The Manolo Trilogy- Part 3

Manolo, a: en Madrid, a finales del siglo XVIII y principios del XIX, individuo de ciertos barrios que se distinguía por su traje vistoso, su arrogancia y su manera de hablar graciosa y desenfadada

Collins Dictionary Translation: Manolo, SM. Toff (informal) (esp Madrid) Madrid man of the people, characterized by flamboyant zarzuela type-costume

I know it is a matter of simplifying concepts but, honestly, this translation from the Collins dictionary is not very explicit, unless you are a connoisseur of the zarzuela. Otherwise you would need to look up zarzuela, wouldn’t you? Well, instead of defining it let’s have a taste

              

If you are a believer in subtlety, that translation will disappoint you tremendously. No time context, no mention of his character or gender attributes, and a mistake in assuming that the real “manolos (men)” and “manolas (women)” were drawing inspiration from the zarzuela style rather than the other way around.

The manolas made famous the use of the mantilla. The mantilla is essentially a Spanish garment. Its use started on the XVII century although it was not popularized until the reigns of both Charles III and Charles IV. The manolas initiated its use wearing it with a “peineta” (an ornamental comb in the shape of a curved tile, commonly known as a “teja”) and in different colors. It was much later, during the reign of Fernando VII when high-bred ladies started to introduce it into their wardrobe, which was very well documented by Goya. 

Accordingly, the quality of the cloth improved, triggering a bloom in the manufacture of delicate silk lace pieces. Towards mid XIX century the size of the mantilla grew and the predominant colors were black and white. After the 1868 revolution, the hat took over and the mantilla was only used for church services and religious ceremonies, and with “madroños” (madrone-shaped tassel), for attending bullfights.

However there is a historically significant episode known as “the conspiracy of the mantillas” that took place during the brief reign of the Italian Amadeo de Saboya (1871-1873) in Madrid. Amadeo, Duke of Aosta, was propelled to the throne of Spain by the progressive party and experienced a difficult political situation from the beginning. The new monarch and his court brought their own –foreign- customs, such as the hat, which the public donning of the mantilla sought to humiliate. A symbolic act against his government was the display of the mantilla by the women of Madrid.

For a fresh taste of this inimitable estilo español, don’t miss the big winner of the Goya prizes (the Spanish equivalent of the Baftas or Oscars, yeah, really), the beautiful silent film Blancanieves;  tragicomic, melodramatic, histrionic, deeply moving and full of mantillas.

    

Dedicated to Vichen 

who would have enjoyed 

this blog as much as 

I enjoyed her stories