Abstract
Ferdinand II king of Aragon (1479–1516). He was the fourth king of the Trastámara dynasty, which had first come to power after the Compromise of Caspe, reached after Martin I died with no living descendants in 1410. Although in terms of artistic patronage Ferdinand II was not as active as his wife Elisabeth I, he was still aware that the wise use of artistic commissions in reinforcing ideas and concepts favourable to the institution of the monarchy. He is a highly important figure in the history of Spain because, along with Elisabeth, he was one of the Catholic Monarchs and thus represents a new conception of power based on their joint governance, a fact that is reflected in the iconography found in his artistic commissions across all genres. All of the images are evidence of how King Ferdinand, at the end of the Middle Ages, wanted to be recognised by his subjects, who also used his image for legitimising and propagandistic purposes. Nobody else in the history of the Hispanic kingdoms had their image represented so many times and on such diverse occasions as did the Catholic Monarchs.
Highlights
Introduction to the Reign of FerdinandIIFerdinand II was not destined to be king, he was born after the second marriage ofJohan II of Aragon (1458–1479) to Juana Enriquez, and was the king’s second son
Both Ferdinand and Elisabeth exploited the royal image and increased its prestige through court ceremonials, panegyrics, and iconography, for which they used novel, rich and varied artistic forms which were open to Renaissance trends, without excluding the late Gothic, Islamic and Mudejar styles, which persisted in architecture, objects and everyday settings
A new conception of power based on joint with government
Summary
Ferdinand II was not destined to be king, he was born after the second marriage of. Johan II of Aragon (1458–1479) to Juana Enriquez, and was the king’s second son. Both Ferdinand and Elisabeth exploited the royal image and increased its prestige through court ceremonials, panegyrics, and iconography, for which they used novel, rich and varied artistic forms which were open to Renaissance trends, without excluding the late Gothic, Islamic and Mudejar styles, which persisted in architecture, objects and everyday settings Their image proliferated in various media, accompanied by extensive inscriptions, heraldry, and the use of devices such as the yoke and arrows to allude to the names of the monarchs, and the Gordian knot, related to the motto of tanto monta that summed up the equality between them as heads of government.
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