In luxury as in immorality the example was set by the kings themselves. Some of its manifestations were meritorious (except that expenditures were out of proportion to the resources and needs of the state), especially the encouragement of art through the purchase of paintings and the construction of palaces. But if Charles I and Philip II were lavish, Philip III and Philip IV were extravagant. Both of these kings, in addition to their fondness for the theatre, bull-fighting, dancing, and hunting, were responsible for the most ostentatious display on occasions of court celebrations. When Philip III went to San Sebastián in 1615 to attend the double wedding which was to bind together the houses of Austria and Bourbon, he was accompanied by a train of 74 carriages, 174 litters, 190 state coaches, 2750 saddle mules, 374 beasts of burden (of which 128 had coverings embroidered with the royal coat of arms), 1750 mules with silver bells, and 6500 persons, besides an escort of 4000 Guipuzcoans. Equal pomp and extravagance marked the reception to the Archduchess María Ana of Austria when she came to Spain as the fiancée of Philip IV; similarly, the entertainment accorded the Prince of Wales (the later Charles I of England) and the Duke of Buckingham when they visited Spain early in the reign of Philip IV; and likewise the various masquerades during the period of Olivares, one of which is said to have cost over 300,000 ducats (nearly $5,000,000). It would seem that war was not alone responsible for the drains on the Spanish treasury. There was a decline in expenditures in the reign of Charles II, due principally to the fact that there was little left to spend. [Sidenote: Luxury in general.] [Sidenote: Dress.] Private individuals could not equal the kings in extravagance, but they did the best they could. Houses often lacked comforts in the way of furniture, but made a brave showing in tapestries and paintings. Naturally, great attention was paid to dress. Under Charles I, just as in art, so also in dress, clothing was in a stage which may be called the transition from the “plateresque” to the “Spanish Renaissance.” For example, influenced by German and Swiss fashions, men wore puffs on their forearm or between the waist and hips, variegated oblong pieces in their jackets, bright colors generally, and a tall conical hat. In keeping with the greater sobriety of Philip II, styles became “Herreran” in that the puffs were abandoned, obscure colors replaced gay, and a cap superseded its more pretentious predecessor. Philip III inaugurated the “baroque” in dress with a return to the styles of Charles I, but in an exaggerated form. [Sidenote: Sports and amusements.] [Sidenote: General social customs.]