Juana I of Castile

Juana I of Castilla, called "la Loca" (Toledo, November 6, 1479-Tordesillas, April 12, 1555), was Queen of Castile from 1504 to 1555, and of Aragon and Navarra, from 1516 to 1555, although from 1506 she did not exercise any effective power and from 1509 she lived locked up in Tordesillas, first by order of her father, Fernando el Católico, and later by order of his son, King Carlos I.

By birth, she was Infanta of Castile and Aragon. From a young age, she showed signs of religious indifference that her mother tried to keep secret.In 1496, she married her third cousin Philip the Fair, Archduke of Austria, Duke of Burgundy, Brabant and Count of Flanders. She had six children with him. Due to the death of her siblings Juan and Isabel and her nephew Miguel de la Paz, she became heiress to the crowns of Castile and Aragon, as well as Lady of Vizcaya, a title that was already attached to the crown of Castile and which Juana inherited from her mother Isabel I of Castile. On the death of her mother, Isabella the Catholic, in 1504 she was proclaimed Queen of Castile together with her husband; and that of her father, Fernando el Católico, in 1516 she became the nominal queen of Navarra and sovereign of the crown of Aragon. Therefore, on January 25, 1516, she became –in theory– the first queen of the crowns that made up present-day Spain; However, since 1506 her power was only nominal, it was hers, her son Carlos, who was the effective king of Castile and Aragon. The community uprising of 1520 took her out of her jail and asked her to lead the revolt, but she refused, and when hers, her son Carlos, defeated the community members, she locked her up again. Later, Carlos would order that they force her to receive the sacraments from her, even if it was through torture.

She was nicknamed "La Loca" for an alleged mental illness alleged by her father and her son to separate her from the throne and keep her locked up in Tordesillas for life. It has been written that the disease could have been caused by her jealousy towards her husband and the pain she felt after her death. This vision of her figure was popularized in Romanticism, both in painting and in literature.

The acceptance of the "madness" of Doña Juana has been maintained to a greater or lesser extent during the XX century, but it is being revised in the XXI century, especially as a result of the studies of the American researcher Bethany Aram and the Spanish Segura Graíño and Zalama who have brought to light new information about her figure.

Childhood and youth

Juana I de Castilla by Juan de Flandes (Museum of Art History, Vienna).

Queen Juana was the third of the children of Ferdinand II of Aragon and Isabel I of Castile. She was born in Toledo on November 6, 1479, and was baptized with the name of her family's patron saint, as was her older brother, Juan.

Since childhood, she received the education of an infant and unlikely heir to the throne, based on obedience rather than government, as opposed to the public exposure and government teaching required in the instruction of a crown prince. In the strict and itinerant environment of the Castilian-Aragonese court of her time, Juana studied religious behaviour, civility, good court manners, without underestimating arts such as dance and music, training as an Amazon and knowledge of Romance languages. typical of the Iberian Peninsula, in addition to French and Latin. Among her principal tutors were the Dominican priest Andrés de Miranda, Beatriz Galindo, and her mother, the queen, who tried to mold her into her "devotional make."

The management of the infanta's house and, therefore, of her immediate environment was totally dominated by her parents. The house included religious staff, administrative officers, food staff, maids, and slaves, all selected by her parents without her own intervention. Unlike Juana, her brother Juan, Prince of Asturias and Gerona, began to take charge of her house and territorial possessions as training in mastery of their future kingdoms.

By 1495 Juana already showed signs of religious skepticism and little devotion to Christian worship and rites. This fact alarmed her mother, who ordered that it be kept secret.

Marriage and the Navy of Flanders

As was the custom in the Europe of those centuries, Isabel and Fernando negotiated the marriages of all their children in order to ensure diplomatic and strategic objectives. In order to strengthen ties with Emperor Maximilian I of Habsburg against the French monarchs of the Valois dynasty, Joan was offered in marriage to her son, Philip, Archduke of Austria. In exchange for this link, the Catholic Monarchs asked for the hand of Maximilian's daughter, Margarita of Austria, as a wife for Prince Juan. Previously, Juana had been considered for the dauphin Carlos, heir to the French throne, and in 1489 requested in marriage by King James IV of Scotland, of the Stuart dynasty.

In August 1496, the future archduchess left Laredo in one of the Genoese carracks under the command of Captain Juan Pérez. The fleet also included, to demonstrate the splendor of the Castilian-Aragonese crown to the northern lands and its power to the hostile French king, nineteen other ships, from naos to caravels, with a crew of 3,500 men, commanded by Admiral Fadrique Enríquez de Velasco, and piloted by Sancho de Bazán. It was also joined by some sixty merchant ships that transported the wool exported every year from Castile. It was the largest fleet on a peace mission mounted up to then in Castilla.Juana was fired from her by her mother and her brothers, and began her course to Flanders, home of her future husband.

The journey had some setbacks that, first of all, forced her to take refuge in Portland, England, on August 31. When the fleet was finally able to approach Middelburg, Zeeland, a Genoese carrack carrying 700 men, Juana's clothing, and many of her personal effects ran aground on a sand and stone shoal and had to be abandoned.

Juana, finally in the northern lands, was not received by her fiancé. This was due to the opposition of Philip's Francophile advisers to the marriage alliances agreed upon by his father, the emperor. Still in 1496, the advisers harbored the possibility of convincing Maximilian of the inconvenience of an alliance with the Catholic Monarchs and the virtues of an alliance with France.

Marriage contract between Juana and Felipe el Hermoso (1495). General Archive of Simancas.

The wedding was finally formally celebrated on October 20, 1496 in the collegiate church of San Gumaro in the small town of Lier, thanks to the influence of the Berghes family. The Bishop of Cambrai, who would later be the leader of the Spanish faction, Enrique de Bergen, performed the official wedding ceremony. The court environment Juana encountered was radically opposite to the one she lived in in her native Spain. On the one hand, the sober, religious and family court of Ferdinand and Isabella contrasted with the uninhibited and very individualistic Burgundian-Flemish court, very festive and opulent thanks to the textile trade that its markets had dominated for a century and a half. Indeed, on the death of Maria de Borgoña, the four-year-old Philip's house had quickly been dominated by the great Burgundian nobles, mainly through advisors who were adept and faithful to his interests.

Although the future spouses did not know each other, they fell in love when they saw each other. However, Felipe soon lost interest in the relationship, which gave rise to a jealousy in Juana that has been considered pathological by several authors.

Shortly after, the children arrived, with periods of conjugal abstinence that exacerbated Juana's jealousy. On November 15, 1498, in the city of Louvain (near Brussels), her eldest daughter, Eleanor, was born, named after Philip's paternal grandmother, Eleanor of Portugal. Juana watched over her husband all the time and, despite the advanced stage of gestation of her second pregnancy, from which Carlos would be born (named after Philip's maternal grandfather, Carlos the Bold), on February 24, 1500, she attended a party in the palace of Ghent. That same day she gave birth to her child, it is said, in a privy of the palace. The following year, on July 18, 1501, in Brussels, a daughter was born, named Isabel in honor of Juana's mother, Isabel the Catholic.

Several priests sent to Flanders by the Catholic Monarchs reported at this time that Juana continued to resist going to confession and attending mass.

Queen of Castile

After her siblings Juan (1497) and Isabel (1498) died, as well as her son, the Portuguese prince Miguel de Paz (1500), Juana became the heiress of Castile and Aragon. In November 1501 Felipe and Juana, leaving their children in Flanders, set out for Castile by land from Brussels. It took them six months to reach Toledo, where they were sworn in as heirs before the Castilian courts in Toledo Cathedral on May 22, 1502.

Felipe and Juana, ca. 1500.

In 1503 Juana's husband, Felipe, returned to Flanders to settle some business while Juana, pregnant, remained in Spain at the request of her parents, who wanted her to meet their future subjects. Being away from her husband and her children plunged her into great sadness.On March 10, 1503, in the city of Alcalá de Henares, she gave birth to a son whom she named Fernando in honor of her father. she, Ferdinand the Catholic. After her delivery, and with her three eldest children in Brussels, Juana again asked for authorization to return to Flanders, but her mother opposed it. The war with France made the road by land unfeasible. At Juana's insistence, Isabel ordered Bishop Fonseca to imprison her daughter in the castle of La Mota. Mother and daughter ended up in a dispute and, in the end, Isabel allowed Juana to return to Flanders, where she arrived in June 1504. The episode at the castle of La Mota, in which the daughter was in contempt, had caused such annoyance to the queen who was forced to justify it in front of different personalities. She begged her husband that, when Juana arrived in Flanders, people she trusted would watch over her to avoid further contempt, although she hoped that her meeting with her husband would have a beneficial effect on Juana's character. her daughter.

Queen Isabella died on November 26, 1504, raising the problem of the succession in Castile. According to historian Gustav Bergenroth, her mother disinherited Juana in her will because she did not go to Mass or want to go to confession, but her father, Fernando, proclaimed her Queen of Castile and continued to rule the kingdom himself. her.

Juana and her husband with court people

But Juana's husband, Archduke Felipe, was not willing to relinquish power, and in the concord of Salamanca (1505) the joint government of Felipe, Ferdinand the Catholic and Juana herself was agreed. Meanwhile, Philip and Joan remained at court in Brussels, where on September 15, 1505, she gave birth to their fifth child, a girl named Maria (named after her paternal grandmother, Maria of Burgundy).. Meanwhile, a large fleet was prepared to transport the new Castilian royal family to his kingdom.

At the end of 1505, Felipe was impatient to reach Castile and therefore ordered the fleet to set sail as soon as possible, despite the risk involved in sailing in winter. They set out on January 10, 1506, with 40 ships. In the English Channel, a strong storm sank several ships and scattered the rest. He feared for the lives of the kings, who ultimately ended up in Portland. The army had to remain for three months in England. In London, Juana was able to visit her sister Catalina for a day, whom she had not seen for ten years. They set sail again in April 1506 and instead of heading to Laredo, where they were expected, they headed for La Coruña, probably to buy time and be able to meet with Castilian nobles before appearing before Fernando. Felipe obtained the support of the majority of the Castilian nobility, for which Fernando had to sign the concord of Villafáfila (June 27, 1506) and retire to Aragon with a series of economic compensations. Felipe was proclaimed King of Castile in the Cortes of Valladolid under the name of Felipe I.

Juana la Loca (1836), by Charles de Steuben. Palais des Beaux-Arts (Lille).

On September 25 of that year, Felipe I el Hermoso died in the Palace of the Constables of Castilla; according to some, poisoned, and then rumors circulated about Juana's supposed madness. At that moment she decided to transfer her husband's body from Burgos, where he had died and where he had already been buried, to Granada, just as he himself had arranged when he saw himself die (except for his heart, which he wanted to be sent to Brussels, as it was done), always traveling at night. But his father was reluctant to allow his son-in-law to be buried in Granada before himself, and movement was limited to a reduced space in Castilla. Queen Juana would not separate for a moment from the coffin and this transfer would be prolonged. during eight cold months through Castilian lands. A large number of people accompanied the coffin, including religious, nobles, ladies-in-waiting, soldiers and various servants. This caused gossip about the queen's madness to increase every day among the inhabitants of the towns they passed through. After a few months, the nobles, "forced" by their position to follow the queen, complained that they were wasting their time in this "folly" instead of taking care of their lands as they should. In the city of Torquemada (Palencia), on January 14, 1507, Juana gave birth to her sixth child and posthumous by her husband, a girl baptized with the name of Catalina (named after her little sister, Catalina de Aragon).

Regarding the government of the kingdom, on September 24, the eve of Felipe I's death, the nobles agreed to form an interim Regency Council to provisionally govern the kingdom, chaired by Cisneros and made up of the Admiral of Castilla, the constable of Castile; Pedro Manrique de Lara y Sandoval, Duke of Nájera; Diego Hurtado de Mendoza y Luna, Duke of Infantado; Andrés del Burgo, ambassador of the emperor; and Filiberto de Vere, King Felipe's mayordomo. The nobility and the cities disputed over who should hold the Regency, since on the one hand there were those who loved the Emperor Maximilian during the minority of Prince Carlos, such as the Manriques, Pacheco and Pimentel; and on the other hand, those who wanted the regency of Fernando el Católico as established in the will of Isabel la Católica and the courts of Toro in 1505, such as the Velasco, Enríquez, Mendoza and Álvarez de Toledo families., Queen Juana tried to govern by herself, revoked and invalidated the grants granted by her husband, for which she tried to restore the Royal Council of her mother's time.

Juana with two of her children (one of them Carlos I of Spain).

Without consulting Juana, Cisneros appealed to Ferdinand the Catholic to return to Castile. But despite the attempts of Cisneros, nobles, and prelates, the queen did not claim her father to rule and in fact went so far as to forbid the entrance of the archbishop to the palace. To give legality to the appointment of Fernando the Catholic as regent, the Royal Council and Cisneros sought to channel the power vacuum with the convening of Cortes, but the queen refused to convene them, and the attorneys left Burgos without having been constituted as such.

After returning from taking possession of the Kingdom of Naples, Ferdinand the Catholic met with his daughter on August 28, 1507, and once again assumed power in Castile as governor of the kingdom. In February 1509, Fernando ordered Juana to be locked up in Tordesillas to prevent the formation of a noble party around her daughter, a lockdown that would be maintained by his son Carlos I later on. Juana's confinement was also motivated to prevent the wishes of the King of England and the Emperor on the government of Castile. King Henry VII of England expressed his interest in marrying Juana, and Fernando had to diplomatically save the matter by presenting his grandson Carlos, Prince of Asturias, as his son and successor, and proposing the marriage of the prince with María Tudor, daughter of the english king; Henry VII died in 1509 and his successor, Henry VIII, married Ferdinand's daughter Catherine of Aragon, settling English opposition to Ferdinand's regency. Opposition remained only from Emperor Maximilian I, who threatened to bring his grandson, the Prince of Asturias, to Castile and rule in his name, fearing that Ferdinand's second marriage might produce a son who could jeopardize the succession of his grandson, Prince Charles. Ferdinand took advantage of the Emperor's weakness in Italy against Venice to ensure a favorable agreement in Blois in December 1509, which respected the will of Isabella the Catholic in exchange for not excessive financial compensation, for which the emperor renounced his claims to regency in Castile, and in the Cortes of 1510 they ratified Fernando as regent.

Real coined in Mexico with the legend "Carlos y Juana, de las Españas y las Indies".

In 1515 Ferdinand incorporated the Kingdom of Navarre into the Crown of Castile, which he had conquered three years earlier. In 1516 the king died and, by his will, Juana also became nominal queen of Aragon. However, various institutions of the Aragonese Crown did not recognize it as such due to the institutional complexity of the charters. The Archbishop of Zaragoza, Alonso de Aragón, natural son of Fernando el Católico, exercised the regency of Aragon, and Cardinal Cisneros of Castile until the arrival of Prince Carlos from Flanders.

Carlos benefited from the situation of his mother Juana's inability to proclaim herself queen, so he appropriated the royal titles that corresponded to his mother. Thus, officially, both Juana and Carlos correigned in Castilla y Aragón. In fact, Juana was never declared incapable by the Cortes of Castilla nor was the title of queen withdrawn from her. While she lived, the name of Queen Juana had to appear first in official documents. But, in practice, Juana had no real power because Carlos kept his mother locked away from him. In fact, he ordered her to be forced to attend mass and confess, using torture if necessary.

Running of the bulls in Tordesillas

Francisco Pradilla, Queen Doña Juana la Loca, held in Tordesillas with her daughter, Infanta doña Catalina1906.

Since her father imprisoned her in 1509, Queen Juana spent forty-six years in a mansion-palace-prison in Tordesillas, always dressed in black and with the only company of her last daughter, Catalina, until this she left in 1525 to marry John III of Portugal. She died on April 12, 1555. According to some authors, Juana and her daughter were ignored and physically and psychologically mistreated by their jailers. Especially hard were the long years of service of the second Marquises of Denia, Bernardo de Sandoval y Rojas and his wife, Francisca Enríquez. The Marquis fulfilled his role with great zeal, as he seemed to boast in a letter addressed to the Emperor in which he assured that, although Dona Juana constantly lamented saying that she had her locked up "as a prisoner" and that she wanted to see the great ones, "because they he wants to complain about how they have it», the king had to be calm, because he controlled the situation and knew how to put off those requests. The confinement of Doña Juana, due to her presumed mental incapacity, was essential for the legitimacy on the Castilian throne, first of her father, Fernando, and later of her son, Carlos I. Given any suspicion that the queen was, in reality, Mentally stable, the new king's opponents could overthrow him as a usurper. Hence, the figure of Doña Juana became a key piece to legitimize the movement of the Communities.

Kings Fernando and Carlos tried to erase any documentary vestige of the confinement of Queen Juana. There is no trace of the correspondence exchanged between Fernando and Luis Ferrer; and Carlos V seems to have taken the same care. Even Felipe II ordered certain papers related to his grandmother to be burned.In the documentation preserved about his Royal House, such as the accounts taken by his treasurer, Ochoa de Landa from Vitoria, valuable information can be found in this regard.

Community Movement

The community uprising (1520) recognized her as sovereign in her fight against Carlos I. After the fire in Medina del Campo, the government of Cardinal Adriano of Utrecht faltered. Many cities and towns joined the communal cause, and the residents of Tordesillas assaulted the queen's palace, forcing the Marquis of Denia to accept that a commission of the assailants speak with Doña Juana. Then the queen learned of the death of her father and of the events that had taken place in Castile since that time. Days later, Juan de Padilla met with her, explaining to her that the Junta de Ávila intended to put an end to the abuses committed by the Flemings and protect the Queen of Castile, restoring her the power that had been taken from her, if she wanted it.. To which Doña Juana replied: "Yes, yes, be here at my service and warn me of everything and punish the bad guys." The communal enthusiasm, after those words, was enormous. Her cause seemed legitimized by the queen's support.

The Dementia of Doña Juana (1867), by Lorenzo Vallés. Museo del Prado (Madrid).

From then on, the objective of the community members would be, in the first place, to demonstrate that Doña Juana was not crazy and that it had all been a plot, begun in 1506, to remove her from power; and later, that the queen, in addition to her words, endorse the agreements that were made with her signature. To do this, the Junta de Ávila moved to Tordesillas, which for some time would become the center of action for the community members. After these changes, everyone, including the cardinal, affirmed that Doña Juana "seems different" because she took an interest in things, went out, talked, took care of her staff and, as if that were not enough, spoke wise and eloquent words before the attorneys. of the Board; words that notaries picked up and began to spread. But the Board needed something more than words from the queen, it needed documents, it needed the royal signature to validate its actions. A signature that could mean the end of Carlos' reign, as Cardinal Adriano reminds him: "If His Highness signs, without a doubt the entire Kingdom will be lost." But in this the community members, as before the supporters of the king, ran into the iron refusal of Doña Juana, who neither pleas nor threats made them sign any paper.

At the end of 1520, the imperial army entered Tordesillas, restoring the Marquis of Denia to his post. Juana was once again a captive queen, as her daughter Catalina assured, when she informed the emperor that her mother was not even allowed to walk down the corridor that overlooked the river: "And they lock her up in her chamber that has no light."

Last years

Statue of Juana I in Tordesillas, where she was captivated in her last years.

Doña Juana's life progressively deteriorated, as witnessed by the few who managed to visit her. Especially when her youngest daughter, who tried to protect her against the despotic treatment of the Marquis of Denia, she had to abandon her in 1525 to marry the King of Portugal. From that moment on, the depressive episodes followed one another with increasing intensity.

In recent years, the presumed mental illness was joined by the completely true physical one. He had great difficulties with his legs, which finally became paralyzed. She then again became the object of discussion of her religious indifference, some religious suggesting that she could be demon possessed. For this reason, her grandson, Felipe II, asked a Jesuit, the future San Francisco de Borja, to visit her and find out what was true about all of this for her. After speaking with her, the Jesuit assured that the accusations were unfounded and that, given her state of mind, perhaps the queen had not been treated properly. Her opinion was "that finding her greatly improved, she could receive extreme rites from her, although she was not for communion." Her last words were "Jesus Christ crucified be with me."

Controversy over his mental health

The official version in the 16th century was that Queen Joan had been removed from the throne due to her incapacity due to a Mental illness. It has been written that he may have suffered from melancholy, severe depressive disorder, psychosis, inherited schizophrenia or, more recently, a schizoaffective disorder. There is debate about the diagnosis of his mental illness, considering that his symptoms were aggravated by forced confinement and submission to other people. It has also been speculated that she could inherit some mental illness from her mother's family, since her maternal grandmother, Isabel of Portugal, Queen of Castile, suffered from the same thing during her widowhood after her stepson exiled her to Arevalo, in Avila.

Gustav Bergenroth was the first, in the 1860s, to find documents in Simancas and other archives that showed that the so-called Juana "la Loca" had actually been the victim of a conspiracy hatched by her father, Ferdinand the Catholic, and later confirmed by his son, Carlos I.

Queen Joan in art

In Romanticism

Doña Juana "la Loca" (1877), by Francisco Pradilla. Museo del Prado (Madrid).

The memory of Juana faded with the passage of time but her figure was very attractive for romanticism, because she had a series of characteristics highly valued by it: the captivating passion of unrequited love, the madness of heartbreak and excessive jealousy. In 1836, the French painter Charles de Steuben captured in a painting all the clichés of the legend about the queen and later in Spain the imagination was given free rein and the image of madness for love of Juana was fixed.

Numerous artists devoted some of their works to the character, such as Eusebio Asquerino and Gregorio Romero de Larrañaga (Felipe el Hermoso), Manuel Tamayo y Baus (Locura de amor), Emilio Serrano (Dona Juana la Loca), Lorenzo Vallés (La dementia de doña Juana de Castilla) and Santiago Sevilla (Juana la Loca, Tragedy in Four Acts ). But, without a doubt, the most famous work inspired by the queen was the painting Doña Juana "la Loca" (1877), by Francisco Pradilla y Ortiz, currently in the Prado Museum.

Theater

The actress Margarita Xirgu characterized as Queen Juana at the premiere of the work Santa Juana de Castilla

The last months of the queen's life are recreated in the play Santa Juana de Castilla, by Benito Pérez Galdós, premiered at the María Guerrero Theater in Madrid on May 8, 1918, with a cast led by the actress Margarita Xirgu in the role of the queen.

The character is also recreated in the play El Cardenal de España (1960), by the Frenchman Henry de Montherlant, which focuses on the last months of the life of Cardinal Cisneros. In the world premiere, in Paris, the character was played by the French actress Louise Conte and in the Spanish adaptation, from 1962, by Luisa Sala.

In the play Los Comuneros (1974), by Ana Diosdado, Queen Juana appears as one of the main characters, played by Irene Gutiérrez Caba. Curiously, three years later the character would be played by her sister Julia de ella and forty years later, by her granddaughter Irene Escolar, in both cases for television.

In 2012, with her work Juana la loca, María Jesús Romero delved into the reflections of Doña Juana, who she shows trapped in a deep identity crisis. It is a monologue for a single actress, which has not been taken to the theater. In 2013 Juana, the queen who did not want to reign, by Jesús Carazo, was released, a work in which a Juana close to the romantic myth appears: married as a teenager against her will and later locked up for forty-six years for the only madness of being a woman before she reigns and defending love above power. In this case, Doña Juana is played by Gema Matarranz.

In 2016 the historical character was played by Concha Velasco in a monologue entitled Reina Juana, written by Ernesto Caballero and directed by Gerardo Vera, and premiered on April 28, 2016 at the Teatro de La Abbey of Madrid. The argument begins with the confession of Juana I of Castilla before Father Francisco de Borja the night before her death. From then on, the queen recounts the most important moments of her life, while in her wanderings she leads the viewer to go through a good part of the history of Spain. In this great flashback , Doña Juana lucidly raises her voice against all those who led her into exile by turning her into a shadow: first her husband, Felipe el Hermoso; after her her father, Fernando el Católico, who confines her in Tordesillas; and finally, hers her son Carlos V hers, who ignores her. According to the author's vision, all of them made her pass as alienated in order to incapacitate her in her duties and give free rein to her ambitions.

Cinema

Television

Operas

• Gian Carlo Menotti. La Loca (The Madwoman1979. composed for Beverly Sills soprano premiered at San Diego Opera.
• Enric Palomar (music) and Rebecca Simpson (free): Juanaabsolute premiere at the Halle Opera, Germany, in 2005. Editorial Mondigromax.
• Joan without heaven by Alberto García Demestres and libretto by Antonio Carvajal. Operates in a premiere event in Granada in 2019 with soprano Maria Katzarava in the leading role.

Novels

• The scroll of seduction (2005), by Gioconda Belli
• Juana, the queen betrayed (2021), Alber Vázquez
• Crazy. (2022), by Cristina Fallarás

Poetry

• I chose Doña Juana la Loca (1919), by Federico García Lorca

Songs

• Queen Juana, Pasodoble whose authors are Rodríguez Algarra and Salvador Guerrero Reyes, but who popularized in the 50s Antonio Amaya.
• Romance of Queen Joan, with lyrics by Luis López Álvarez and music by Amancio Prada.
• Juana, the crazy girl, with lyrics and music by Joaquín Sabina.

Art

• In 1984, German artist Wolf Vostell created a series of paintings with the title Tribute to Juana La Loca.

Tributes

In 2014, Calle de Leopoldo de Castro in Valladolid was renamed Calle de Juana de Castilla.

Ancestry

Offspring

She had six children with her husband Felipe I el Hermoso:

• Leonor (1498-1558), queen consorte of Portugal, being the third wife of Manuel I of Portugal. To the death of this marriage to Francisco I of France;
• Charles (1500-1558), king of Spain (1516-1556), with the name of Charles I, and emperor of the Holy Empire (1519-1558) with the name of Charles V;
• Isabel (1501-1526), queen consorte de Denmark, Sweden and Norway (Union of Kalmar), wife of Cristián II.
• Fernando (1503-1564), emperor of the Sacro Empire, with the name of Fernando I, when he succeeded his brother Carlos. Thus the Austrian and Spanish line of the Habsburgs was created;
• Mary (1505-1558), queen consort of Hungary and Bohemia, wife of Louis II and the death of him, governor of the Netherlands;
• Catherine (1507-1578), was the queen consorte of Portugal, married to John III, and grandmother of King Sebastian I of Portugal.

Titles