Philip III


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Philip III

, king of France
Philip III (Philip the Bold), 1245–85, king of France (1270–85), son and successor of King Louis IX. He secured peaceful possession of Poitou, Auvergne, and Toulouse by a small cession (1279) to England. The marriage (1284) of his son (later Philip IV) to Joan of Navarre and Champagne brought the first union of France with these territories. To gain a throne for another son, he invaded (1285) the kingdom of Aragón but was forced to retreat and died on the march. Philip's reign was dominated by his father's officials and policies.

Philip III

, king of Spain, Naples, and Sicily
Philip III, 1578–1621, king of Spain, Naples, and Sicily (1598–1621) and, as Philip II, king of Portugal (1598–1621); son and successor of Philip II of Spain. He was as pious as his father, but lacked his intelligence and capacity for work. Preferring to pursue his own pleasure, Philip left the actual government to his favorite, the duque de Lerma. Peace had been made with France by the Treaty of Vervins (1598) shortly before Philip III's accession. Peace with England followed in 1604, and in 1609 a 12-year truce was made with the United Provinces of the Netherlands. In Italy, however, Spain was involved in war (1615–17) with Savoy over Montferrat and in clashes with Venice. In 1620, Spain entered the Thirty Years War by sending troops into the Palatinate. The Spanish occupation of the Valtellina in the same year also led (1622) to war with France. Philip's reign saw a growing decline in Spain's economy, partly as a result of the expulsion (1609–14) of the Moriscos, while the grandees accumulated huge estates and the church prospered. Yet Spanish culture was in the midst of a glorious period which gave the world Cervantes, Lope de Vega, El Greco, and Zurbarán. Philip III was succeeded by his son, Philip IV. His daughter, Anne of Austria, married Louis XIII of France.
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References in periodicals archive ?
Thus the Flemish contemporaries were informed that the ring offered in remembrance of the "mariage" was valued at "cincq mil escus."(13) In 1605, Philip III, in accordance with court protocol, reciprocated the gift at the farewell audience he granted to the earl of Nottingham on 8/ 18 June.
These festivities, which lasted 13 days and entertained Philip III and numerous other dignitaries (including the Ambassador from England!), featured at one point the performance of an 'office [Vespers] for five choirs, with each part doubled: and ...
It should be remembered that aside from contributing to the "magnificent fountain" of patronage that flowed from the court of Philip III, Lerma, Lemos, and Sandoval y Rojas were also actively involved in promoting the movement to expel the moriscos (Sieber 85).
Magdalena Sanchez does little to challenge this portrayal of Philip III, but she does provide more insight into the style and functioning of his court, and particularly into the political role played by royal women.
For example, a petition of 1601 made by the head chaplain to Philip III concerning the hiring of Juan Lopez reveals that
So, at an additional level of irony, Sancho's phrase is a dig at the debilitating monetary policies of an epic list of Spanish kings, now including Philip II and Philip III, which we might paraphrase as follows: "I'll escape the poverty that Spanish authorities are imposing on me by co-opting their inflationary policy, by turning copper-adulterated 'black' coins back into pure silver and gold." But there is more.
Louis was the oldest son of King Philip III and his first wife, Isabella of Aragon.
She was the wife of Philip's son, who became Philip III. This painting was exhibited in the V&A in an exhibition entitled 'Princely Magnificence' in 1980/81.
Van der Hamen received his first royal commission at the age of twenty-three--a still-life of fruit and game commissioned for the Galeria del Mediodia in El Pardo, Philip III's hunting lodge just outside Madrid--the first still-life commission in Spain.
There is nothing wrong in assuming that these major comic events could contain some of the novel's most biting critiques--e.g., "The angry reader of the day would link Don Quixote's crazy attack on the windmills with the maniacal machinations of Philip III that ruined the traditional moneda de molino" (33)--yet, beyond the economic argument cited above, Reichenberger never explains why he has chosen to explicate certain incidents over others, such as the burning of Quixote's library or "The Captive's Tale." Given his readerly approach, such moments would seem to cry out for inclusion.
This is certainly true of the spectacular horse armour or bard made in Milan about 1585 for Charles Emanuel I, Duke of Savoy, and subsequently presented to Philip III of Spain in 1603 (no.
Then in 1614 Philip III declared the expulsion a success.