If we look at the plays of Pedro Caldern de la Barca and the paintings of Diego Velzquez, the years 1635 to 1680 arguably mark the creative apex of Spain's "Golden Age." In subtle portraiture and court plays, classical imagery combined with Church orthodoxy connecting antiquity's glories to Spain's Habsburg rule. The works of Baltasar Gracin, his allegorical Criticn (1651) and his prescriptive Agudeza y arte de ingenio (1648), offered other examples, and, in the case of the latter, explained this imagery. In these works, Gracin shares many of the same iconographic resources with Caldern and Velzquez. Commonalties in their historical, mythological, and religious subjects reveal the united and vigorous faade that Spain attempted to project through her arts. The Baroque Vortex compares some of the similarities and differences to be found in the works of these three contemporaries.
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