The canonization of Ferdinand III of Castile was a major festive event for Seville Cathedral in 1671, which was thereby compelled to organise an elaborate series of celebrations, known to us through the chronicle commissioned from Fernando de la Torre Farf & aacute;n. This article analyses the festivities from an economic perspective, assessing the cost of the Baroque festival as its promoters did, with particular attention to the sensory impact of the performances. Archival documentation is compared with literary sources in order to understand the construction of a sensory rhetorical discourse that constituted the festival itself.
Antonio Juan Luis de la Cerda, VII Duke of Medinaceli, and Juan Francisco Leiva y de la Cerda, V Marquis of Ladrada, are the authors of a letter and a memorial addressed to the Queen Regent Mariana of Austria in 1666. In those << running handwrittens >>, the matter of the transfer of the mortal remains of the Infantes of Castile, Alfonso and Mafalda, from Gibrale & oacute;n to the Royal Monastery of Santa Maria de Huerta is disclosed. Historiography has traditionally located the burial of Infante Alfonso de la Cerda in the Royal Monastery of Las Huelgas in Burgos, but these Baroque letters used as a means to forge noble memory seem to deny it: reality or fiction?
The primary objective of this study is to examine the forgotten comedy El ap & oacute;stol de Salamanca. This seventeenth-century hagiographic-religious text skillfully blends doctrinal, emotional, and theatrical elements, all embodied in the figure of Fray Juan de Sahag & uacute;n. The study also includes a comparative analysis of Sicardo's work with El patr & oacute;n de Salamanca, San Juan de Sahag & uacute;n, con Monroyes y Manzanos by Juan de Vera Tassis y Villarroel, and with El iris de Salamanca by Cayetano Cabrera Quintero. Among all the later theatrical works that addressed the saint's life, these two comedias most closely followed the dramatic-hagiographic model established by Sicardo's play.
This paper examines the making of the first theatre company organized by the autor de comedias Jos & eacute; Ferrer (c. 1654/1655-1729) in C & aacute;diz for its debut season at the Patio de Arcas in the city of Lisbon. Drawing on documentary sources, we analyze the challenges Ferrer faced in assembling the company and present the full cast of actors who ultimately joined it.
The theme of rest and movement plays a significant role in Empresas morales (1680) by Juan de Borja. His call to seek quietude and tranquility is grounded in an analogy: the correspondence between divine immutability and the virtue of rest, and between the variability of temporal realities and the invariability of eternal ones. In Borja's emblematic work, as in Golden Age thought more broadly, a principle of stability -identified with virtue- is proposed. Through this virtue, one partakes in the immobility of the Prime Mover and endures the upheaval of a turbulent age.
