#catalina infanta

[artthatgivesmefeelings]

Juan Pantoja de la Cruz (Spanish, 1553-1608) The Infanta Catalina Micaela, c.1585 Museo del Prado, Madrid

[cavernfullofexistentialdread]

LINA

She's silently judging you

[elizabethan-memes]

Happy birthday to Elisabeth of Valois, Queen of Spain, childhood bestie of Mary Stuart, and partroness of my profile pic (Sofonisba Anguissola).

Elisabeth was apparently not a morning person and had a tendency to overspend. Here's to a real one.

[catalina-infanta]

On Free Will in C.S. Pacat’s Dark Rise Series

James Has Free Will With The Collar

Recently I wrote an essay (https://www.tumblr.com/catalina-infanta/748214922159194112/the-question-of-the-collar-the-dark-rise-trilogy?source=share) on how I believed that the Collar was a consensual object between Anharion and Sarcean. I still believe that. I will further argue now that although I think the collar gets Anharion/James to obey direct orders, I also believe the collar is something that allows free will to its wearer and is not forcing him (compelling him) to do anything he does not agree to do, and that he ultimately has free will. This essay is an addendum to my last, so I suggest if you have not read it, you may want to read it first to understand the bulk of the reasoning for this argument of mine, but it is not necessary.

First, I will draw attention to the below scene (in the chapter where the collar is put on James by Sinclair):

Here, the two sentences say:

“He felt no compulsion.”

Period.

“He felt nothing at all.”

Period.

The way this is written is short and sweet for a reason, in my opinion. The sentence is simply “he felt nothing at all” not “he felt nothing at all when Sinclair ordered him…” This feels like a deceptive trick of writing to me. It is stated in a way to hide information in plain site; we are meant to think he is only not compelled here because Sinclair was the one ordering him around. But he says here that he feels no compulsion. Nothing at all. These are the ways writers trick us until they give us the final reveal and we are meant to look back and it all makes sense.

Another clue is in the below scene. We see James is not an automaton who repeats back Will's wishes (like his people branded with those “S”/snake tattoos must do – I have seen others mention a theory that they are snakes, not “s” tattoos). Instead, James’s personality is fully his own at the end of the chapter when he rescues Will. He willingly calls Will “darling”, therefore giving a personal twist to his phrasing without anyone telling him to do so (and he is not a mind reader for reasons I will explore below)

and then, James takes initiative to blast them out of the mountain (showing us he can choose the method of escape, Will doesn’t direct him how to do it).

Furthermore, below, James says he will rule with Will, by his side. He has agency. You can’t rule if you have no autonomy. If you can't decide anything you are not a ruler, you are simply ruled.

Why Was James Acting So Weird? Is He Brain Washed?

James was acting weird in the last chapter. What’s more, James’s mannerisms are different, yes, even different from the chapter preceding it where James rescues Will (calling Will “darling”, acts sassy with the others, etc). So, the final chapter could have been done by Pacat to show that James is brainwashed, but I highly doubt this. Instead, I think it is done to show 1) James isn’t acting weird because he has no agency, but because he believes Will remembers everything too, and 2) He is written strangely to obfuscate the truth. We cannot know too much about James’s condition right now as that is a giveaway, so Pacat chooses to hide it and instead has us focus on the turmoil inside Will in the final chapter and on his interpretation of James’s behavior.

[One clue someone brought to my attention that shows James may think Will already remembers everything is the scene when Will says “both of you” to Visansder and James; James knows what he is talking about (the memory where Sarcean said the same thing to Anharion and the Queen when he was arrested) and probably infers that Will remembers everything as well. He doesn’t know that Will only remembers a few small snippets. What’s more, perhaps James is calling Will “His King” and “Sarcean” because he simply remembers everything now and so Will and the Dark King have both become interchangeable in his mind. Will is now “his King”--perhaps he even believes Will expects to be called as such]

Unfortunately, we have very little description of what he was feeling, or even of his facial expressions in the last chapter; James’s actions often appeared mechanic. Very importantly, however, the five times he is described by Will in the chapter, he is described as “achingly genuine” with “blue eyes full of loyalty” and “as eager as Will” and feeling “warm and real against him [Will]” and, finally, saying something “with confidence”.

Sadly, all of these lovely things Will noticed are (in the same chapter/moments) doubted by Will, leading the reader to doubt too. However, Will’s filter is often unreliable as his thoughts are often just his opinion and/or the full extent of his real memories are concealed from us.

The thing is, if James has just gotten access to all his memories, maybe what Will perceives to be genuine is really actually genuine! We kind of know it is from James's point of view given what we read after the collar is placed on him; James's description of his experience wearing the collar seemed to invigorate him. I fully expect that after Book 3 we will be able to look back on these moments in book 2 and everything will make sense.

To that idea, I find it hard to believe that Pacat would call this unbearably erotic (above) if we weren’t meant one day to come back and read this as a situation that is…kind of romantic? Sexy? But NOT lacking in consent or love or taking place with a brain washed partner.

No, James imo has not suddenly become a brainwashed Anharion. He refers to him as Will in the below pic, so he knows he is with Will in the present moment as much as with Sarcean:

To my final point, more importantly, James BELIEVES that Will remembers too! That’s why his responses are so weird to us and to Will. He now knows Will was lying about who he was, so he must assume Will knows too and still is aiming for the same goals as the Dark King.

Hence why he thinks (above) that ruling over the world was what Will wants to accomplish, but it is NOT what the present Sarcean/Will wants (not yet, at least). Notice also that James’s answer to Will asking if he was telling him what he wants to hear (in the above scene) was evasive; perhaps another tool Pacat has possibly employed to make us THINK James is talking about one thing when maybe what he is really saying “yes” to is something else entirely?

Finally, I would like to draw your attention to this final question I have:

This scene where James was asking, “what’s wrong?” always confused me until I realized James thinks Will is on the same page. If James believes Will remembers everything (which I firmly believe based on how he acts in the final chapters) then this question “what’s wrong?” makes sense if he believes Will knows the methods of the collar.

It makes sense because when Will has a virtual panic attack upon seeing the collar on James, James doesn’t immediately try to explain to him the history of the collar to make him feel better (because he thinks Will knows it’s history). So, in the above, James has no idea why Will is so upset.

I wonder if at this point in time here, however, if James remembers and is questioning why Will discouraged the use of the collar and wanted to destroy it?

Perhaps it is as simple as James believing that this incarnation of Sarcean wants him to follow him (Will) first and foremost because he wants to? This is what Will said in the Throne Room. Perhaps James is thinking now it is done, why cry over spilt milk? It’s not the end of the world, after all. Or maybe James hasn’t thought yet about how Will hadn’t wanted him collared and is just too excited to learn the truth (thanks @tackletofset for this idea). Upon thinking further, it is also possible that James doesn’t have to wonder why Will didn’t want the collar if maybe Anharion was always the driving force between the two towards the collar, and Sarcean more hesitant? Or perhaps it was something else altogether? I mention all of this because if my theory is true, it will spill over into book 3 as they try to figure out each other’s feelings in the first half of the book.

Conclusion

Finally, as we see at the end when James reveals he remembers all in the end scene of the book (pic above), we don’t get to see the rest of the conversation: we don’t get to see them talk about what they both remember. That’s for the next book! And I can’t say I have any idea when they will both be on the same page. Hopefully soon enough!

In James saying “You are him”, it’s comforting to see that James believes Will (the loving and loyal person he is) and Sarcean are essentially the same. That Sarcean isn’t the demon the Light side made him to be, that he is worthy to be held in esteem. This bodes well that the Dark King is no cruel man, as Will is not cruel either. James is telling us something about Sarcean’s character here, and I believe him.

[comtessezouboff]

Paintings from Buckingham Palace: part I

A retexture by La Comtesse Zouboff — Original Mesh by @thejim07

100 followers gift!

First of all, I would like to thank you all for this amazing year! It's been a pleasure meeting you all and I'm beyond thankful for your support.

Spread among 13 occupied and historic royal residences in the United Kingdom, the collection is owned by King Charles III and overseen by the Royal Collection Trust. The British monarch owns some of the collection in right of the Crown and some as a private individual. It is made up of over one million objects, including 7,000 paintings, over 150,000 works on paper, this including 30,000 watercolours and drawings, and about 450,000 photographs, as well as around 700,000 works of art, including tapestries, furniture, ceramics, textiles, carriages, weapons, armour, jewellery, clocks, musical instruments, tableware, plants, manuscripts, books, and sculptures.

Some of the buildings which house the collection, such as Hampton Court Palace, are open to the public and not lived in by the Royal Family, whilst others, such as Windsor Castle, Kensington Palace and the most remarkable of them, Buckingham Palace are both residences and open to the public.

About 3,000 objects are on loan to museums throughout the world, and many others are lent on a temporary basis to exhibitions.

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This first part includes the paintings displayed in the White Drawing Room, the Green Drawing Room, the Silk Tapestry Room, the Guard Chamber, the Grand Staircase, the State Dining Room, the Queen's Audience Room and the Blue Drawing Room,

This set contains 37 paintings and tapestries with the original frame swatches, fully recolourable. They are:

White Drawing Room (WDR):

Portrait of François Salignan de la Mothe-Fénelon, Archbishop of Cambrai (Joseph Vivien)

Portrait of a Lady (Sir Peter Lely)

Portrait of a Man in Armour with a red scarf (Anthony van Dyck)

Portrait of Alexandra of Denmark, Queen Consort of the United Kingdom and Empress of India (François Flameng)

Green Drawing Room (GDR):

Portrait of Prince James Stuart, Duke of Cambridge (John Michael Wright)

Portrait of Frederick Henry, Charles Louis and Elizabeth: Children of Frederick V and Elizabeth of Bohemia (unknown)

Portrait of Infanta Isabel Clara Eugenia of Autria and her Sister, Infanta Catalina Micaela of Austria (Alonso Sanchez Coello)

Portrait of Princess Louisa and Princess Caroline of the United Kingdom (Francis Cotes)

Portrait of Queen Charlotte with her Two Eldest Sons, Frederick, Later Duke of York and Prince George of Wales (Allan Ramsay)

Portrait of Richard Colley Wellesley, Marquess of Wellesley (Martin Archer Shee)

Portrait of the Three Youngest Daughters of George III, Princesses Mary, Amelia and Sophia (John Singleton Copley)

Silk Tapestry Room (STR):

Portrait of Caroline of Brunswick, Princess of Wales, Playing the Harp with Princess Charlotte (Sir Thomas Lawrence)

Portrait of Augusta, Duchess of Brunswick With her Son, Charles George Augustus (Angelica Kauffmann)

Guard Chamber (GC):

Les Portières des Dieux: Bacchus (Manufacture Royale des Gobelins)

Les Portières des Dieux: Venus (Manufacture Royale des Gobelins)

Les Portières des Dieux (Manufacture Royale des Gobelins)

Grand Staircarse (GS):

Portrait of Adelaide of Saxe-Meiningen, Queen Consort of Great Britain (Martin Archer Shee)

Portrait of Augustus, Duke of Sussex (Sir David Wilkie)

Portrait of Edward, Duke of Kent (George Dawe)

Portrait of King George III of Great Britain (Sir William Beechey)

Portrait of King William IV of Great Britain when Duke of Clarence (Sir Thomas Lawrence)

Portrait of Leopold I, King of the Belgians (William Corden the Younger)

Portrait of Prince George of Cumberland, Later King George V of Hanover When a Boy (Sir Thomas Lawrence)

Portrait of Princess Charlotte Augusta of Wales (George Dawe)

Portrait of Queen Charlotte at Frogmore House (Sir William Beechey)

Portrait of Victoria of Saxe-Coburg-Saafeld, Duchess of Kent (Sir George Hayter)

State Dining Room (SDR):

Portrait of Charlotte of Mecklenburg-Strelitz, Queen Consort of the United Kingdom in Coronation Robes (Allan Ramsay)

Portrait of King George III of the United Kingdom in Coronation Robes (Allan Ramsay)

Portrait of Augusta of Saxe-Gotha, Princess of Wales (Jean-Baptiste Van Loo)

Portrait of Caroline of Ansbach when Princess of Wales (Sir Godfrey Kneller)

Portrait of Frederick, Princes of Wales (Jean-Baptiste Van Loo)

Portrait of King George II of Great Britain (John Shackleton)

Portrait of King George IV of the United Kingdom in Garther Robes (Sir Thomas Lawrence)

Queen's Audience Room (QAR):

Portrait of Anne, Duchess of Cumberland and Strathearn (née Anne Luttrel) in Peeress Robes (Sir Thomas Gainsborough)

Portrait of Prince Henry, Duke of Cumberland and Strathearn in Peer Robes (Sir Thomas Gainsborough)

London: The Thames from Somerset House Terrace towards the City (Giovanni Antonio Canal "Canaletto")

View of Piazza San Marco Looking East Towards the Basilica and the Campanile (Giovanni Antonio Canal "Canaletto")

Blue Drawing Room (BDR)

Portrait of King George V in Coronation Robes (Sir Samuel Luke Fildes)

Portrait of Queen Mary of Teck in Coronation Robes (Sir William Samuel Henry Llewellyn)

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Found under decor > paintings for:

500§ (WDR: 1,2 & 3)

1850§ (GDR: 1)

1960§ (GDR: 2 & 3 |QAR 3 & 4)

3040§ (STR, 1 |GC: 1 & 2|SDR: 1 & 2)

3050§ (GC:1 |GS: all 10|WDR: 4 |SDR: 3,4,5 & 6)

3560§ (QAR: 1 & 2|STR: 2)

3900§ (SDR: 7| BDR: 1 & 2|GDR: 4,5,6 & 7)

Retextured from:

"Saint Mary Magdalene" (WDR: 1,2 & 3) found here .

"The virgin of the Rosary" (GDR: 1) found here .

"The Four Cardinal Virtues" (GDR: 2&3|QAR 3 & 4) found here.

"Mariana of Austria in Prayer" (STR, 1, GC: 1 & 2|SDR: 1 & 2) found here.

"Portrait of Philip IV with a lion at his feet" (GC:1 |GS: all 10|WDR: 4 |SDR: 3,4,5 & 6) found here

"Length Portrait of Mrs.D" (QAR: 1 & 2|STR: 2) found here

"Portrait of Maria Theresa of Austria and her Son, le Grand Dauphin" (SDR: 7| BDR: 1 & 2|GDR: 4,5,6 & 7) found here

(you can just search for "Buckingham Palace" using the catalog search mod to find the entire set much easier!)

Drive

(Sims3pack | Package)

(Useful tags below)

@joojconverts @ts3history @ts3historicalccfinds @deniisu-sims @katsujiiccfinds @gifappels-stuff

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[catalinadearagonsblog]

On January 26, 27 and 28, the city of Alcalá de Henares was the stage of a Festival dedicated to the Spanish infanta who became the first wife of Henry VIII of England, called "Alma, Catalina de Aragón."

The events included a conference "Catalina: infanta, queen and patroness of humanism" by the official chronicler of Alcalá de Henares, M. Vicente Sánchez Moltó, a theatrical tourist tour, the delivery of the Catalina de Aragón Award, the tribute and floral offering in front of her sculpture and three concerts.

The Councilor of Culture, Santiago Alonso, said he was “very satisfied with the reception received by the Festival and it makes us start working on celebrating the second edition next year.”

[random-brushstrokes]

Francisco Pradilla - Queen Juana la Loca, imprisoned in Tordesillas with her daughter, the Infanta Catalina (1906)

[wikitrajes]

Infantas Isabel Clara Eugenia and Catalina Micaela, Alonso Sánchez Coello, 1575

--------

Las infantas Isabel Clara Eugenia y Catalina Micaela, Alonso Sánchez Coello, 1575

Museo del Prado

[isadomna]

The two beautiful and intelligent daughters of Elisabeth of Valois were very loved by their father, the King of Spain. He called them "the light of my eyes"

Isabel Clara Eugenia and Catalina Micaela are my daughters, and they are so dear to me - in both soul and perfection - that I would give my life and my kingdoms for them if the circumstances would demand so. - Felipe II of Spain

Las dos Infantas que en el ancho suelo

con sus rayos clarísimos deslumbran

como dos nortes en que estriba el cielo,

como dos soles que la tierra alumbran.

Son las que a fuerza de su inmenso vuelo

al soberano nombre de Austria encumbran,

bella Isabel y Catalina bella,

ésta sin par y sin igual aquélla.

Gálvez de Montalvo, 1586

[artthatgivesmefeelings]

Alonso Sánchez Coello (Spanish, 1531-1588) The Infanta Catalina Micaela, ca.1584 Museo del Prado, Madrid

[plantagenetsun]

Catalina. Kate. Katherine. Infanta. Princess. Queen. ✧

Three Spanish portrayals of Catherine of Aragon: Natalia Rodríguez [ Isabel ], Paola Bontempi [ Six Wives with Lucy Worsley ] & Mélida Molina [ Carlos Rey Emperador ].

[lollobarcollomanonmollo]

Infantas Isabella Clara Eugenia and Catalina Micaela with their pets, painted by Sofonisba Anguissola (1535-1625)

[jadeseadragon]

The Infanta Isabella Clara Eugenia (Spanish, 1566-1633): Sovereign of the Netherlands, Duchess of Lothier, Brabant, Limburg, Luxemburg, and Guelders, Margravine of Namur, Countess Palatine of Burgundy, Countess of Flanders, Artois and Hainaut. [source]

1. Attributed to Alonso Sánchez Coello (1531-1588) and Workshop, Isabella Clara Eugenia and Catharina, Daughters of Philip II, King of Spain, c. 1569-70, oil on canvas; The Royal Collection Trust, Green Drawing Room, Buckingham Palace.

2. Alonso Sánchez Coello (Spanish,1531-1588), The Infantas Isabel Clara Eugenia and Catalina Micaela, circa 1575, oil on canvas, Museo del Prado, Madrid.

3. Alonso Sánchez Coello (Spanish, 1531-1588), Infanta Isabella Clara Eugenia, 1577, oil on canvas, Museo del Prado, Madrid.

4. Alonso Sánchez Coello, The Infanta Isabella Clara Eugenia and Magdalena Ruiz, 1586, oil on canvas, Museo Nacional del Prado, Madrid.

5. Juan Pantoja de la Cruz (Spanish, 1553-1608), The Infanta Isabel Clara Eugenia, 1598-99, oil on canvas, Museo del Prado, Madrid.

6. Frans Pourbus the Younger (Flemish, 1569-1622), The Infanta Isabella Clara Eugenia, Archduchess of Austria, c. 1598-1600, oil on canvas.

7. Peter Paul Rubens and Workshop (Flemish, 1577-1640), Portrait of Archduchess Isabella Clara Eugenia, Spanish Regent of the Low Countries, as a Nun, 1625, oil on canvas.

8. Anthony van Dyck (Flemish, 1599-1641), The Infanta Isabella Clara Eugenia, c. 1630, oil on canvas, Walker Art Gallery.

Infanta Isabella Clara Eugenia (Spanish, Segovia, 1566 - 1633, Brussels) was the daughter of Philip II of Spain and his third wife, Elizabeth of Valois, who died after a miscarriage when the Infanta was only two. Her sister Catalina Micaela was one year younger.

She became the sovereign of the Spanish Netherlands in the Low Countries and the north of modern France with her husband, Archduke Albert VII of Austria. She was one of the most powerful women in Europe at the time. The couple had no children. She joined the Sisters of St. Clare order after her co-regent's death.

[lainfanta]

── * i am no beast, but my blade sliding clean through your thick neck, while my maid keeps your blood off me and my good dress will be a song the parish sings for centuries. tell mary. tell eve. tell salome and david about 𝒎𝒆.

── INFANTA CATALINA DE ESPAÑA

NAME: la infanta catalina maría apolonia de españa ↪ her highness infanta catherine of spain ↪ catalina to friends, kitty to special people RANK: infanta of spain DATE OF BIRTH & AGE: april 2nd 1538, 21 years PLACE OF BIRTH: the royal palace of aranjuez, madrid, spain COUNTRY OF ORIGIN: spain RELIGION: roman catholic

FACE CLAIM: marina moschen GENDER: cis woman SEXUAL ORIENTATION: bisexy, fem leaning

MOTHER & FATHER: mary tudor & philip ii of spain SIBLINGS: older twin brother, prince philip BIRTH ORDER: youngest of twins, youngest in the family MARITAL STATUS: unmarried ISSUE: n/a

VIRTUES: dedicated, youthful, observant VICES: duplicitous, self-serving, cruel ALLIES: spain, mostly herself ADVERSARIES: unclear, almost everyone else

── TIMELINE

1538 – the infanta is born to mary tudor and king philip ii of spain. she is the younger of the twins, born one and a half hours after her older brother, the heir to the throne, prince philip. 1545 – educated and brought up much like her brother, upon her own insistense and inability to behave in a manner fit for a young princess. 1548 – sent to live with the nuns of the dominican monastery of the mother of god located in valladolid, spain, the birthplace of many of her ancestors, and her father. 1553 – instead of taking her vows and becoming a fully-fledged dominican nun, catalina returns to court at the behest of her father, who has become increasingly eager to find her a husband. 1555 – the infanta makes sure no husband would take her, breeding chaos and gossip in the spanish court. rumour has it that she is mad, and that is why the royal family sent her off to the nunnery in the first place. 1557 – catalina struggles to accept her position as second in line for the throne. she feels far more capable than her empty-headed brother. in this year begins her conquest to undermine him. 1559 – the prince and princess of spain arrive in england to attend the wedding of anne boleyn & thomas wyatt. they are joined by their mother and father later in the year. ── BIOGRAPHY wip lol sorry!  

[felipaed]

𝐰𝐢𝐭𝐡    . . .    catherine    of    spain    (    @lainfanta    )    𝐰𝐡𝐞𝐫𝐞    . . .    on    the    road    to    dover    .

though  prior  negotiations  had  been  led  by  the  spanish  ambassadors  that  had  accompanied  the  prince  of  asturias  to  the  muddy  shores  of  england  on  the  account  of  his  youth,  felipe  had  watched  with  proceedings  with  rapt  attention  that  was  broken  only  by  his  attempts  to  curtail  any  disruptions  from  his  younger  sister.  at  this  point,  he  was  certain  that  their  english  kin  were  more  than  aware  of  her  desires  to  prove  herself  equally  as  capable  in  the  role  of  heir  to  the  throne,  lobbying  for  the  spanish  cause  where  he  kept  silent  in  observance  but  he  had  very  little  to  prove  to  their  distant  relatives,  content  with  allowing  the  political  dialogue  to  take  place  between  those  who  knew  the  wishes  of  his  father  more  intimately  while  he  fostered  good  relationships  through  conversation  and  sport.  as  the  twins  rode  ahead  of  the  retinue  of  people  that  had  followed  them  from  madrid  to  london  and  now  to  dover  to  greet  their  mother,  the  infanta  was  more  akin  to  the  dark  clouds  that  plagued  the  english  skies,  the  weight  of  her  stare  heavy  against  his  back  ─  felipe  was  aware  that  her  displeasures  with  him  numbered  more  than  the  stars  and,  were  there  not  others  around  them,  he  might  not  have  turned  his  back  so  easily  to  his  sister  for  fear  of  finding  a  knife  struck  between  his  shoulders,  but  it  gave  him  no  delight  in  correcting  her  so  publicly.  the  insides  of  his  cheeks  bore  the  abuse  from  his  teeth  as  he  stifled  each  harsh  word  and  irritated  look  until  they  were  in  private  but  with  the  wind  in  his  hair  and  their  servants  at  a  distance,  he  felt  more  comfortable  in  addressing  now.

❝  you  are  doing  a  poor  job  in  disguising  your  hatred  for  me,  little  cat.  ❞  in  spite  of  knowing  better  than  to  proke  a  coiled  serpent,  he  could  not  help  but  dig  into  the  cesspool  that  was  her  disdain  for  his  very  existence.  it  was  his  right  as  her  older  brother  to  torment  her  till  the  end  of  her  days  and  there  was  still  blood  in  his  mouth  from  the  past  week  of  showed  restraint  before  their  english  allies  ─  it  was  only  just  that  he  poked  at  her  a  little  bit.  ❝  can  you  not  be  more  like  our  aunt,  elizabeth  ?  i  am  certain  she,  too,  must  be  vexed  by  our  uncle,  the  king,  as  all  younger  sisters  seem  to  be  but  she  bears  her  frustrations  with  more  grace  than  you  ever  have. ❞  though  only  an  hour  and  a  few  minutes  older  than  the  infanta,  his  tone  had  taken  on  a  natural  grumble  best  associated  with  longsuffering  older  siblings.  it  was  not  his  usual  intonation  but  one  that  was  chiefly  reserved  for  his  sister  if  only  because  he  knew  how  much  it  irritated  her  to  have  him  nag  at  her  as  though  the  gap  between  their  ages  was  so  great  that  he  held  more  experience  than  she  had.  (  in  some  ways,  he  did  but  not  for  a  lack  of  trying  on  her  part.  had  catalina  not  been  sent  away,  felipe  was  certain  she  would  rival  him  in  accomplishments.  he  only  wished  she  could  channel  such  determination  and  passion  for  spain  towards  supporting  him  rather  than  praying  for  his  downfall.  )  

❝  mother  entrusted  us  to  present  a  united  front,  catalina.  if  you  mess  this  up,  i  will  bear  the  weight  of  father's  disappointment.  ❞  something  that  he  would  do  gladly,  though  he  would  cut  out  his  own  tongue  rather  than  admit  to  protecting  her  whenever  he  could  ─  the  prince  was  certain  she  would  only  find  insult  in  his  brotherly  concern.  ❝  if  you  want  to  interject,  why  not  speak  to  me  and  have  me  act  as  your  mouthpiece  ?  or  one  of  the  ambassadors,  if  i  am  so  heinous  to  deal  with.  ❞

[iamainhoa]

Francisco Padilla y Ortiz

La reina Juana la Loca, recluida en Tordesillas con su hija, la infanta Catalina, 1906 Óleo sobre lienzo, 85 x 146 cm Pintura Histórica.

Este pintor elige como argumento de su composición el pasaje de la reclusión de la soberana en el Castillo de Tordesillas (Valladolid), donde quiso encerrarse de por vida junto al cadáver de su esposo (Felipe I de Castilla).

Así, la reina aparece en el interior de una sobria estancia, sentada junto a un ventanal por el que puede verse el austero paisaje de llanura ante el que se yergue esta ciudad vallisoletana.

Extasiado su pensamiento por el recuerdo de su amado esposo muerto, abandona la lectura de un libro apoyado en el alféizar y dirige su mirada perdida hacia el espectador, sin advertir los requerimientos de su hija, la pequeña Infanta Catalina, que se arroja en su regazo para llamarle la atención de sus juegos. Sentadas junto a la chimenea de la sala, contemplan y custodian a la enajenada reina una dama de su corte, ricamente vestida y con un rosario entre las manos, y una criada, de indumentaria más modesta, que hila lana en una rústica rueca. A la derecha, una artística verja separa la estancia de una capilla, pintada al fresco en su testero con la figura del Pantocrátor, y en su cornisa con las efigies de varios santos. En el extremo opuesto, una puerta entreabierta en el muro del fondo permite contemplar el féretro que contiene los restos mortales de Felipe el Hermoso, de cuya compañía doña Juana no quiso separarse un instante.

Además toda la intensidad romántica y melodramática a que la locura de esta soberana, y en concreto de este episodio, se prestan, Pradilla incorpora aún en la presente composición nuevos elementos sentimentales que refuerzan su carga emocional a través de los lazos afectivos de los distintos personajes que acompañan a la reina, como la paciencia resignada y comprensiva de las mujeres de su séquito personal y la ingenua inocencia de la Infanta niña, atenta tan sólo a sus juegos y ajena por completo al patético ambiente que la rodea.

Por otra parte, Pradilla hace aquí gala de sus ricos conocimientos arqueológicos sobre la época de los Reyes Católicos y el lugar donde se desarrolla la escena, mezclando sabiamente en su eclética arquitectura las pinturas murales románicas de inspiración bizantina, la arquitectura morisca del balconaje y el encuadre de la puerta, junto al gótico flamígero de la embocadura de la chimenea, que enmarca el escudo real. Ropajes y mobiliario están igualmente cuidados, llamando sobre todo la atención los distintos objetos dispersos por la estancia y que requieren, precisamente por su carácter accesorio y decorativo, todo el esmero descriptivo por parte del pintor.

📍Museo Nacional del Prado, Madrid, Spain. (Obra no expuesta)

⭐Favorite Painting