Mencía de Mendoza, Marquesa de Zenete: an art collector in sixteenth‐century Spain

Abstract

Mencía de Mendoza was undoubtedly one of the most outstanding collectors of the European Renaissance, amassing a range of artworks of the most diverse provenance, styles and types. This study of Mencía de Mendoza tries to determine who she was and how she built up her unique collection, the content of which was exceptional in terms of its size and quality, encompassing more than 200 paintings, 200 tapestries, countless gold and silver items both of a domestic and religious nature, curiosities and exotic items from the new continent, not to mention her jewellery of incalculable value. However, the artistic patronage of Mencía de Mendoza did not stop at acquiring works of art, but included more public initiatives, such as the University of Valencia project or the patronage of students from Valencia, on whom she bestowed grants for studying at different Spanish and European universities. At the same time, the Marchioness of Zenete emerges as a key figure for analysing artistic‐cultural relations between Spain and the Low Countries in the first half of the sixteenth century. Her relationship with other Spaniards, both those living outside Spain, such as Felipe de Guevara or Juan Luis Vives, and those within, who acted as her intermediaries in the purchase of works of art, was also important in this respect. As patron and intermediary, Mencía de Mendoza acted as ‘cultural ambassador’ for Spanish art in Breda and for Flemish art in Castile and Aragon.