlos José in doubt, there was a real
possibility of Juan José making a claim on the throne, and this
would add to the instability of the regency years. During
the reign of Philip's father, Philip III, the royal court had been
dominated by the Sandoval noble family, most strikingly by the Duke
of
Lerma, Philip III's principle favourite and chief minister for
almost all of his reign. Philip IV came to power as the power of the
Sandovals was being undermined by a new noble coalition, led by Don Baltasar
de
Zúñiga. De Zúñiga regarded it as
essential that the Sandovals were unable to gain an influence over the
future king; de Zúñiga first began to develop his own
influence over Prince Philip, and
then introduced his
nephew, Olivares,
to
the
prince, then aged ten; At
first, Philip did not
particularly take to Olivares. Over the course of at least
a year, however, the relationship became very close, with Philip's tendency towards
underconfidence and diffidence counteracted by Olivares' drive
and determination. Olivares
was rapidly to
become Philip's most trusted advisor and when Philip ascended the
throne in 1621, at the age of sixteen, he showed his confidence in
Olivares by ordering that all papers requiring the royal signature
should first be sent to the count-duke. Philip would retain Olivares as
his confident and chief minister for the next twenty years. Early on
in his reign, Philip would be woken by Olivares in the morning to
discuss the day's affairs, and
would
meet with him twice more during the day, although later on this
regime declined until the king would only hold one short meeting on
policy with Olivares each day. Philip
intervened far more
in policies during 1641-2, however, and it has been suggested that
Philip paid more attention to policy making than has been traditionally
been depicted, with some recent histories going so far as to describe
him as 'conscientious' as regards policy-making although he is still
criticised for his failiure to make timely decisions. Philip himself argued that
it was hardly appropriate for the king himself to go house to house
amongst his ministers to see if his instructions were being carried out. The incredibly close
relationship between Philip and Olivares was symbolised in their
portraits being placed side by side at the Buen
Retiro
palace - an
act unheard of in Europe at this time. Philip's relationship with
Olivares, however, was not a simplistic one. The pair had many rows and
arguments over the course of their relationship, both as a result of
their different personalities and differences of opinion over policies. Initially,
Philip
chose
to confirm the reappointment of his father's household to
assuage grandee opinion. Under
the influence of de Zúñiga and Olivares, however, Philip
was then quick to
place de Lerma's estates - expanded considerably during his long period
as favourite - under administration, and to remove the Duke
of
Uceda - de
Lerma's son, who had initially helped de Zúñiga remove
his own father to advance his own position - from office. Philip's initial
announcements reflected an intent to reform the monarchy to the sober,
moral position it had been under his grandfather, including selecting
ministers whose grandfathers had served under Philip II. Philip
has in the past been considered to be 'unimaginative' in his politics,
but
recent histories have stressed the more radical elements of his
first two decades in power. The early 1600s saw a febrile atmosphere in
Spain, with numerous arbitrista offering various advice on
how to solve Spain's various ills; this advice could, and would, be
given in person by those of the lower classes to the king on suitable
occasions, provided it was presented with the aim of strengthening the
crown. Those debates
extended to
the nature of the monarchy. It has been suggested that the writers of
the period who best capture Philip's view of royal authority were
Justus Lipsius and Giovanni Botero, who promoted religiously inspired,
stoic self-sacrifice and a view of Habsburg family-led hegemony,
respectively. Whilst at one
level
conservative - harking back in foreign policy to the period of Phillip
II, invoking traditional values at home - Philip's policies were
also radical, rejecting the policy towards the rebellious Dutch that
had held since 1609, entering into the Thirty
Years
War, and introducing a system of junta, or small
committee, government across Spain in competition to the traditional
system of royal councils. Following
Olivares' fall from power amidst the crisis of 1640-3, the victim of
failed policies and jealously from the nobles excluded from power,
Philip initially announced that he would rule alone, becoming, in
effect, his own first minister. The junta system of government began
to be dismantled in favour of the older council system. In due course,
however, this personal rule transformed back into rule through a royal
favourite, initially Luis
de
Haro, a nephew of Olivares and a childhood playmate of Philip's, and the counter-reform of
the committee system halted. De Haro has not been highly regarded by
historians; the comment of one, that de Haro was the 'embodiment of
mediocraty' is not atypical. After
de
Haro's death in 1661, Olivares' son-in-law, the Duke of Medina de
las Torres, became royal favourite in his place. Philip
was to reign through the majority of the Thirty
Years
War in
Europe, a turbulent period of military history. In his father's final
years, Baltasar
de
Zúñiga had
convinced
Philip
III to intervene militarily in Bohemia and the Palatinate on the side of Emperor Ferdinand II.
Once Philip himself came to power, he was convinced by de
Zúñiga, appointed his principal foreign minister, and
Olivares that he should commit Spain to a more aggressive foreign
policy in alliance with the Holy
Roman
Empire. This would lead Philip to renew hostilities with the
Dutch in 1621 in an attempt to bring the provinces to the negotiating
table with the aim of achieving a peace treaty favourable to Spanish
global interests. Philip's government would pursue a 'Netherlands
first' strategy throughout the war until 1643. Despite this shift in
policy, Philip does not seem to have been particularly bellicose; early
on he noted that having inherited such a large empire, war somewhere
across his domains was an inevitable condition, and he appeared genuinely
upset when he came to power and contemplated how much the people of
Castile had paid 'in blood' to support the wars of his royal
predecessors. The 1620s
were good years for Spanish foreign policy - the war with the Dutch
went well, albeit at great expense, culminating in the retaking
of
the key city of Breda in
1624.
By
the end of the decade, however, Philip's government were faced
with the question of whether to prioritise the war in Flanders or
Spain's relationship with France during the War
of
the Mantuan Succession (1628
– 31).
Philip's
advisors recommended prioritising the war in Flanders, taking
action to safeguard the Spanish
Road to the
Netherlands but at the cost of antagonising Louis
XIII. Strategically
this was to
prove a disaster. Despite fresh Spanish successes in the mid 1630s - in
particular, the triumph of Philip's government in raising a fresh
Spanish army, marching it into Germany to defeat the Swedish-lead Protestant
forces at the Battle
of
Nördlingen in
1634
- the increased tensions with France made war between the two
Catholic states increasingly inevitable. Olivares advised Philip that
the coming war with France would be all or nothing - Spain would win or
fall by the result. The Spanish-French
war that ensued
from 1635 onwards was not a foregone conclusion. Early Spanish
successes threatened Paris, and even after the Spanish defeat at Rocroi,
Spain
remained a strong opponent. But from 1640 onwards, which saw
large scale revolts across Spanish territories in protest against the
rising costs of the conflict, Spain was finding it difficult to sustain
the war. Philip reacted to the increased French threat by finally
abandoning his 'Netherlands first' strategy; resources for the Army of
Flanders were
savagely cut, and the fight against the French-supported rebels
in Catalonia took the first priority.
Shortly after Rocroi,
Philip - now having had to dismiss his favourite, Olivares - issued
instructions to his ambassadors to seek a peace treaty. The Peace
of
Westphalia, delivered by Olivares' replacement Luis
de
Haro resolved
the long running Eighty
Years'
War in the
Netherlands and the wars in Germany, but the conflict with France
dragged on. Philip responded to the perceived weakness of France during
the Fronde rebellions of 1648 by
continuing the fight; he took personal responsibility for the decision
to start a fresh, and ultimately successful offensive against the
French in Catalonia in 1651. True
victory over France
never emerged, however, and by 1658, after the loss of Dunkirk to an Anglo-French force,
Philip was personally desperate for peace. The Treaty
of the Pyrenees in
1659,
and the marriage of Philip's daughter Maria
Theresa to the
young King
Louis
XIV finally brought his long
running European wars to an end. By the
late 1620s, the Spanish army was no longer as dominant on the
battlefield as it once had been. The feared tercio regiments, composed of
well-disciplined pikemen were increasingly appearing
inflexible and outmoded in the face of the new Swedish and Dutch
formations with a higher proportion of musketeers.
Philip
and
Olivares attempted to address the perceived weaknesses of
the army, which they concluded was primarily due to the falta de cabezas, or
a lack of leadership. In keeping with their wider agenda of renewing
the concepts of duty, service and aristocratic tradition, the king
agreed to efforts to introduce more grandees into the higher ranks of
the military, working hard to overcome the reluctance of many to take
up field appointments in the Netherlands and elsewhere.
The
results were not entirely as hoped. The grandees dragooned into service
in this way were disinclined to spend years learning the normal
professional military skill set: they wished 'to start out as generals
and soldiers on the same day', to quote one disgruntled career soldier.
By
the 1630s, the king was waiving the usual rules to enable promotion
to higher ranks on a shorter timescale, and having to pay significant
inflated salaries to get grandees to take up even these appointments. The performance of these
officers at battles such as Rocroi left much to be desired. Philip
was also notable for his interest in the Spanish armada,
or
navy.
Shortly after taking power he began to increase the size of his fleets,
rapidly doubling the size of the naval budget from the
start of his reign, then tripling it.
Philip is credited with a
'sensible, pragmatic approach' to provisioning and controlling it. He was prepared to involve
himself in considerable details of naval policy - he was commenting on
the detail of provisions for the armada in 1630, for example. The Junta de Armadas was the only junta committee to survive the
fall of Olivares intact. Even
after the disastrous Battle
of
the Downs, Philip remained closely interested in his navy,
including ensuring ministerial attention - in 1646, de Haro was
personally involved in supplying and equipping the Atlantic fleet from Cadiz.
Throughout
the period there was no 'weakening of the importance
attached to naval forces' by the king, who argued
that joint land and naval operations were essential. Some of his
conclusions on naval policy were quite advanced; after the peace of
1648, Philip argued that the Dutch fleets off the Spanish peninsula
were actually good for trade, despite concerns from his senior
officials, since they provided protection against the English and
French navies. Philip
had inherited a huge empire from his father, spanning
the known world, but many of his most difficult challenges as king
would stem from domestic problems in Spain itself. Spain in the early
1600s was a collection of possessions - the kingdoms of Castile, Aragon, Valencia and Portugal,
the
autonomous
provinces of Catalonia and Andalusia,
complete
with
the wider provinces of Naples,
the Netherlands, Milan etc. - all loosely joined
together through the institution of the Castile monarchy and the person
of Philip IV. Each part had different
taxation, privileges and military arrangements; in practice, the level
of taxation in many of the more peripheral provinces was less than in
Castile, but the privileged position of the Castilian nobility at all
senior levels of royal appointment was a contentious issue for the less
favoured provinces. This loose system had successfully resisted reform
and higher taxation before, ironically resulting in Spain having had
historically, up until the 1640s at least, less than the usual number
of fiscal revolts for an early modern European state. In
the
first years of his reign, heavily influenced by his royal favourite
Olivares, Philip focused on efforts to reform the most chaotic aspects
of this system. Frustrated by the notorious slowness of the system of
royal councils, Philip supported Olivares' establishment of juntas - small committees,
designed to circumvent the more formal system and to enact policies
quickly. Although successful, these juntas excluded
many
of
the traditional grandees and caused resentment. Olivares put forward the
idea of a Unión
de Armas,
or 'Union of Arms'. This would have involved establishing
a force of 140,000 paid soldiers, supported by equitable taxes from
across the Empire, and has been termed 'the most far-sighted proposal
of any statesman of the age'; in
practice, however, it
met fierce opposition from the various regional assemblies and the plan
was withdrawn. During the 1620s, again influenced by a desire to reform
Spanish life for the better, Philip also passed considerable
legislation with puritanical overtones. In 1623, he closed all the legal brothels in Spain, extended the
dormant sumptuary
laws on luxury
goods and supported Papal efforts to regulate
priests' sexual behaviour more tightly. Philip
had clear intentions to try and control the Spanish currency, which had
become increasingly unstable during the reign of his father and
grandfather, but in practice, inflation soared. Partly this was because in
1627 Olivares had attempted to deal with the problem of Philip's Genoese bankers - who had proved
uncooperative in recent years - by declaring a state bankruptcy. With the Genoese debt now
removed, Olivares hoped to turn to indigenous bankers for renewed
funds. In practice, the plan was a disaster. The Spanish treasure
fleet of
1628 was captured by the Dutch, and Spain's ability to borrow and
transfer money across Europe declined sharply. By the
1630s, Philip's domestic policies were increasingly being impacted by
the financial pressures of the Thirty
Years
War, and in particular the growing war with France. The costs
of the war were huge, and whilst they had largely fallen upon Castile,
the ability of the crown to raise more funds and men from this source
was increasingly limited. Philip and his government
were desperately trying to reduce the responsibilities of central
government in response to the overstretch of the war, and various
reform ideas that might have been pursued during the 1620s were
rejected on this basis. Financial restraints and
higher taxes were put in place, but Philip was increasingly selling off regalian and feudal rights, along with much of
the royal estate to fund the conflict. It has been argued that the
fiscal stringencies of the 1630s, combined with the strength and role
of Olivares and the juntas,
effectively
cut
Philip off from the three traditional pillars of
support for the monarchy - the grandees, the Church and the Council of
Castile. Crisis
came in 1640. An attempt by Olivares to intervene in Catalonia to deal
with the French invasion threat resulted in revolt. An alliance of
Catalan rebels and French royal forces proved challenging to suppress,
and in trying to mobilise Portuguese noble support for the war,
Olivares triggered a second uprising. Lisbon's
nobles
expelled Philip, and gave the throne to the Braganzas,
marking
the
end of sixty years of the Iberian
Union and the
beginning of the Portuguese
Restoration
War. The next year, the Duke
of
Medina Sidonia attempted
another
rebellion
against Philip from Granada, possibly attempting to
reproduce the Braganzas success in Portugal. Although Philip and
Olivares were able to repress the ducal revolt, Philip had found
himself increasingly isolated. On his return from Zaragoza, where he
had been commanding the army, he found only one of the Castilian
nobility arrived at court on Easter Day 1641. The threat of Philip
being deposed by the grandees of Castile seemed increasingly real. Much
shaken by events, Philip's solution was to finally remove his royal
favourite Olivares from office in 1643 in an attempt to compromise with
the Spanish elite. He announced he would rule alone, rejecting both the
concept of a royal favourite as first minister and the system of junta government,
which he began to dismantle in favour of the older system of royal
councils. Clemency was shown to the
Duke of Medina Sidonia. The situation began to stabilise, and before
long Philip felt secure enough to revert to his preferred method of
government. Luis
de
Haro, Olivares' nephew, took over as favourite and minister and
the counter-reform of the juntas halted. The spark of reform
from Philip's earlier years never returned, however. The Catalonian
rebellion dragged on for several years. In 1652, the Spanish army retook Barcelona and Philip issued an
amnesty for the rebels, promising to respect traditional customs and
rights in the future. Philip
has been remembered both for the 'astonishing enthusiasm' with which he
collected art and for his love of
theatre. On the stage, he favoured Lope
de
Vega, Pedro
Calderón
de la Barca, and other distinguished dramatists.
Philip has been credited with a share in the composition of several
comedies. Court theatre - used perspective
scenery, a new invention from Italy not used in commercial theatre
at the time - some writers have likened the illusion of Baroque royal
theatre to the illusion of kingly power the performances were designed
to reinforce. Some recent scholarship has
suggested that his financial sponsorship of playwrights, however, may
have been less extensive than once thought. Artistically,
Philip
became
famous for his patronage of his court painter Diego
Velázquez. Velázquez originated from Seville and mutual contacts caused
him to become known to Olivares, who came from the same region; he was
summoned to Madrid by the king in 1624. Despite some jealously from
the existing court painters, Velázquez rapidly became a success
with Philip, being retained for the rest of his career until his death
painting a celebration of the Treaty
of
the Pyrenees for
Philip. The king and Velázquez shared common interests in
horses, dogs and art, and in private formed an easy, relaxed
relationship over the years. Philip supported a number
of other prominent painters over the years, including Eugenio
Caxés, Vicente
Carducho, Gonzales and Nardi. Philip
accumulated paintings from across Europe, especially Italy,
accumulating over 4,000 by the time of his death; some have termed this
unparalled assemblage a 'mega-collection'. Philip
was termed the el
Rey Planeta, the 'Planet King', by his contemporaries, and
much of the art and display at his court has been interpreted in the
context of his need to project power and authority, over both Spaniards
and foreigners alike. Older
interpretations,
which perceived Philip's court as being completely decadent have been
largely superseded, but the art and symbolism of the period certainly
did not reflect the wider threat and decline of Spanish power. Indeed, the limited Spanish
military successes of the period were celebrated by royal artists to a
disproportionate extent. Numerous artists from the Spanish
Netherlands produced
work
extolling
the Army
of
Flanders, including Vrancx, Snaeyers, Molenaer and de
Hondt. The re-capture
of
Breda alone
resulted in major works by Velázquez, the French etcher Jacques
Callot, in addition to various plays and books. The
'Planet King' also invested in a new palace to display both his art,
and the ritual of court. Through Olivares, Philip commenced the
building of the Buen
Retiro
palace in
Madrid, parts of which still remain near the Prado.
Work
began modestly in 1631,
with
the
magnificent, if costly, 'Hall of Thrones', completed by 1635. The palace included its own
'theatre, ballroom, galleries, bull ring, gardens, and artificial
lakes', and became the centre for
artists and dramatists from across Europe. The palace was built during
one of the more difficult periods of Philip's reign, and - given both
its cost, in a time of stringent wartime savings, and the protest that
ensued from a disgruntled public - is considered to have
been an important part of the attempt to communicate royal grandeur and
authority. The Catholic
religion and its
rituals played an important part in Philip's life, especially towards
the end of his reign. Depressed by events across his domains, he became
increasingly concerned with religious affairs. In particular, Philip paid
special devotions to a painting of the Nuestra Señora
del Milagro, the Virgin
of
Miracles; the painting was said to miraculously raise and lower
its eyes in response to prayer. Whilst married to Isabella,
Philip
had
placed their children under the protection of this image;
married to Mariana,
they undertook special religious ceremonies together under the gaze of
the painting. Philip also had a large standard made with the image of
the painting on one side and the royal coat of arms on the other,
brought out in processions each year on the 12th July. As well as marking a strong
personal religious belief, this increasingly visible link between the
crown, the Church and national symbols such as the Virgin of Miracles,
represented a key pillar of support for Philip as king. Monarchs
during the period also had a key role in the canonization process, and could utilise
this for domestic or international political effect. Philip, for
example, keen to reach out to his Portuguese subjects, put his
considerable influence behind the case for Isabella of
Portugal, a 14th century role model of a 'perfect wife', to
great effect, ultimately paying for a lavish celebration in Lisbon
after her canonisation in 1625. Internationally, it was important for
Spanish prestige for her to receive at least a proportionate, and
ideally greater, share of new saints than other Catholic kingdoms, and
Philip sponsored a flurry of texts and books supporting Spain's
candidates, particularly in competition with Catholic France. During
the emergency of 1640-3, Philip appears to have had a crisis
of
faith. Philip genuinely believed the success or failure of his
policies represented God's favour and judgement on his actions. The combination of the
revolts, the French advances and the loss of his trusted favourite
Olivares appears to have deeply shaken him. Queen Isabella and the new
president of the Council
of
Castile, Don Juan Chumacero - both involved in the removal of
Olivares - encouraged the king to invite mystics and visionaries from across
Europe to his court at Zaragoza.
The
mystics'
principal advice centred on the importance of the king
rejecting Olivares' replacement, de Haro and the remaining pro-Olivares
nobles at court. The various mystics were
not acceptable to broader Spanish noble opinion and, with de Haro's
encouragement, they were ultimately dismissed. Instead,
Philip turned to a better established female mystic, Sister María
de
Ágreda, a prioress known for her religious writings. He asked her to correspond
with him and to advise him in spiritual matters. The two became regular
correspondents throughout the remainder of their lives. This is
documented in over 600 confidential letters between them over a period
of twenty-two years. Philip clearly believed
that Maria could intercede with God on his behalf and provide advice on
what God wished him to do, to improve Spain's failing fortunes. Most believe that Philip
was involved in protecting Maria from the Inquisition's investigation
of 1650.
Philip's
son,
as Charles
II, protected her writings from later censorship.
Philip
IV's
reign,
after a few years of inconclusive successes, was
characterized by political and military decay and adversity. He has
been held responsible for the decline of Spain, which was mainly due to
organic causes largely beyond the control of any one ruler. Philip IV
died
broken-hearted in 1665, expressing the pious hope that his
surviving son, Carlos,
would
be more fortunate than himself. On his death, a catafalque
was
built in Rome to
commemorate his life. In his will, Philip left political power as regent on behalf of the young Charles
II to his wife
Mariana, with instructions that she heed the advice of a small junta committee established for
this purpose. This committee excluded Juan
José, Philip's illegitimate son, resulting in a chaotic
powerplay between Mariana and Juan José until 1679. |