The "Look" of the Gods: Court Dress and Fashion in a Masquerade

Isabel María Alba Nieva

The Masquerade at Lodi, Lombardy on February 26, 1680 was a demonstration of jubilation to mark the marriage of the Spanish monarch, Charles II, to María Luisa de Orleans, during the visit of the Count of Melgar and his wife, Ana Catalina de la Cerda.

This engraving shows a view of the city of Lodi, with the procession in the foreground.

Filippo Biffi, Dissegno della mascherata fatta in Lodi, 1680. Courtesy of University of Glasgow Library, Archives & Special Collections, S.M. 1304.

The Site of the Mas­que­ra­de

The city of Lodi belonged to the Duchy of Milan. The Duchy was under Spanish rule from the early 16th century to the beginning of the 18th century. The Spanish aristocrats who governed the territories of the Spanish monarchy were accompanied by a retinue that was granted a level of ceremonial pomp appropriate to their status. Such ceremonies were adapted to the existing customs of each territory.

Map of Lodi, 1647. Historical Archive, Lodi.
Georges Tasniere, Portrait of Juan Tomás Enríquez de Cabrera, 1682. Madrid, National Library of Spain

The Hosts: The Count of Melgar and his Wife

Juan Tomás Enríquez de Cabrera y Toledo (1646–1705), Count of Melgar and 7th Duke of Medina de Rioseco and his wife, Ana Catalina de la Cerda Aragón (1663–1698), daughter of the 7th Duke of Medinaceli, hosted the masquerade held in Lodi.

The count was appointed Governor of Milan in 1678. During his tenure, he made improvements to the administration and promoted economic reforms. He invested in fortifications and reorganized Lombardy’s state troops. The aid he sent to Genoa during the French attack of 1684 was highly praised. His Milanese period of office, from 1678 to 1686, provided him with growing prestige.

Find out more: http://dbe.rah.es/biografias/15659/juan-tomas-enriquez-de-cabrera-toledo-y-sandoval

Ten pairs of gods and goddesses made up the Masquerade, which was an allegory of marriage, symbolizing the union and fertility of this sacrament.

Each pair was led by the figure of a god on horseback, sumptuously adorned. Behind him, the goddess was mounted in a horse-drawn carriage accompanied by four lackeys characterized by their fancy dress.

Move your cursor over the gods and goddesses to find out more

Proserpina,is represented here in her role as queen of the dead, following her abduction by Pluto. Thus, she is accompanied by creatures from the underworld, including the dog Cerberus.Pluto,guardian of the underworld, married Proserpina after he abducted her.He carries the key to the kingdom of Hades. Within the procession of this Masquerade, the couple represent an unbreakable bond.
Proserpina and Pluto
Ceres,goddess of agriculture, represents fertility and abundance. In her hand she carries a sickle, a symbol of the harvest of the fruits of the land.Bromius,an aspect of Bacchus, the god of wine. From the Renaissance on, he became associated with the figures of Ceres andVenus. Together, they represented fertility and prosperity. Here, Bromius is shown holding a “thyrsus”, a rod symbolizing fertility, in his right hand.
Ceres and Bromius
Thetis,the sea nymph, sits in a carriage in the form of shell with a mast, representing the marine world.Neptune,god of the sea, appears naked apart from his cloak. He carries the trident, his characteristic attribute.
Thetis and Neptune
Pronubais an epithet describing Juno in her role as matron of honour at weddings.The Masquerade text refers to the heart held by the goddess, as a symbol identifying her.Hymen,god of marriage and of the night, is identified by a burning torch.His representation is based on thedescription by Vincenzo Cartari in his book of 1587.
Pronuba and Hymen
Flora,goddess of flowers and allegory of fertility, rides in a carriage profusely decorated with plant motifs.Vertumnusis the Roman deity representing the cycle of change that occurs in plant life throughout the seasons.
Flora and Vertumnus
Dianathe goddess of hunting, is depicted as a huntress, with an arrow in her hand. She rides in a carriage, which represents the forest, and is accompanied by her dogs.Apollo,Diana's twin brother, carries a lyre, a gift from Hermes, patron of music. The lyre symbolizes harmony, not only in music but also in life. The Masquerade text refers to Apollo’s golden hair and the rays that crowned his head. His naked torso is covered only by a cloak that flows down his back.
Diana and Apollo
Hebe,daughter of Zeus and Hera (Jupiter and Juno), is the Greek goddess of youth. She became the wife of the hero Hercules when he became immortal and ascended to Mount Olympus. The Masquerade text refers to the club Hercules carries as a weapon, as well as to the flower held by Hebe. Herculesis shown semi-naked, wearing a lionskin. His club or mace, the attribute that usually identifies this hero, rests on his shoulder.
Hebe and Hercules
Venus,allegory of love and beauty, is accompanied by her son Cupid, god of amorous desire, with his bow and arrow. She holds a rose, one of the attributes identified with her. Vulcan,husband of Venus and god of fire, is symbolically represented by his crown of flames. He is also protector of the artisans, as is indicated by the blacksmithing tools he and his lackeys carry.
Venus and Vulcan
Mars and Pallas are depicted with attributes appropriate to their warlike character: helmets crowned with tall crests of feathers, cloaks, and a sword and a lance, respectively. An owl and a serpent, two creatures associated with the goddess, are represented on her carriage.
Pallas and Mars
Jupiteris identified by his crown or diadem of an immortal. He also wears the "aegis", a protective cloak made from the skin of the goat Amalthea, which he used to pick up clouds, throw bolts of lightning and cause thunder to roll.Junois mounted in a carriage of clouds headed by a peacock, symbolizing the qualities of wealth, as this bird is associated with the fanfare and pomp of the rich.
Juno and Jupiter
Pallas
Venus
Hebe
Diana
Juno

The “Look” of Olympian Goddesses

Prosperina
Flora
Pronuba
Thetis
Ceres
Mars
Vulcan
Hercules
Apollo
Jupiter

The "Look" of Olympian Gods

Pluto
Vertumnus
Hymen
Neptune
Bromius

Filippo Biffi, Dissegno della Mascherata fatta in Lodi il Carnevale dell’anno corrente 1680. Milan, Stampe dell'Agnelli, 1680

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Title: The “Look” of the Gods: Court Dress and Fashion in a Masquerade

Author: Isabel María Alba Nieva (Universidad de Málaga)

Web Design: Kunsthistorisches Museum – Visual Media, Vienna

English Translation:  Hilary Macartney (University of Glasgow) with Alberto Lanzat (Málaga, Official School of Languages) and Alexander McCargar (Yale University). Specialist advice: Lesley Miller (V&A Museum/ University of Glasgow)

Photographic Sources: University of Glasgow Library, Archives & Special Collections, Stirling Maxwell Collection, Biblioteca Nacional de España (Madrid), Archivo Histórico de Lodi (Lombardy), Kunsthistorisches Museum (Vienna), Biblioteca Apostolica Vaticana.