This book is entitled The Musical Iconography of Power in Seventeenth-Century Spain and her Territories; with the term ‘musical iconography’ I refer to representations of instruments and musical practice in the arts and literature of the period that symbolize different aspects of monarchical authority. In the Spanish seventeenth century (that is, the period of Philip III, Philip IV and Charles II) the nature of royal power and the role of the king were subject to ample debate. The model of royalty already promoted by Philip II, based on the figure of an all-powerful monarch who rules alone and controls the destiny of his subjects, was re-elaborated and enhanced by royal panegyrists, but also refuted by representatives of traditional government bodies, like counsels or high courts (which were plural by nature), and by a number of political scholars who advocated a Christian morality based on common, non-personal, interest.

The consciousness of acute crisis that dominated most this period, due to permanent bankruptcy, depopulation, hostilities with France, England and the United Provinces and rebellions in different territories of the Spanish monarchy, favoured the publication of many political treatises, several of which were conceived and illustrated as emblem books (for this genre, inaugurated by Alciato with Emblemata in 1531, regarded the visual as a good implement for presenting moral and political advice).