Reassesses King Philip II's reputation as narrow-minded tyrant, describes the major events of his reign, and presents a more rounded depiction of his personality
Philip II is not only the most famous king in Spanish history, but one of the most famous monarchs in English history: the man who married Mary Tudor and later launched the Spanish Armada against her sister Elizabeth I. This compelling biography of the most powerful European monarch of his day begins with his conception (1526) and ends with his ascent to Paradise (1603), two occurrences surprisingly well documented by contemporaries. Eminent historian Geoffrey Parker draws on four decades of research on Philip as well as a recent, extraordinary archival discovery—a trove of 3,000 documents in the vaults of the Hispanic Society of America in New York City, unread since crossing Philip’s own desk more than four centuries ago. Many of them change significantly what we know about the king. The book examines Philip’s long apprenticeship; his three principal interests (work, play, and religion); and the major political, military, and personal challenges he faced during his long reign. Parker offers fresh insights into the causes of Philip’s leadership failures: was his empire simply too big to manage, or would a monarch with different talents and temperament have fared better?
Following Rivers of Gold and The Golden Empire and building on five centuries of scholarship, World Without End is the epic conclusion of an unprecedented three-volume history of the Spanish Empire from “one of the most productive and wide-ranging historians of modern times” (The New York Times Book Review). The legacy of imperial Spain was shaped by many hands. But the dramatic human story of the extraordinary projection of Spanish might in the second half of the sixteenth century has never been fully told—until now. In World Without End, Hugh Thomas chronicles the lives, loves, conflicts, and conquests of the complex men and women who carved up the Americas for the glory of Spain. Chief among them is the towering figure of King Philip II, the cultivated Spanish monarch whom a contemporary once called “the arbiter of the world.” Cheerful and pious, he inherited vast authority from his father, Emperor Charles V, but nevertheless felt himself unworthy to wield it. His forty-two-year reign changed the face of the globe forever. Alongside Philip we find the entitled descendants of New Spain’s original explorers—men who, like their king, came into possession of land they never conquered and wielded supremacy they never sought. Here too are the Roman Catholic religious leaders of the Americas, whose internecine struggles created possibilities that the emerging Jesuit order was well-positioned to fill. With the sublime stories of arms and armadas, kings and conquistadors come tales of the ridiculous: the opulent parties of New Spain’s wealthy hedonists and the unexpected movement to encourage Philip II to conquer China. Finally, Hugh Thomas unearths the first indictments of imperial Spain’s labor rights abuses in the Americas—and the early attempts by its more enlightened rulers and planters to address them. Written in the brisk, flowing narrative style that has come to define Hugh Thomas’s work, the final volume of this acclaimed trilogy stands alone as a history of an empire making the transition from conquest to inheritance—a history that Thomas reveals through the fascinating lives of the people who made it. Praise for World Without End “Readers will not find a more reliable guide to the maturing Spanish Empire. . . . World Without End reminds us that the far-flung Spanish Empire was the work of many minds and hands, and by the end their myriad stories carry a cumulative charge.”—The New York Times Book Review “A sweeping, encyclopedic history of the arrogance, ambition, and ideology that fueled the quest for empire.”—Kirkus Reviews “Literary power is a vital part of a great historian’s armoury. As in his earlier books, Thomas demonstrates here that he has this in abundance.”—Financial Times “A vivid climax to Hugh Thomas’s three-volume history of imperial Spain.”—The Telegraph “Thomas clearly excels in the Spanish history of religion, politics, and culture, [and] successfully shows that Spain’s global ambition knew no bounds.”—Publishers Weekly
Four hundred years after his death, Philip II remains one of the most controversial figures in history, admired and reviled in equal measure. He is a figure of global importance, the first ruler on whose territories the sun never set. He led Europe in its defence against the seemingly irresistable power of the Ottoman Empire and many of the nations of Western Europe were forged in part by their responses to his ambitions - Portugal was conquered and most of Italy was controlled by him, while the Low Countries, England and France fought long and bitter wars against him. Philip proclaimed himself the leader of Catholic Europe but quarrelled incessantly with the popes of the Counter-Reformation. In consolidating his monarchy in Spain, Philip used the arts as a political tool; Titian and Palestrina did some of their greatest work for him. This new study traces the development of Philip II and of a kingship that lay at the heart of European political, religious and cultural evolution. It looks in detail at the ministers who worked with this most demanding of kings and at the government that evolved during his reign. It deals also with the pressures of a tortured private life and explores the paradox of a man who as a young ruler was deeply prudent but who became extraordinarily aggressive in his old age and who by his successes and failures - both of them on an epic scale - re-shaped the world in which he lived.
The image of Philip II (1527-98) as stern and assiduous defender of his political inheritance and of the catholic faith is tempered and enriched by the image of patron and collector of art. During the forty-two years of his reign (1556-98) through widespread patronage and persistent guidance he transformed the arts in Spain, then largely provincial, into the international and modern. The building of the Escorial - known in its own time as the eighth wonder of the world - and other royal residences attracted artists and craftsmen to enter the royal service, among them Titian, Anthonis Mor, El Greco, Federico Zuccaro, Pompeo, Leoni and Alonso Sanchez Coello. Part of his collection was to form the basis of the Prado Museum when it was founded in the nineteenth century. Although Philip is recognized as one of the most important art patrons of the Renaissance little has been published in English on his remarkable achievement. This selection of essays by Rosemarie Mulcahy gives a sense of the variety of talent, both Spanish and foreign, that flourished under Philip II's patronage and provides fascinating insights into the king's artistic projects. The topics covered include: the function of religious art, court portraiture, art and diplomacy, art as propaganda, the use of preparatory drawings. The volume contains 16 colour plates and over 100 black and white illustrations.
What the loans and defaults of a sixteenth-century Spanish king can tell us about sovereign debt today Why do lenders time and again loan money to sovereign borrowers who promptly go bankrupt? When can this type of lending work? As the United States and many European nations struggle with mountains of debt, historical precedents can offer valuable insights. Lending to the Borrower from Hell looks at one famous case—the debts and defaults of Philip II of Spain. Ruling over one of the largest and most powerful empires in history, King Philip defaulted four times. Yet he never lost access to capital markets and could borrow again within a year or two of each default. Exploring the shrewd reasoning of the lenders who continued to offer money, Mauricio Drelichman and Hans-Joachim Voth analyze the lessons from this important historical example. Using detailed new evidence collected from sixteenth-century archives, Drelichman and Voth examine the incentives and returns of lenders. They provide powerful evidence that in the right situations, lenders not only survive despite defaults—they thrive. Drelichman and Voth also demonstrate that debt markets cope well, despite massive fluctuations in expenditure and revenue, when lending functions like insurance. The authors unearth unique sixteenth-century loan contracts that offered highly effective risk sharing between the king and his lenders, with payment obligations reduced in bad times. A fascinating story of finance and empire, Lending to the Borrower from Hell offers an intelligent model for keeping economies safe in times of sovereign debt crises and defaults.
In this study Marie Tanner examines the ways in which Titian incorporates new concepts of sensuality and spirituality in the mythological paintings of King Philip II of Spain, whose originality and ravishing beauty belie their actual their didactic content. Titian's mythological paintings for Philip II, known as the Poesie, are among the most frequently discussed works of art that address a favored Renaissance theme, the influence of the pagan gods on human actions. The commission is traceable to 1549, when Emperor Charles V summoned the artist to Augsburg following Prince Philip's triumphal parade through the empire as his father's heir apparent. The author proposes that Philip's expected elevation prompted the commission and that the subjects form a cohesive program of Hapsburg ethical views and political concerns, and that Titian created new visual idioms to represent the complex issues which the subjects address in part by engaging themes with a significant prior history in family patronage. While Titian's Poesie for Philip II are well known monuments of western culture, they have never before been investigated with this focus.
E. H. Gombrich's Little History of the World, though written in 1935, has become one of the treasures of historical writing since its first publication in English in 2005. The Yale edition alone has now sold over half a million copies, and the book is available worldwide in almost thirty languages. Gombrich was of course the best-known art historian of his time, and his text suggests illustrations on every page. This illustrated edition of the Little History brings together the pellucid humanity of his narrative with the images that may well have been in his mind's eye as he wrote the book. The two hundred illustrations—most of them in full color—are not simple embellishments, though they are beautiful. They emerge from the text, enrich the author's intention, and deepen the pleasure of reading this remarkable work. For this edition the text is reset in a spacious format, flowing around illustrations that range from paintings to line drawings, emblems, motifs, and symbols. The book incorporates freshly drawn maps, a revised preface, and a new index. Blending high-grade design, fine paper, and classic binding, this is both a sumptuous gift book and an enhanced edition of a timeless account of human history.