MADRID 1622 -- LAVANHA, João Baptista. Viagem da catholica real magestade del Rey D. Filipe II. [i.e. III]. Madrid: Por Thomas Junti, 1622.
2o (332 x 218 mm). Engraved title, 3 engraved folding plates (including view of Lisbon), and 12 full-page engraved plates by JAN SCHORKENS (folding plates lined on verso). Modern tan calf with decoration in blind. Provenance: Early owner's signature on lower margin of title and his(?) manuscript notes on front flyleaf recto and verso; Ferdinandi Palha (bookplate); Harvard College Library (gift bookplate of John B. Stetson Junior; de-accession stamp on bookplate and title verso).
A VERY RARE festival book describing the celebrations surrounding the entry of PHILIP III of Spain (1578-621) to Lisbon in 1619. Philip, who ruled Portugal as Philip II from 1598 to his death in 1621, visited on his own initiative and against the view of both the Council of State and that of Castile. He was accompanied by the Prince of Asturias (future Philip IV).
The king's visit had been postponed several times, but when it finally took place, it was celebrated with the grandeur due a monarch whose rule extended over five continents. João Baptista Lavanha, the Cronista-mayor, or the king's chief chronicler, followed the royal progress from Madrid to Lisbon. In vivid reports of the ceremonies prepared in each town on the journey, Lavanha interpreted the ephemeral constructions erected in the king's honor, explaining mythological references and translating Latin inscriptions.
Lavanha's account was published in Madrid in 1622, in both Portuguese and Castilian editions. The book opens with a large print showing a bird's-eye view of the Lisbon waterfront on 29 June 1619, when Philip III arrived at the Terreiro do Paço, the main square of the city. The etchings reproduce thirteen of the twenty triumphal arches along the king's progress; these were apparently drawn by the Portuguese court painter DOMINGOS VIEIRA SERRãO and then etched by Jan Schorkens, Flemish printmaker living in Madrid. Of varying size and complexity, the arches were erected by the Inquisition, by various guilds (including merchants, silversmiths, painters, tailors, and lapidaries), and by the English, Flemish, German, and Italians communities in Lisbon. In the 1619 entry, some arches expressed the desire of the city of Lisbon to become the capital of the empire; in others, the Portuguese reminded the king of their old and often-ignored privileges. Berlin 3090; Hofer Baroque Book Illustration 87.