ABSTRACT

The sheer scale of these six intermedi, which completely overshadow the play itself, which for one performance changes respond to a set of contemporary ideas derived from theories of princely decorum in which liberality, erudition, and above all magnificenza, were all considers to regal virtues, a belief that is here potently expressed in a spectacle of great elaboration based on classical mythology and designed to celebrate a highly portentous marriage alliance. The significant point, from a contemporary point of view, is that it's very presence marked Eleonora's arrival at location of the most imposing physical symbol of Medici military force, and as such fulfilled a certain notion of decorum. Eleonora de Toledo's entry emphasis was upon the paired Medici objectives of control over the natural world and social control. Hierarchically arranged according to the language of their texts and the style of their music, these specially-composed pieces can be counted as playing an essential role in the politics of spectacle.