SPANISH NATIONAL CHARACTER IN THE COURT BALLETS OF J.-B. LULLY

Abstract

The marriage of Louis XIV of France in 1660 to his cousin, the Infanta Maria Teresa of Spain, was greeted with celebrations in both countries. Planned from 1656, it was the fitting centerpiece to the Peace of the Pyrenees, a treaty negotiated between the two nations, which brought with it the promise of respite from the bitter hostilities and harsh distrust that characterized their relationship.1 Louis's mother, Anne of Austria, enthusiastically supported the marriage. Spanish, herself?daughter of Philip III, sister of the then reigning king of Spain, Philip IV, and aunt to Maria Teresa, her son's betrothed?Anne was largely responsible, as queen and later regent of France, for an increase in Spanish influence at the French court during the minority of Louis XIV. Although of short duration when compared with the dominance of Italian culture there throughout most of the century, this influence nevertheless engendered a flurry of courtly interest in the qualities of Spanish national character, which found expression in dress, language, d?cor, theater, music and dance.2 It was an interest that was to