Our literary journey takes us to El trono de barro (The throne of clay), the fascinating novel by Teo Palacios that opens a window into the life of a key historical figure at the court of Philip III. Throughout its pages, the author masterfully unfolds the challenges, strategies and controversies that defined a figure whose ambition left an indelible mark on history. Can you imagine who this is?
In both the novel and the true story, the Parador de Lerma, once the residence of this influential royal advisor, stands as an imposing setting that enriches the reading experience. Walking through the corridors of this ancient palace allows the reader to connect with the essence of the work, immersing him or herself in the spirit of the Golden Age and the intrigues that inspired Teo Palacios' narrative.
Our illustrious character
Francisco Gómez de Sandoval y Rojas, better known as the Duke of Lerma, was among the most influential figures in 17th century Spanish politics. Coming from a noble family whose glory had faded over time, he managed to restore its prestige by becoming Philip III's valide. This rise began when the young Francisco won the monarch's confidence while he was still a prince, thus laying the foundations of his power.
Appointed Duke of Lerma in 1599, his position gave him unprecedented political and economic control. However, his rule was not without controversy; it was marked by nepotism and corruption and it sparked numerous criticisms among his contemporaries. The decline of his power began in 1610, culminating in his final downfall in 1618, when he was replaced at court by his own son, the Duke of Uceda. Exiled and made a cardinal as a form of protection, he died in 1625 in Valladolid, discredited by many contemporaries, although his figure has more recently been reassessed by historians.
The throne of clay
The author of this novel, Teo Palacios, is known for a literary career characterised by his deep passion for history and his ability to narrate with precision and richness. Among his most outstanding works are Hijos de Heracles, La predicción del astrólogo, Muerte y Cenizas and La boca del diablo, all of which are renowned for their quality and their ability to transport the reader to past eras. However, it is the novel El trono de barro (The throne of clay), published in 2015, that was a milestone in his career and is the focus of our attention at the moment.
In this novel, Teo Palacios takes us to the heart of Hapsburg Spain, a historical period marked by intrigue, ambition and power. The protagonist, Francisco de Sandoval, a young nobleman whose social position is limited by the lack of a significant inheritance, decides to leave his lover, Juana, and marry Catalina de la Cerda out of convenience. This decision becomes the starting point for his meteoric rise to become the Duke of Lerma and King Philip III's valide. But his rise is not without its challenges. At odds with Queen Margaret of Austria and betrayed by his former mistress, the Duke finds himself caught up in a web of conspiracies that not only affect his position, but also his personal life. The novel not only portrays the Duke of Lerma's rise to power, but also the palace intrigues and internal struggles that mark an era of splendour and decadence.
A remarkable aspect of the work is the royal connection with the Ducal Palace of Lerma, now converted into the Parador de Lerma. This imposing building, which symbolises both the rise and fall of the Duke, becomes a bridge between the past and the present, allowing readers not only to explore Palacios's narrative, but also to reflect on the historical legacy that still endures. The throne of clay is, without a doubt, a work that transcends fiction, offering a captivating and complex vision of life in imperial Spain.
The Parador de Lerma
The Parador de Lerma, is an architectural jewel of the Spanish Baroque and the heart of one of the most ambitious urban planning projects of its time. Alongside this majestic building, convents and a large square were erected and terraced gardens overlooking the river Arlanza were laid out, forming an artificial court that reflected the ephemeral splendour of the Duke of Lerma, a favourite of Philip III.
The Parador was designed by Francisco de Mora, the king's architect, and its construction was carried out in three phases. Initially, in 1602, the old medieval castle was adapted. Later, between 1613 and 1616, a new structure was added next to the north façade. Finally, between 1616 and 1618, the two buildings were unified, giving them their final appearance. This design combines the typical layout of 17th-century Castilian palaces, with a large central courtyard surrounded by galleries and a monumental stone staircase, with a sober aesthetic that conceals the complexity of its construction.
On the outside, the contrast between the stone and the slate roof, together with the four towers, evokes the Escorial style. The façade, although simple, is notable for its main door with a curved pediment and a balcony flanked by ducal coats of arms. This contrast between the sobriety of the exterior and the richness of the interior is remarkable, as the palace housed part of the Duke of Lerma's art collection, one of the most important in Europe in the 17th century. In the Parador, you will also find a contemporary work by Lino Lago in the cloister, based on the portrait of the Duke of Rubens, called Fake Abstract (Rubens).
