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Title: The Escorial
Author: Calvert, Albert Frederick
Language: English
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THE SPANISH SERIES
THE ESCORIAL
THE SPANISH SERIES
_EDITED BY ALBERT F. CALVERT_
SEVILLE
MURILLO
CORDOVA
THE PRADO
THE ESCORIAL
SPANISH ARMS AND ARMOUR
_In preparation_--
GOYA
TOLEDO
MADRID
VELAZQUEZ
GRANADA AND ALHAMBRA
ROYAL PALACES OF SPAIN
LEON, BURGOS & SALAMANCA
VALLADOLID, OVIEDO, SEGOVIA,
ZAMORA, AVILA & ZARAGOZA
THE ESCORIAL
A HISTORICAL AND DESCRIPTIVE
ACCOUNT OF THE
SPANISH ROYAL PALACE,
MONASTERY AND MAUSOLEUM,
BY ALBERT F. CALVERT,
WITH 278 ILLUSTRATIONS
LONDON: JOHN LANE, THE BODLEY HEAD
NEW YORK: JOHN LANE COMPANY MCMVII
Edinburgh: T. and A. CONSTABLE, Printers to His Majesty
_To His Excellency_
_SEÑOR DON WENCESLAO R. DE VILLA-URRUTIA._
_Your Excellency_,
_In putting forth this modest account of the Escorial, that marvellous
monument to the Hapsburg dynasty, I beg to inscribe it to your
Excellency, as a tribute of my esteem and an expression of admiration of
your Excellency’s great work in the interests of Spain, and as historian
of ‘The Relations between Spain and Austria during the Reign of the
Empress Margaret.’_
_I am,
Your Excellency’s
Sincere and obliged,
ALBERT F. CALVERT._
PREFACE
No work dealing exclusively with the Royal Palace and Monastery of the
Escorial, and purporting to give a full historical and descriptive
account of that remarkable monument of Philip II. of Spain, has hitherto
been published in England. In this volume I have endeavoured to present,
in condensed form, a history of the founding and building of the
edifice, to deal in detail with the more interesting features of its
architecture, and to describe the pictures, fresco paintings,
illuminated missals, and other works of art contained in the several
portions of this great composite pile.
The Escorial reflects the genius of Spain at the period following upon
the final emancipation from the sway of the Moors. It is an image, as it
were, of the powerful monarch who founded it, and spent so many years of
his life in superintending the construction and decoration of the
building. The Real Monasterio de San Lorenzo del Escorial is a
repository of many of the world’s masterpieces of art, a library of rare
and costly manuscripts and volumes, a sumptuous hermitage, a college,
and a sanctuary. It is one of the wonders of Spain, and among the most
historically interesting royal residences in Europe. With the aid of the
letterpress and the illustrations included here, those readers who have
not visited the Escorial will, I trust, be enabled to realise something
of its massive grandeur, and to appreciate its significance in the
history of the Spanish nation; while those who propose to inspect this
‘Leviathan of Architecture’ will find these pages useful in directing
their attention to the chief works of art and objects of interest.
In preparing this description, I have sought for historical facts amid
the pages of Don Antonio Rotondo’s large and admirable work upon _The
Escorial_, in the _Historia del Escorial_ of Father Sigüenza, in the
writings of Prescott and Dunham, and the volume of Pedro Madrazo on _New
Castile_. I am also indebted to C. Gasquoine Hartley for notes upon the
artists of the Escorial, gathered from her _Record of Spanish Painting_,
and particularly to Mr. Walter M. Gallichan for his assistance in the
compilation of the material.
Many of the illustrations in this volume appear by the courtesy of Señor
Don J. Lacoste, who supplied the photographs and gave me permission to
reproduce them.
A. F. C.
‘ROYSTON’
SWISS COTTAGE
N.W.
CONTENTS
CHAP. PAGE
I. PHILIP II. AND THE ESCORIAL, 1
II. THE ESCORIAL FROM WITHOUT, 22
III. THE CHURCH, 31
IV. THE ROYAL MONASTERY, 45
V. THE LIBRARY, 55
VI. THE UNIVERSITY, 62
VII. THE PALACE, 65
VIII. APPENDIXES, 73
IX. PRINCIPAL PICTURES IN THE ESCORIAL, 79
LIST OF ILLUSTRATIONS
PLATE
Plan of the Monastery, 1
View of the Monastery, 2
View of the Monastery from the Orchard, 3
View of the Monastery from the Entrance of the ‘Real
Sitio,’ 4
View of the Monastery from the Romeral, 5
View of the Monastery (East Side), 6
Principal Façade of the Court of the Kings, 7
View of the Court of the Kings, 8
Balcony in the Court of ‘La Compaña,’ 9
View of the ‘Casa del Principe,’ or Lower Lodge, 10
Ascent to the Silla del Rey, the Chair of Philip II., 11
The Silla del Rey, the Chair of Philip II., 12
The Horca (Gallows) Cross, near the Escorial, 13
Garden of the Caseta de Abajo. (Escorial), 14
Source of the Seminario, 15
Source of the Seminario. (Escorial), 16
The Colonnade of the Monastery, 17
View of the Upper Cloister of the Monastery, 18
View of the Upper Cloister of the Monastery, 19
Lower Cloister of the Monastery, 20
View of the Lower Cloister of the Monastery, 21
Snow-pit and Pond of ‘Convalescents,’ 22
‘Convalescents’ Gallery, 23
The Monks’ Walk and ‘Convalescents’ Gallery. (Escorial), 24
‘Convalescents’ Gallery, 25
The Evangelists’ Court, 26
Court with the Springs of the Evangelists, 27
Shield of the Emperor Charles V., 28
Court of the Evangelists, 29
Interior of the Church, 30
Door-knocker of the Church at the Escorial, 31
Choir Stalls. (Basilica of the Monastery), 32
Interior View from the Choir. (Basilica of the Monastery), 33
Interior View. (Basilica of the Monastery), 34
Retablo at the High Altar. (Basilica of the Monastery), 35
Interior View from the High Altar. (Basilica of the
Monastery), 36
Altar-piece at the High Altar, 37
St. Hieronymus and St. Augustine. (Statues of the Altar-piece), 38
St. Matthew and St. Mark. (Statues of the Altar-piece), 39
St. Paul. (Statue of the Altar-piece), 40
St. Gregory and St. Ambrose. (Statues of the Altar-piece), 41
St. Peter. (Statue of the Altar-piece), 42
St. John and St. Luke. (Statues of the Altar-piece), 43
Left Side of the High Altar: Interment of the Emperor
Charles V., 44
Marble Statue of San Lorenzo at the Entrance of the Choir, 45
Interior View of the Chapel, 46
The Tabernacle. (Escorial), 47
Panteon of the Kings. (Entrance Gate), 48
Beautiful Rock Crystal Candelabrum in the Choir of the
Escorial, 49
Casket in Malachite and Lapis-lazuli, ornamented with
beautiful engraved Rock Crystal. (Reliquary of the
Escorial), 50
View of the Panteon of the Kings. (Escorial), 51
Panteon of the Infantes (Interior), 52
Panteon of the Infantes (Interior), 53
Tomb of Charlotte of Bourbon. (Panteon of the Infantes), 54
Tomb of Don John of Austria. (Panteon of the Infantes), 55
View of the Principal Staircase of the Monastery, 56
Library of the Monastery, 57
Library of the Monastery, 58
Library of the Monastery, 59
Library of the Monastery, 60
Golden MS. (10th Century). (Library of the Monastery), 61
Prayer-book of Isabella the Catholic. (Library of the
Monastery), 62
Songs of St. Mary. MS. (13th Century) belonging to
Alfonso the Wise. (Library of the Monastery), 63
Latin Prayer-book of Ferdinand the Catholic. (Library of
the Monastery), 64
Mass-book of Philip II. (Library of the Monastery), 65
Breviary of Charles V. (Library of the Monastery), 66
Psalter of the Emperor Charles V. (Library of the Escorial), 67
Natural History of Pliny the Younger, Italian MS. of the
16th Century. (Library of the Escorial), 68
Page 238 of the Mass-book of Isabella the Catholic: MS.
of the 15th Century, the Vignette of which contains the
name of the Queen. (Library of the Escorial), 69
First page of a Hebrew Bible: precious MSS. of the end of
the 14th Century. (Library of the Escorial), 70
Persian MS., the work of Muhammed Scham El Din
Hapheth, Poet of the 14th Century. (Library of the
Escorial), 71
Manuscript of the Year 1050. (Library of the Escorial), 72
Virgil’s Poems: MS. of the 15th Century, written in Spain.
(Library of the Escorial), 73
Virgil: Manuscript of the Year 966. (Library of the
Escorial), 74
Virgil: Manuscript of the Year 966. (Library of the
Escorial), 75
The Apocalypse of St. John: Manuscript of the 15th Century,
(Library of the Escorial), 76
Two pages of the Koran of Muley Zidan, Emperor of
Morocco in 1594. (Library of the Escorial), 77
‘The Tree of Love,’ written in 1288. (Library of the
Escorial), 78
Persian Manuscript, the work of Muhammed Scham El
Din Hapheth, Poet of the 14th Century. (Library of the
Monastery), 79
Mass-book of Isabel the Catholic, Manuscript of the
15th Century. (Library of the Escorial), 80
Frontispiece of the Koran of Muley Zidan, Emperor of
Morocco in 1594. (Library of the Escorial), 81
Mass-book of the Empress Isabel, Mother of Philip II.
(Library of the Escorial), 82
Mass-book of Philip III. and Queen Margarita. (Library
of the Escorial), 83
Greek Manuscript of the end of the 14th Century. (Library
of the Escorial), 84
Breviary of Philip II. (16th Century). (Library of the
Monastery), 85
Mass-book and Holy Office of Philip II. (Library of the
Monastery), 86
Latin Prayer-book of Ferdinand the Catholic. (Library of
the Monastery), 87
Arabian Manuscript (Natural History). (Library of the
Monastery), 88
Reading Desk in the Choir. (Escorial), 89
Sacristy (Monastery), 90
Paranymph of the College (Monastery), 91
Our Lord Crucified, sculptured in Marble (Monastery), 92
Interment of Philip II. (Monastery), 93
Chapter Room (Monastery), 94
Chapter Room (Monastery), 95
Chapter Hall (Monastery), 96
Presentation of the Virgin at the Temple, attributed to Van
Eyck (Monastery), 97
Altar-piece of the Santa Forma, painted by Claudio Coello.
(Sacristy of the Monastery), 98
Embroidered Altar-cloths. (From the Sacristy), 99
Embroidered Copes. (Sacristy of the Escorial), 100
Casket of Malachite and Lapis-lazuli, ornamented with
engraved Rock Crystal. (Relicario of the Escorial), 101
Christ on the Cross, in Wrought Copper. (Relicario of the
Escorial), 102
Bronze Lectern representing an Eagle, made at Antwerp in
1571. (Chapter Hall of the Escorial), 103
Bronze Lectern representing an Angel, made at Antwerp in
1571, by Jean Simon. (Chapter Hall of the Escorial), 104
St. Michael overcoming the Devil, by Pedro Roldan.
(Chapter Hall of the Escorial), 105
Christ, with the Virgin and St. John: Statues in Marble.
(The Escorial), 106
Gate of the Santa Forma. (Sacristy of the Monastery), 107
Mirror in Rock Crystal. (Sacristy of the Escorial), 108
Altar-piece of Charles V., in Wrought Copper (From the
Camarin of St. Theresa at the Escorial), 109
Alabaster Statue of St. John Baptist. (From the Camarin
of St. Theresa at the Escorial), 110
Inside Cover of a Reliquary which belonged to Pius V.
1566-1572. (From the Camarin of St. Theresa), 111
Reliquary of Rock Crystal. (From the Camarin of St.
Theresa), 112
Bone Reliquary of the end of the 12th Century. (Camarin
of St. Theresa), 113
Reliquary of Wrought Iron, inlaid. (Relicario of the Escorial), 114
Reliquary of Wrought Iron, inlaid. (Relicario of the Escorial), 115
Reception Hall. (Palace), 116
Reception Hall. (Palace), 117
View of the Dining Hall. (Palace), 118
View of the Dining Hall. (Palace), 119
Ante-room. (Casa del Principe), 120
Hall of Ambassadors. (Palace), 121
A Room of Philip II. (Palace), 122
Memorial of King Philip II. (The Escorial), 123
Chairs of Philip IV. (Palace), 124
Escutcheon of King Philip II. (The Escorial), 125
Buen Retiro Porcelain, Imitations of Wedgwood. (The
Hall of China of the Casa del Principe), 126
Buen Retiro Porcelain, Imitations of Wedgwood Panels.
(Casa del Principe), 127
View of the Dining Hall. (Casa del Principe), 128
The Judgment of Solomon (Ivory). (Casa del Principe), 129
The Fisherman caught in the Nets (Ivory). (Casa del
Principe), 130
Sculpture in Ivory called ‘Princesa de San Severo.’ (Casa
del Principe), 131
The Adoration of the Shepherds (Ivory). (Casa del Principe), 132
Round Table with a Tray of Sèvres Porcelain. (Casa del
Principe), 133
Table, Chair, and Porcelain from the Royal Works at Buen
Retiro. (Casa del Principe), 134
Mary Magdalene, from the Royal Works at Buen Retiro.
(Casa del Principe), 135
Buen Retiro Porcelain: Imitation of Wedgwood. (Casa
del Principe), 136
Top of a Round Table in Sèvres Porcelain. (Casa del
Principe), 137
The Descent from the Cross: Sculpture in Ivory. (Palace), 138
Ante-room of Choice Woods. (Palace), 139
Chair of the Emperor Charles V. (Palace), 140
The Emperor Charles V., the Empress Isabel, his Daughter
Maria, his Sisters Eleonora, Queen of France, and Maria,
Queen of Hungary. (Escorial), 141
Pompeian Hall. (Palace), 142
Oratory of Choice Woods in the Ante-chamber. (Palace), 143
Expedition to the Azores. (Hall of Battles), 144
Battle of Higueruela, 1431 (1st Section of the Series of
Drawings). (Hall of Battles), 145
Battle of Higueruela, 1431 (2nd Section of the Series of
Drawings). (Hall of Battles), 146
Battle of Higueruela, 1431 (3rd Section of the Series of
Drawings). (Hall of Battles), 147
Battle of Higueruela, 1431 (4th Section of the Series of
Drawings). (Hall of Battles), 148
Battle of Higueruela, 1431 (5th Section of the Series of
Drawings). (Hall of Battles), 149
Battle of Higueruela, 1431 (6th Section of the Series of
Drawings). (Hall of Battles), 150
Battle of Higueruela, 1431 (7th Section of the Series of
Drawings). (Hall of Battles), 151
Battle of Higueruela, 1431 (8th Section of the Series of
Drawings). (Hall of Battles), 152
Battle of Higueruela, 1431 (9th Section of the Series of
Drawings). (Hall of Battles), 153
Battle of Higueruela, 1431 (10th Section of the Series of
Drawings). (Hall of Battles), 154
Fragment of the Battle of Higueruela, 1431, by Granelo
and Fabricio. (Hall of Battles in the Escorial), 155
Fragment of the Battle of Higueruela, 1431, by Granelo
and Fabricio. (Hall of Battles in the Escorial), 156
Fragment of the Battle of Higueruela, 1431, by Granelo
and Fabricio. (Hall of Battles in the Escorial), 157
Surrender of the Chatelet Fort. (Hall of Battles), 158
The Siege of Han and Surrender of its Castle. (Hall of
Battles), 159
Battle of Gravelinas. (Hall of Battles), 160
Preparations for the Battle of Gravelinas. (Hall of Battles), 161
Taking of St. Quintin by the Spanish Infantry Regiments.
(Hall of Battles), 162
Battle before St. Quintin. (Hall of Battles), 163
Preparations for the Siege of St. Quintin. (Hall of Battles), 164
Departure of the Spanish Army from the Fortified Place of
St. Quintin. (Hall of Battles), 165
The Duke of Alba reviewing his Troops at Cantillana.
(Hall of Battles), 166
Effigies of all the Kings of Spain, from the Time of the
Goths, until Philip V., taken from Charts, Medals, and
Paintings. (Library of the Escorial), 167
Pluto and Proserpina, by L. Giordano. (Casa del Principe
at the Escorial), 168
Allegory of Africa, by L. Giordano. (Casa del Principe
at the Escorial), 169
Phaeton struck by Jupiter’s Thunderbolt. (Casa del
Principe at the Escorial), 170
The Battle of Lepanto, by L. Giordano. (Reproduced
from the Fresco in the Escorial), 171
Expedition to the Terceire Isle (Azores). (Fragment of a
Fresco Painting in the Hall of Battles), 172
Apollo and Mercury, by Peregrino Tibaldi. (Fresco on
the Arch of the Library of the Escorial), 173
A Sweet Singer, by Watteau. (Museum of the Escorial), 174
A Love Scene, by Watteau. (Museum of the Escorial), 175
Philip II. receiving a Deputation from the Low Countries
in the Escorial, by Sant Arcos, 176
Portrait of Philip II. at the age of 71, by Antonio Moro.
(Library of the Escorial), 177
Second Set of Effigies of all the Kings of Spain, from the
Time of the Goths, until Philip V., taken from Charts,
Medals, and Paintings. (Library of the Escorial), 178
St. Isidore, by Corrado. (In the Museum at the Escorial), 179
Pan and Misenus, by Peregrino Tibaldi. (Fresco of the
Arch in the Library of the Escorial), 180
Homer and Virgil, by Peregrino Tibaldi. (Fresco of the
Arch in the Library of the Escorial), 181
Solomon and the Queen of Sheba, by V. Carducci. (Fresco
of the Arch in the Library of the Escorial), 182
Pindar and Horace, by Peregrino Tibaldi. (Fresco of the
Arch in the Library of the Escorial), 183
The Visitation, by Peregrino Tibaldi. (Fresco of the Arch
in the Cloister of the Escorial), 184
The Marriage of the Virgin, by Peregrino Tibaldi. (Fresco
in the Cloister of the Escorial), 185
The Annunciation, by Lucas Cangiagi. (Fresco in the
Cloister of the Escorial), 186
Triptych, with Paintings on Vellum. (Camarin of St.
Theresa), 187
The Seven Capital Sins, by Jerome Bosch, on Wood. (In
the Room of Philip II. at the Escorial), 188
The Story of the Passion: Diptych, in Ivory, of the 13th
Century. (From the Camarin of St. Theresa), 189
Frieze of the Staircase in the Monastery, representing the
Battle, Siege, and Capture of St. Quintin, and the
Foundation of the Monastery, by L. Giordano, 190
‘La Santa Forma,’ the Masterpiece of Claude Coello.
(Sacristy of the Escorial), 191
The Resurrection, by Peregrino Tibaldi. (The Cloister of
the Escorial), 192
The Interment of Christ, by Tintoretto. (Chapter Hall of
the Escorial), 193
Jesus at the Pharisee’s House, by Tintoretto. (Chapter
Hall of the Escorial), 194
The Resurrection of Our Lord: Florentine School, Grey
Painting. (Chapter Hall of the Escorial), 195
The Birth of Our Lord, by Tintoretto. (Chapter Room of
the Escorial), 196
The Annunciation, by Paul Veronèse. (Chapter Room of
the Escorial), 197
Porus brought before Alexander the Great, by Carlos van
Loo. (Monastery of the Escorial), 198
The Crown of Thorns, by Jerome Bosch, on Wood.
(Chapter Hall of the Escorial), 199
Triptych, by Jerome Bosch. (Chapter Hall of the
Escorial), 200
Triptych, representing the Terrestrial Delights, and the
Punishment of Sin in Hell, by Jerome Bosch. (Chapter
Hall of the Escorial), 201
Portrait of Charles V. at the age of 47, by Juan Pantoja.
(Chapter Hall of the Escorial), 202
Christ bringing forth the Souls of the Saints: Florentine
School. (Chapter Hall of the Escorial), 203
The Washing of Feet, by Tintoretto. (Chapter Hall of the
Escorial), 204
The Nativity, by Josef Ribera. (Chapter Hall of the
Escorial), 205
The Last Supper, by Titian. (The Escorial), 206
St. Christopher (on Wood), by J. Patinier. (Chapter
Hall of the Escorial), 207
Jacob receiving Joseph’s Coat, by Velazquez. (Chapter
Hall of the Escorial), 208
The Penitent Magdalene, by L. Giordano. (Chapter
Hall of the Escorial), 209
Mummy of Charles V., by V. Palmaroli. (The Escorial), 210
Jacob guarding the Flocks of Laban, by J. Ribera. (Chapter
Hall of the Escorial), 211
The Satyr Marsyas flayed alive by Apollo, by L. Giordano.
(Chapter Hall of the Escorial), 212
Lot and his Family, by A. Vaccaro. (Chapter Hall of the
Escorial), 213
The Adoration of the Magi, by Veronèse. (Chapter Hall
of the Escorial), 214
The Chastisement of Arachne, by L. Giordano. (Chapter
Hall of the Escorial), 215
Alexander conquering Darius, by F. Solimena. (Monastery), 216
St. Maurice and other Martyrs, by El Greco. (Chapter
Hall of the Escorial), 217
Queen Esther, by Tintoretto. (Chapter Hall of the
Escorial), 218
The Annunciation, and the Birth of Christ, by Coxcis.
(Chapter Hall of the Escorial), 219
The Holy Trinity, by J. Ribera. (Chapter Hall of the
Escorial), 220
Vision of Jesus to His Mother, by P. Veronèse. (Chapter
Hall of the Escorial), 221
The Carnation Gardener, by F. Bayeu. (Tapestry in the
Palace), 222
The Water-seller, by F. Bayeu. (Tapestry in the Palace), 223
The Young Bull at Carabanchel de Abajo, by F. Bayeu.
(Tapestry in the Palace), 224
Promenade of Las Delicias, by F. Bayeu. (Tapestry in the
Palace), 225
The Pork Merchant, by F. Bayeu. (Tapestry in the Palace), 226
Departure for the Hunt, after P. Wouwerman, by Gines de
Aguirre. (Tapestry in the Palace), 227
Descent from the Cross. (R. Van der Weyden), 228
Child riding a Sheep, by F. Goya. (Tapestry in the Palace), 229
A Lady and her Cavalier, by F. Goya. (Tapestry in the
Palace), 230
Country Dance, by F. Goya. (Tapestry in the Dining
Hall of the Palace), 231
Casting of Bullets in a Forest, by Goya. (Casa del Principe,
Escorial), 232
The Kite, by F. Goya. (Tapestry in the Escorial Palace), 233
The Washerwomen, by F. Goya. (Tapestry in the Palace), 234
Young Man with a Bird, and a Bagpiper, by F. Goya.
(Tapestry in the Palace), 235
A Promenade in Andalusia, by F. Goya. (Tapestry in the
Palace), 236
The China Merchant, by F. Goya. (Tapestry in the
Palace), 237
Dogs in a Leash, by F. Goya. (Tapestry in the Palace), 238
The Little Giants, by F. Goya. (Tapestry in the Palace), 239
The Grape-sellers, by F. Goya. (Tapestry in the Palace), 240
The Card-players, by F. Goya. (Tapestry in the Palace), 241
The Wood-cutters, by F. Goya. (Tapestry in the Palace), 242
Children picking Fruit, by F. Goya. (Tapestry in the
Palace), 243
Children climbing a Tree, by F. Goya. (Tapestry in the
Palace), 244
The See-saw, by F. Goya. (Tapestry in the Palace), 245
The Reapers, by F. Goya. (Tapestry in the Palace), 246
Tapestry after the Pompeian Style. (In the Palace), 247
Story of Telemachus: the Dance of the Nymphs. (Gobelin
Tapestry in the Palace), 248
Story of Telemachus: Neptune wrecking Ulysses’ Vessel,
(Gobelin Tapestry in the Palace), 249
Story of Telemachus: Calypso. (Gobelin Tapestry in the
Palace), 250
Story of Telemachus: young Telemachus. (Gobelin
Tapestry in the Palace), 251
Children playing at Bull-fighting, by F. Bayeu. (Tapestry
in the Escorial Palace), 252
The Gardens of Buen Retiro. (Tapestry in the Palace), 253
St. Joseph and the Child Jesus. (Casa del Principe), 254
The Judgment of Solomon, by F. de Urbina. (Ceiling in
the Prior’s Cell in the Monastery), 255
The Virgin, by Corrado. (Casa del Principe), 256
Woman reading a Letter, by D. Teniers. (Casa del Principe), 257
The Conversion of St. Paul, by L. Giordano. (Casa del
Principe), 258
Apollo grieving over the Death of his son Phaeton: Buen-Retiro
China. (Casa del Principe), 259
The Fall and Death of Julian the Apostate, by L. Giordano.
(Casa del Principe), 260
The Bagpiper, by D. Teniers. (Casa del Principe), 261
St. John the Baptist, by Annibale Caracci. (Casa del
Principe), 262
A Smoker, by D. Teniers. (Casa del Principe), 263
The Heliades, Daughters of the Sun, changed into Poplars,
after the Death of their brother Phaeton: Buen-Retiro
China. (Casa del Principe), 264
The Conception of the Virgin, by an unknown Artist. (Casa
del Principe), 265
The Holy Family, by Raphael. (Casa del Principe), 266
Semiramis fighting the Enemy, by L. Giordano. (Casa del
Principe), 267
The Rape of the Sabines, by L. Giordano. (Casa del
Principe), 268
Allegory of America, by L. Giordano. (Casa del Principe), 269
Allegory of Asia, by L. Giordano. (Casa del Principe), 270
The Dream of Philip II., by El Greco. (Chapter Hall of
the Escorial), 271
Effigies of the different Kings of Spain, 272
Effigies of the different Kings of Spain, 273
Effigies of the different Kings of Spain, 274
The Prince’s Room. (Escorial), 275
Pompeian Room. (Escorial), 276
Tower Room (Caseta de Abajo). (Escorial), 277
The Royal Palace and Monastery: plan and section, 278
THE ESCORIAL
I
PHILIP II. AND THE ESCORIAL
Buildings, like poems or pictures, reflect the character of those who
conceive and produce them. The Escorial may be likened to a document or
a painting revealing the temperament, the aspirations, and the
philosophy of a powerful, sombre, and withal, fascinating personality.
Its severe form and its restrained embellishment are stamped with the
individuality of the monarch who devoted the leisure of thirty years of
his life to the erection, extension, improvement, and internal adornment
of an immense and costly pile, comprising within its walls a monastery,
a church, a burial-fane, a palace, a college, and a gallery of the arts.
The Escorial was a place of retirement, an imposing hermitage for the
devout and moody Philip II. of Spain. It is a monument to his power, a
revelation of his mind; and, if we study the edifice, we shall learn
what manner of man he was who founded it.
Ferdinand and Isabella consolidated Spain into one great empire, and
under their grandson, Charles V., the nation advanced in greatness,
until it held sway over vast regions of the New World. When the Emperor
Charles yielded sovereignty, in 1556, the sceptre passed to his son,
Philip. Two years after, upon the death of the Emperor (Sept. 21, 1558),
Philip II. became ruler over the whole of the Spanish dominion at home
and abroad.
The heir of Charles V. was born at Valladolid on May 21, 1527. His
mother was the Empress Isabella, daughter of Emanuel the Great of
Portugal, and by his father he descended from Charles the Bold of
Burgundy. Under the tutorship of Juan Martinez Siliceo, the young prince
received his education at the celebrated University of Salamanca. He
excelled in knowledge of the classics, and exhibited considerable
linguistic talent, for he was able to write in Latin with facility and
possessed an acquaintance with French and Italian. Architecture,
painting, and sculpture interested the youth, and he studied
mathematics.
His royal mother died when Philip was twelve years old. Four years later
the prince was betrothed to the Infanta Mary, daughter of John III. of
Portugal and Catherine, sister of the Emperor Charles V. In 1543 this
desired alliance with Portugal was confirmed by the marriage of Philip
to his cousin, the Infanta, in the city of Salamanca. Shortly after the
ceremony, the young pair went to reside in Valladolid, and here was born
to them a son, Don Carlos, whose mysterious death in captivity at the
age of twenty-three remains unexplained.
In giving birth to her first child, the princess lost her life. Before
the rejoicings of the nation at the birth of a prince were at an end,
the country was startled by the death of the young mother, and gaiety
was suddenly changed to mourning. From the Cathedral of Granada, where
the body of the Princess Mary was buried, the remains were afterwards
removed to the stately mausoleum of the Escorial, the resting-place for
the bones of the royal family of Spain, which was erected by Philip many
years later.
In 1554 Philip II., not yet a sovereign, married Mary of England. The
union was arranged by his father, Charles V., and for a time the prince
lived in England with his bride. He was, however, called upon to attend
the Emperor in Flanders, and was absent from Mary until 1557, when he
again visited England. His stay was a brief one, for he was summoned in
less than four months to the Netherlands. In the following year Queen
Mary died.
Upon the accession of Elizabeth to the throne of England, Philip of
Spain received her assurances of amity. Not many weeks after the burial
of Mary, Philip directed Feria, his ambassador in England, to propose,
on his behalf, a matrimonial as well as a political alliance with
Elizabeth. The queen replied that she must consult Parliament upon the
subject, and that ‘should she be induced to marry, there was no man she
should prefer to him.’ Philip wrote an affectionate letter to Elizabeth,
declaring that he longed for the success of his ambassador’s mission.
The Protestant Reformation, which swept over England, was, however, a
sufficient bar to the marriage of Philip and Elizabeth. Philip expressed
his disappointment when the final answer was received from England, but
he still protested his friendship for Elizabeth, and hoped that amicable
relations would continue between the two nations.
In 1559 Philip married the Princess Elizabeth of France. It had been
proposed that the princess should marry Don Carlos, the son and heir of
Philip; but, for diplomatic reasons, it was considered more expedient
that Elizabeth, who was only fourteen years of age, should wed with the
king. The proposal came from France, and in reply to it, the Spanish
envoys avowed that ‘notwithstanding their master’s repugnance to
entering into wedlock, yet, from his regard to the French monarch, and
his desire for the public weal, he would consent to waive his scruples
and accept the hand of the French princess with the same dowry promised
to his son Don Carlos.’
Tragedy attended the wedding festivities of Philip and Elizabeth of
France. In the course of a tournament, arranged by Henry, father of the
princess, a challenge was sent by that monarch to Lord Montgomery, a
Scottish nobleman and captain of the king’s guard, renowned for his
feats of arms. The queen begged the king to refrain from the encounter,
but Henry commanded the unwilling Montgomery to prepare for the combat.
At the first encounter the Scot pierced the visor of his opponent; the
lance splintered, and a piece of it penetrated the eye of the king, who
was borne from the arena by his attendants seriously wounded and
unconscious. For ten days he lay in pain, and died on July 10, 1559, of
his injury. His queen, Catherine de Medici, thus saw the fulfilment of
her foreboding when she vainly besought the valorous Henry to abstain
from further jousting.
The battle of St. Quintin, in August 1557, which saw the triumph of the
Spanish arms over the French, was an event of extreme moment, and was
the source of Philip’s resolve to erect the Escorial. In this engagement
the Duke of Savoy, at the head of the Spanish troops, D’Egmont, in
command of the Dutch and German horsemen and infantry, and Lord Pembroke
with his force of British soldiers, defeated the army of France, and
killed three thousand men. During the height of the battle, which was
fought on the day dedicated to San Lorenzo, Philip besought the
assistance of that saint, and vowed that if aid were vouchsafed, he
would build a mighty and permanent monument to the deliverer.
The French general was the Duke de Nevers, who was assisted by the
Constable of France, Montmorency. To Coligni, the great admiral, was
given the task of augmenting the garrison of St. Quintin. The troops of
France were nevertheless greatly outnumbered by the Spanish forces.
Flemings, Englishmen, and Spaniards, in combined array, made desperate
assault upon the defenders of St. Quintin. In a last rally the French
formed squares, but the artillery of the Duke of Savoy broke up their
ranks. Montmorency was among the prisoners who were seized by the
Spanish, and it is recorded that he was treated with considerate
courtesy.
It is probable that another motive in addition to gratitude to San
Lorenzo actuated Philip II. in building the monastery of the Escorial.
He was under an obligation by the will of Charles V. to erect a royal
burial-place, and the example of his father in yielding the crown for
the ascetic life of the cloister may have induced him to add a religious
house to the mausoleum, and to provide a retreat for himself in the
closing days of his reign. Whatever may have inspired the resolution, it
is quite evident that the idea took passionate possession of the king’s
mind, and that he spent vast treasure and much industry upon the work of
rearing this extraordinary conglomerate pile.
The choice of a situation for the building accords with all that we know
of Philip’s trend of thought and feeling in middle life. He was not
hasty in determining the position for the upraising of his monument. The
place must be solitary, stern, and amid impressive surroundings, where
nature is seen in a mood of perennial musing and melancholy. No doubt
the king wandered often in the wastes of Castile, among the rocks, the
treeless plains, and the mountainous surrounding of Madrid, in quest of
a suitable site for his hermitage and sanctuary. It was necessary, in a
material sense, that the district should produce an abundance of stone
of a durable quality.
How Philip came to fix upon this spur of the bleak Guadarrama is not
precisely known. Probably his conception of the Escorial was that of an
austere and plain building, which should, so far as possible, resemble
the natural surroundings, and suggest a part of them rather than a
contrast to their sternness. The retreat was to be no palace of gilded
luxury, but a grim and majestic building consecrated to devotion,
penance, and solemn reflection. Where could a more appropriate spot be
found for the retirement of a recluse than among the encompassing crags,
defiles, and peaks of the Guadarrama Mountains?
In ancient times iron had been worked in this desolate wilderness of
Castile. The _scoriæ_, or refuse of the mines, lay upon the hillsides,
and gave the name of ‘Escorial’ to this shoulder of the range. After a
search, which had lasted two years, Philip concluded that no better
situation could be desired. In his decision he was assisted by experts
in geology, the science of health, and the art of architecture. The site
was distant eight leagues from Madrid, and close to a hamlet known as
Escorial.
In the document written by Philip respecting the founding of the
monastery, we read that, inspired by gratitude to God for His benefits,
the king desired to establish churches and convents, and to build a
place of burial for his royal successors. ‘For these considerations we
are Founding and building the Royal Monastery of San Lorenzo, near the
town of the Escorial, in the diocese and archbishopric of Toledo, and we
dedicate it to the blessed San Lorenzo on account of the special
devotion which we have to this Saint, and in memory of the victory which
we gained on his feast-day. We Found it according to the Order of St.
Jerome because of the affection and devotion we have for this Order, and
which the Emperor and King, our Father, had for the same. Besides this
we have decided that a college shall also be Founded, where the arts and
theology shall be taught, and where some young men shall be brought up
under the rule of a seminary,’ etc.
Philip purchased all the land required for the erection of the
monastery before the work of clearing it was begun. He took up residence
on the site, in rude temporary lodgings, and followed with closest
interest every detail of the designing and construction. His chosen
architect was Juan Bautista de Toledo, who had studied his art in Rome
and Naples. Toledo was a native of Madrid, and in Italy he had made his
reputation by designing a palace at Posilipo, and the celebrated Strada
di Toledo. He was assisted in planning the Escorial by Lucas de
Escalante and Pedro de Tolosa.
The first stone was laid on April 23, 1563. Toledo worked upon the
Escorial till 1567, when he died. His scheme embraced the monastery for
fifty Hieronymite monks, the royal residence, the burial-chamber, and
the church. Juan Bautista de Toledo was succeeded by Juan de Herrera,
who enlarged the convent and designed a bell tower. His assistant was
Juan de Minjores, who had executed the church of the Alhambra, and
planned part of the Alcazar of Seville.
Toledo’s plan was ambitious and eccentric. He was influenced by the
Renaissance ideals, and he employed the Doric style in its severest
examples. Philip would have no luxurious decorations, no flamboyant
effects; everything must be plain to austerity. Some critics have
asserted that the simplicity of the Escorial is impressive and noble,
while others complain of its rigidity and sombreness. The plan of the
building is in the shape of a gridiron, to commemorate, it is surmised,
the fate of San Lorenzo, who was roasted on a grid. The handle of the
gridiron is represented by the Palace of the Infantas; the monastery,
the seminary, and the royal apartments represent the bars of the
implement upon which the saint was martyred.
It is evident that the architects were not allowed perfect freedom in
their designs. The king constantly inspected their plans, corrected or
improved them according to his own ideas, and made numerous suggestions.
From his youth Philip had displayed a love of architecture, and there is
no doubt that he was personally the inventor of many features of the
Escorial. It has been related that he somewhat hampered the designers by
his frequent insistence upon severity of style, and by his interference
in many details of the work.
The king often repaired to a rock commanding a view of the busy scene
beneath, where he would sit for hours, watching the progress made by the
great army of craftsmen and toilers. A fear, which was almost morbid,
assailed him at the dread thought that he might die before his scheme
was brought to its completion. His days were occupied in superintending
the tasks of the architects, artists, and decorators, and in pious
meditation in his retreat. Sometimes he would roam with his gun, in the
surrounding grey wilderness, unattended, and buried in reflection. His
relations with the favourite painters of his retinue were of the
friendliest order, and he avoided the attitude of the mere patron. With
Titian the king was very intimate, and he would sit by the easel of
Coello, watching the picture that grew upon the canvas.
The studio of Coello adjoined the royal apartment, and Philip came
frequently to converse with the painter. He delighted also in the
society of Antonio Moro. To Titian he paid large sums for his services,
and when the work was finished the king handsomely pensioned the artist.
When Titian died, the pension was continued to his son.
In 1570 Philip married for the fourth time, his bride being Anne of
Austria. A year later the queen gave birth to Fernando, who died at
Madrid at the age of seven, and was buried in the Escorial. The body of
Don John of Austria, natural brother of Philip, was interred beneath the
altar of the church in the following year. In 1574 the remains of the
illustrious Emperor Charles were transferred to the vaults of the
Escorial with much ceremony, and at the same time several other royal
coffins were removed to the newly-made royal resting-place. During the
solemn service a terrific storm destroyed the dais which had been
erected for the ceremony, and the splendid trappings that covered it.
Besides the havoc of hurricanes, the building twice suffered serious
injury from fires. The first broke out when the work was almost
finished. The cause of the conflagration was a lightning stroke, and the
flames raged for several hours, creating consternation among the monks
and the other inmates of the edifice. When the fire was subdued, the
king had to grieve the destruction of the fine belfry and the loss of a
costly peal of bells. Although the fabric was much damaged, no lives
were lost, and several sacred relics were recovered uninjured.
The heavy cost of erecting the Escorial increased the amounts paid in
taxation, and among the people of Spain there was some discontent with
the expenditure. There was also disaffection upon one or two occasions
among the mechanics employed upon the building. The cause, or the
effect, of this insubordinate feeling was the rumour that Satan in the
guise of a hound with wings prowled about the corridors in the dark. A
friar hearing certain gruesome sounds during matins, went out to
investigate the cause of the disturbance, and discovered a stray dog
wandering in the building. The dog was promptly hanged, and his carcass
exposed on the exterior of the edifice;--proof positive that the
mysterious visits were at an end.
It is interesting to learn that a party of Japanese delegates came to
request an audience of Philip in the year 1582. The Jesuits had made
several converts in Japan, and it was proposed to ordain some of these
as priests. But the papal sanction had to be obtained, and the ruler of
Japan sent an embassy to the Pope. Before going to Rome, these
representatives came to Spain and paid reverence to Philip, who
entertained them cordially.
In 1586 the king was busy with preparations for the ceremony of
consecrating the church of the Escorial, which had been completed some
time previously. During the erection of the church, services were held
in a temporary structure, and in this building there was a celebration
of the mass before the procession entered the new church. Philip, the
prince, and several great clerics supported the canopy which was carried
in the solemn pageant. The temporary church, which stood in the hamlet,
was afterwards reconstructed, and placed at the service of the people.
About the year 1582 the king was seized with a distemper of an epidemic
character, and was so prostrated that he prepared himself for death, and
wrote his will. But his disorder, although dangerous, was not fatal,
though the queen, who was also attacked, died in this same year. She was
interred among other royal persons in the Escorial. The death of Philip
II. occurred in 1598. He was indisposed at Madrid, and desired to be at
once removed to his beloved Escorial. So severe was his illness that it
was necessary to bear him thither slowly in a litter. Six days were
spent in conveying the stricken monarch over the eight leagues from
Madrid to the palace among the Guadarrama Mountains.
For fifty days the king lay in suffering. It was his wish to see every
part of the building before he died, and he was borne slowly through the
palace, the church, the convent, and the college. Philip was patient and
resigned in the contemplation of the last hour of his life. He evinced
his zeal in piety to the end, and ordered the release of certain
prisoners as a final act of mercy. When death approached, the king asked
that the prince and Isabella might attend at his bedside, and to them he
exhorted holiness, and spoke of the vanity of ambition and the
insecurity of power. On September 13 Philip II. partook of the last
sacrament, and passed away.
So died the Founder of the Escorial, and the initiator of the great work
which the Spanish people claimed as one of the chief wonders of the
world. He had lived to see the realisation of his desire. Year by year
he had watched the development of his plans, the building of the
monastery, the uplifting of the church, and the establishment of a court
and a college in this remote Castilian highland. The hours of his
retirement had been devoted to the gratification of his taste in the
arts, to contemplation, and to penance. Like Solomon, he had surrounded
himself with objects of priceless worth, and he passed his days in an
atmosphere of beauty. Æsthetic, and at the same time ascetic, Philip
seemed possessed of a dual nature in which rival forces constantly
contended. If his mind was marked by gloom, it was relieved by his
passion for art and by his love of the simple pleasures of a country
life. Nor was the king apparently devoid of a capacity for enjoying
occasionally the conventional gaieties of life, for among his numerous
retinue, he maintained a fool, or royal jester, one Miguel D’Antona, a
grotesque dwarf, with an ugly, humorous countenance.
The Escorial was a royal hobby. But for us it is something more, for it
illustrates in divers ways the thought, fancy, and idiosyncrasy of an
enigmatic personality. And more than this, the building instructs us in
the temper of a memorable age, profound in faith, zealous in patriotism,
and conspicuous in martial valour. An inspection of the Escorial is as
the reading of a long and remarkable chapter in the history of Spain.
In accordance with his father’s wishes, Philip III. began to build the
present burial-vaults soon after his accession to the throne. He did not
live to see the completion of the work, which was continued during the
reign of Philip IV. The construction was, however, delayed through the
attitude of the overseer of the works, who objected to the expenditure
of so large a sum of money from the national exchequer; but under the
monk Nicolas, the _Panteon_ was at length made ready, in 1654, for the
reception of the coffins of members of the royal families.
‘No monarchs of the earth,’ writes a chronicler, ‘have a mausoleum
comparable to this of the Escorial, which to the glory of Spain was
conceived by Charles V., undertaken by Philip II., carried on by Philip
III., and completed by Philip IV.’
The second devastating fire at the Escorial broke out in 1671, and was
supposed to have been caused by the fall of a rocket during a firework
exhibition, following upon a day of rejoicing. The English translator of
the works of Francisco de los Santos states that the fire ‘ruined and
destroyed’ the edifice, but this is an exaggeration, though the damage
was very great. It is said that the flames were not quenched for fifteen
days, and that the peal of bells was melted. The queen-regent, Anne of
Austria, restored the Escorial in 1676, and provided it with a new set
of bells.
Another disaster might have befallen the Monasterio in 1755, when Lisbon
was levelled by the great earthquake, but, fortunately, only a shock was
perceived by the inmates of the building.
Charles III. made a few additions to the Escorial, and his son proposed
the addition of a bull-ring; but the king, upon hearing of this
project, forbade the work, and the prince contented himself with
erecting a caseta or villa, which was named de Abajo.
It was at the Escorial that Charles IV. unearthed a plot concocted by
the queen, Godoy, and Prince Fernando, with the object of betraying
Spain to France. The prince was placed in confinement at the Monastery,
and his tutor and other members of the royal household were also
imprisoned. It is probable that Canon Escoiquiz, one of the Court, was
in treaty with Napoleon’s representatives. Fernando was tried and
pardoned, though his part in the conspiracy seemed to admit of no doubt.
In 1807 the French troops stormed the Monasterio, which was defended by
the priest Ruiz, who lost his life in the assault. The monks were
expelled by the French, but allowed to occupy an adjacent building.
Terrible pillage succeeded the capture of the Escorial, and much of its
treasure was looted and sent to France. After the Peace the brethren
returned to the Monastery, and the French restored some of the plundered
works of art.
There was a restoration of the building under Ferdinand VII., the
completion of the work being celebrated on the day of San Lorenzo. Upon
the death of the king many of the pictures were transferred from the
Escorial to Madrid.
In 1846 Isabella II. married her cousin, Francisco de Assisi, at the
Escorial, and upon the same day her sister was united to the Duc de
Montpensier.
During the cholera epidemic at Madrid, in 1856, the inmates of the
Escorial were almost free from the disease, proving beyond doubt that
the position of the place among the mountains is extremely healthy. In
the summer of 1861 the first train from Madrid arrived at the Escorial.
There are several historians of the Real Monasterio. Friar Juan was
probably the first writer on the subject, though his _Memoirs_, written
in 1596, have not been printed. Father Sigüenza prepared a chronicle of
the Escorial in 1605; and in 1698 a work was issued by Jimenez; Santos
also wrote in the same year. Ponz was the chronicler in 1788. After a
lapse of thirty years, Bermejo wrote upon the building, and since 1843
the historians have been Alvarez, Madoy, Ramajo, and Rotondo. The last
writer took extreme pains in collecting an immense amount of information
upon the Escorial and its history. His huge volume, which appeared in
Madrid about 1863, is a classic upon the subject.
Among the earlier writers, perhaps the most interesting is Franciso de
los Santos, whose work was published in Madrid in 1681, under the title,
_Descripcion del Real Monasterio de San Lorenzo del Escorial_.
II
THE ESCORIAL FROM WITHOUT
The Real Sitio, or Real Monasterio de San Lorenzo del Escorial, is, as
we have seen, a great combination of fabrics, consisting of a convent, a
seminary, a palace, a church, and a panteon. It is therefore scarcely
correct to speak of the structure as the ‘Palace of the Escorial,’ for
the royal apartments form but a part of the building.
San Lorenzo, to whom Philip II. dedicated the mighty monument, was by
birth an Aragonese from the town of Huesca. It is not necessary here to
relate his history. His cruel martyrdom occurred in the time of
Valentianus, A.D. 261, and it was upon the feast day of the saint that
Spain gained the great victory over the French at St. Quintin in
Picardy.
A chronicler of the period of Philip II. has declared that: ‘It is
impossible to properly describe the grace, the ornaments, the grandeur,
and the majestic harmony, that one remarks in this entire edifice....
To write a description of it is an impossible task for me, whilst I
could never tire of admiring it; for the rest, this is what always
happens when one tries to describe architecture and the arts.’
This limitation in adequate expression is one of the penalties of such a
task as the present work. The mere detailing of all parts of the
Escorial would be very laborious and beyond the limit of present space,
and the result might prove quite uninteresting to the non-technical
reader, and possibly of no great service to the visitor. There are,
however, certain conventional methods of description which can be
scarcely avoided in an account which aims at conciseness and accuracy.
Let us then begin by stating that the Western or Principal Frontage is
744 feet long and 72 feet high, and that the towers at either end are
200 feet in height. The chief entrance is in the centre of the façade,
and it is known as the Portico Principal del Monasterio. Supporting the
cornice are eight Doric columns, and a door, 20 feet high and 12 feet
wide, is placed between the central columns. The door is white, with
huge copper-gilt studs and knockers. Surrounding the door are the
enormous blocks of stone, which were carried here upon specially
constructed wains, drawn by forty-eight pairs of oxen. The panels on
each side of the doorway are decorated with gridirons in relief, as
symbols of the martyrdom of San Lorenzo.
Monegro’s figure of San Lorenzo, huge, and carved in stone, stands above
the door. The head and the hands are of Andalusian marble. Monegro is
said to have asked the sum of 20,900 reales for carving this effigy, and
other 7700 reales for the arms of Spain carved below the statue.
Of the other doors, one leads to the cellars, the lower cloisters, and
the kitchens, and the other to the Colegio. Their character is simple,
and they are constructed of large blocks of stone, after the plan of the
chief entrance.
The Vestibule is about 80 feet wide, and leads into the Patio de los
Reyes, or Court of the Kings. To the right of the Vestibule are the
Libraries, the Refectory, and the Convent, and on the left is the
College. The walls of the Patio are decorated with pilasters, and there
are many fine windows to the apartments. Six statues of the Reyes de
Judea stand in the Court, the work of Monegro, who used granite for the
bodies and marble for the head and hands, as in the case of the effigy
of San Lorenzo, above the main gateway.
The statues represent Jehosaphat, Hezekiah, David, Solomon, Josiah, and
Manasseh, but they are not works of the highest order. The first king
has a chopper, and there are a ram and loaves of bread by his side;
while the second has also a ram, and in his hand a large incense box.
David is appropriately supplied with a harp and a sword, and the symbol
of Solomon is a volume. Josiah also holds a book, and Manasseh a compass
and square. These Kings of Israel are chosen because they each directed
the work of building and beautifying the Temple.
The general plan of the Escorial is a parallelogram of 3000 feet in
circumference and 500,000 square feet. This massive pile is everywhere
severely uniform, though its rigidity is relieved by the towers of the
Monastery, the charming gardens of the palace with their fine arches,
and by the spires and doorways. The granite employed in the building is
of a light colour, and is, for the most part, highly polished. There are
four façades. We have inspected the western or principal frontage, and
we may now pay some attention to the east front, which bears points of
resemblance to that of the south.
One curious feature of the eastern façade is the celebrated staircase,
described by Don Antonio Rotondo as one of the most curious pieces of
architecture in the whole edifice. The doorway leading to the gardens
was originally intended as an arcade, and it is a noteworthy example of
architectural skill. The appearance of the east front is marred by the
unattractive exterior of the Capilla. On the north side is the chief
approach to the palace, and here is the small door by which the royal
tenants entered their apartments up to the time of Charles IV.
The finest external aspect of the Escorial is on the southern side. It
is simple and bold, and from it is gained one of the most interesting
views of the pleasure-grounds below. The first stone of the edifice was
laid here. A gallery on this side was used for convalescents from the
Infirmary, being sheltered from the rays of the sun, and here the monks,
who were recovering from illness, took gentle exercise in the open air.
There are two corridors, or promenades, each about 100 feet in length,
one above the other, and supported by arches. Some of the decorative
work here is by Juan de Mora.
The impression conveyed by the Escorial at first sight is that of its
colossal proportions, while one’s second impression is of austerity and
uniformity in design. Henry O’Shea is right in saying, in his _Guide to
Spain and Portugal_, that ‘to understand the Escorial it is necessary to
have studied deeply and most impartially the character and genius of its
founder; for this is not a monument which is the expression of an age or
a people, but bears the stamp of a man of a special train of thought and
feeling.’ O’Shea states that ‘the Monastery of the Escorial is the key
to Philip’s character, never, as yet, perfectly understood by
historians.’ Carl Justi, in a somewhat severe criticism of ‘the rigid
geometrical design’ of the building, says that it ‘looks at us with
petrifying effect,’ though he admits that the harmony of the pile with
its surrounding landscape gives it a peculiar beauty.
Some of the older writers upon the Royal Monastery of Philip II.
fervently praise the majesty of the great monument. The Countess
D’Aulnoy, in her _Letters from Spain_, in 1679, wrote that the
apartments of the king and queen at the Escorial were not stately, and
that Philip, when he founded the building, intended it for a house of
prayer and retirement, ‘the things he took most care to adorn’ being the
Church and the Library. In the words of George Thompson, translator of
Frey Francisco de los Santos’s work upon the Royal Palace of the
Escorial, the edifice is ‘an astonishing work, in which the most
prudent monarch Philip the Second offered to God a heaven on earth; to
the illustrious Spanish martyr St. Lawrence a temple of divine
magnificence, to his ancestors, a Christian mausoleum; to the
Hieronymite recluses an august habitation; and to the world a structure
which it can never sufficiently admire.’
In the eyes of the Spanish subjects of Philip, the Real Monasterio, or
Real Sitio (Royal Residence), constituted the ‘eighth wonder of the
world.’ Such a magnificent palace had not been seen in Spain since the
palmy days of the Moorish potentates of Granada and Cordova. In no
sense, however, could the Escorial be likened to the buildings of
Morisco genius. It was eminently Christian in its conception and plan,
and in its dedication to San Lorenzo, the martyr of the gridiron. The
style was late Renaissance, uninfluenced by the ancient Oriental spirit,
and owing its inspiration chiefly to the Doric designers, though the
Gothic influence is of France.
If the exterior of the Escorial suggests in turn a sombre fortress, a
mournful and gaunt hermitage, or a forbidding prison, it still impresses
us as a very remarkable work of architecture. One must not look for the
richly ornate, the flamboyant, and that prodigality of decoration which
characterise many of the later public buildings of Spain. Huge, marked
with the personality of the founder, menacing, and yet not without the
nobility of plainness, the great creation of Philip II. is beyond doubt
one of the world’s greatest edifices. To some observers it has brought a
vague sense of depression when viewed upon a grey day amid its bleak
surroundings; but the atmosphere of the place is far from unimpressive,
for it is pregnant with memories, and vivid with dramatic passages in
the lives of kings and their queens, courtiers, artists, friars, and the
long train of inmates who lived within the stern granite walls.
Moreover, as a museum, the Escorial is of supreme interest. It contains
a wealth of wonderful works of art, and a superb library of costly books
and old manuscripts.
The galleries, courts, and gardens of the building undoubtedly soften
the aspect of the walls and the solemn towers. Flowers adorn the
terraces: there are pleasant seats and niches, with shady walks between
high box-hedges and splashing fountains. From the Lonja (the terraces)
one looks upon varied vistas of the plain, the frowning mountains, the
quaint flower-gardens, the ponds, and the wooded slopes, where there
are English elms and beautiful chestnut-trees.
In the surrounding demesne, there are several points of interest. One of
these is the ‘King’s Chair,’ among the rocks, where Philip sat to view
the building of the monastery. We may also wander to the ‘Queen’s
Belvedere,’ or climb the boulders of Castejon.
Not content with the vast accommodation of the Escorial, Philip caused
certain small houses, or places of retreat, to be built in the vicinity.
One of these, called La Granjilla, was surrounded by exquisite gardens,
which were adorned with many fountains. The streams and tanks provided
fish for the royal table. Another lodge was the Campillo, which the king
erected in a magnificent and lonely situation among the hills. This
house was afterwards altered by Philip IV.
III
THE CHURCH
From the point of view of architectural beauty, the Church of the
Escorial is the finest of the several buildings within the walls. The
eye is at once arrested by the tall towers on either side, the immense
dome, with its superimposed massive lantern and cross, and the portals
of the vestibule. As for the height of the towers, it is safe to say
that they are considerably over 200 feet, though writers variously give
the height as 260 feet and 270 feet. The structure is of granite
throughout, huge in its plan, and severe in its Doric simplicity.
The tower on the right has a clock and a peal of bells. Each of the
belfries has a platform with a balustrade, and the cupolas have a
lantern tower, with several windows, and a lesser cupola above, crowned
by a spire. On the top of the spire are a ball, a cross, and a
weathercock. These towers are perhaps the most ornamental parts of the
whole pile.
Before the Church, or Templo, is the handsome Vestibule, with five
arches, each having a door. The total number of the portals is ten.
There is a decorated dome to the Vestibule, and doors leading to the
Monastery and the College. The chief door of the Church is in the
centre, and it is only opened to admit members of the reigning family of
Spain. We enter the main edifice by a small door. Upon black marble, in
letters of copper, is a Latin inscription setting forth that ‘Philip,
King of all the Spains, of the two Sicilies, and of Jerusalem, laid the
first stone of this church on the feast of San Bernardo, 1563: the
divine offices were first celebrated on the Eve of the feast of St.
Lawrence, 1586.’
The right door has the following legend: ‘Philip II., King of all the
Spains, of the Sicilies, and of Jerusalem, had this church piously and
solemnly consecrated by the nuncio of His Holiness, Camilli Cojot of
Alexandria, on August 30th, 1595.’
The Coro Bajo, or Lower Choir, is the first part of the church upon
entering from the Vestibule. It is paved with marble, and has a gallery,
balconies, and two rows of stalls. A variety of woods were used in the
stalls, such as box, cedar, walnut, and ebony, and the designs were
drawn by Herrera, who directed the work of Flecha the decorator. Under
Flecha four Spanish carvers assisted in the work of cutting the thistle
leaves and the beautiful mountings of the choir stalls. The Prior’s seat
is especially decorative; and one stall, wider than the others, was used
by Philip II.
A fine lectern of jasper and marble, supported by bronze pilasters,
stands in the Choir. In a small shrine upon the structure, formed by
columns, is an effigy of the Virgin. The cross of this structure is of
the wood from which Philip’s coffin was made. In height the lectern is
sixteen feet.
Near the Prior’s seat is an altar with a Crucifix, and close by we shall
find two paintings of Our Lady and San Juan, by Navarrete, sometimes
called El Mudo. This painter was influenced by the Venetian tradition,
though it is doubtful whether he worked under Titian.
In 1568 Navarrete was invited by Philip to the Escorial, where he
executed some work upon the high altar. A few years later the artist was
commanded to paint other thirty-two pictures for the king. El Mudo was
accused of indecorum in his work by representing angels with beards,
and this is shown by the contract with the high clerics of the Escorial,
who laid down that: ‘Whenever the figure of a saint is repeated by
painting it several times, the face shall be represented in the same
manner, and likewise the garments shall be of the same colour, and if
any saint has a portrait which is peculiar to him, he shall be painted
according to such portrait, which shall be sought out with diligence
wherever it may be; and in the aforesaid picture the artist shall not
introduce any cat or dog or other unbecoming figure, but only saints and
such things as incite to devotion.’
One of the wall paintings of the Choir represents San Geronimo, or St.
Jerome, expounding the Scriptures; another shows him writing, and a
third depicts the interment of the saint, San Lorenzo, while the Pope is
the subject of one of the frescoes, which were painted by Cincinato. The
pictures by Lugato in this part of the church illustrate Charity, Hope,
Faith, Prudence, and Justice, while others portray San Lorenzo and San
Geronimo. During the struggle with France many objects of art were
removed from the Choir.
The organs are exceedingly handsome. One of them is said to be the
finest in tone in the Peninsula. By the side of the chief choir are the
lesser cross, or choirs, containing a small marble capilla. The statue
of San Lorenzo was carved from a Roman effigy, which was headless and
without limbs when it came into the possession of Philip II. Giordano’s
ceiling is painted with episodes in the life of David. This painter was
a follower of the powerful Ribera, and his influence upon Spanish art
was somewhat detrimental, for he imposed an alien style, and produced
works that example the decline of the Spanish schools.
A hall behind the ante-choir is known as the Library, and here the music
books are stored. The books are very beautifully bound, and written by
masters of the art of caligraphy. There are three pictures in this
apartment: the best is by Navarrete, a scene of the ‘Crucifixion’, with
San Juan and the Virgin. The work by Herrera Barnuevo is poor. Van
Bosch, or El Bosco as he was styled in Spain, painted the allegorical
picture in this hall.
The ‘Panteon de los Reyes’, the royal sepulchre, was finished in 1654.
It was intended that it should be severely plain; but after the time of
Philip II., those who continued the work, indulged their fancy for gilt
decoration. A portrait of Father Nicolas is seen as we enter the
staircase of the vaults; and after descending about a score of steps, we
reach the Panteon de las Infantas and the Panteon de los Infantes, where
rest the remains of the two sisters of Charles V., Don John of Austria,
and other royal persons. This part of the royal vaults is not of
especial interest architecturally, and a more adequate place of
sepulture is now being constructed.
The doorway of the vaults is of marble and bronze, and there is a tablet
with the following inscription: ‘To the very good and very great God;
sacred spot dedicated by the piety of the Austrian dynasty to the mortal
remains of the Catholic kings, who await the desired day under the high
altar consecrated to the Redeemer of the human race. Charles V., most
glorious of the emperors, resolved this place to be the last bed of
himself and his lineage; Philip II., the wisest of kings, designed it;
Philip III., a monarch sincerely pious, continued the work; Philip IV.,
great for his clemency, his constancy, and his devotion, augmented,
adorned, and terminated it in the year of the Lord 1654.’
The figures of Italian bronze near the tablet, symbolise Humanity and
Hope. From this point the descent to the tombs is made upon steps of
marble, with three landings, until an octagonal chamber is reached. A
great candelabrum of bronze hangs here, and there are relief figures of
the Apostles. The decorations of this vault of jasper and marble were
executed by Fanelli. The materials used for the altar in this chamber
are black marble and bronze. Two lay-brothers of the Escorial made the
bronze Entombment of Christ.
In the niches rest twenty-six urnas containing the ashes of Spanish
sovereigns. The kings are Charles V., Philip II., Philip III., Philip
IV., Charles II., Luis I., Charles III., Charles IV., and Ferdinand VII.
On the left of the altar are the remains of Isabella, wife of the
Emperor Charles, Anne of Austria, Margaret, Isabel of Bourbon, Mary Anne
of Austria, Maria of Savoy, Maria of Saxony, and Maria Luisa of Bourbon.
Ferdinand VII. used to attend Mass at midnight in this damp, chilling,
and sombre sanctuary, where rest the bones of so many of his ancestors.
The construction of the church represents a large square, and the
pillars form a cross. Four immense square columns support the whole
superstructure, and surrounding these are twenty-four large arches. The
carved and gilded woodwork is the work of Flecha, an Italian artist. At
the end of the lesser naves are domes, eight in number. The Great Dome
has eight windows, with Doric columns, and it is surrounded by a
balcony. An ascent can be made to the top of the dome, where there are a
large lantern, a spire, and a tall weathercock above the cupola. The
height from the ground is 330 feet. In the pyramidal spire, Philip II.
enclosed a case containing relics of St. Paul, St. Peter, and St.
Barbara.
The pavement of the church is made of variegated marbles. In the reign
of Charles II., the vaulting of the principal dome was pointed, but
before the time of that monarch, it was stuccoed, and spangled with blue
stars. Giordano was commissioned with the work of decorating this part
of the building with eight frescoes. These pictures are described by
O’Shea as ‘hurried, yet faithful, and the colouring very fine, though
somewhat tarnished by damp.’ Later critics have, however, pointed out
the traces of serious degeneration in the work of Giordano. Among the
paintings are the ‘Adoration of the Magi,’ the ‘Conception,’ and the
‘Last Judgment.’
Jordaens was the artist selected to paint the works in the minor domes.
It has been stated that the frescoes were finished in seven months. We
need not describe each one in detail. The dome in the chief nave has a
‘Resurrection,’ in which we see the Saviour upon a throne of clouds,
with the Holy Mother by his side, and from the tombs emerge the frames
of the dead, some of which ascend to Paradise. In the dome over the
Chapel of Our Lady there is a painting of the Virgin in a chariot,
attended by maidens; and in another dome the scene is from the Old
Testament, representing Joshua’s defeat of the Amalekites.
The Capilla Mayor is notable for its Doric features, black marble
pilasters, bronze figures, and the splendid high altar. The chief chapel
is approached by an arch on three pillars, dividing it from the other
parts of the edifice, and the altar is of marble and jasper. It was
consecrated in 1595 by Philip II., in honour of the Blessed San Lorenzo,
and within were placed the relics of San Pedro, San Tomas, San
Sebastian, and other holy personages. The fine work on the screen cannot
be well seen in the uncertain light; but it merits close inspection for
its scheme of exemplifying all the orders of pagan architecture in
jasper and bronze.
Upon one division of the altar screen are two paintings by Tibaldi, the
‘Birth of Christ,’ and the ‘Adoration of the Magi.’ Tibaldi was a pupil
of Michael Angelo; but his productions have little of the spirit of his
master, and there is none of his work in the Escorial upon which we can
write with great enthusiasm.
The ‘Flagellation,’ by Zuccaro, is seen in the second or Ionic section
of the altar screen. This is supposed to be the best work of the
painter, who came at the invitation of Philip II. to paint at the
Escorial, in the place of Paul Veronese. Zuccaro’s art was so inferior
that his royal patron condemned most of his pictures; and Tibaldi, a not
very excellent substitute, was bidden to repaint several frescoes.
Finally, the Venetian painter was asked to leave the Escorial.
Pompeio Leonius, or Leoni, was the designer and caster of the metal
statues that ornament the splendid screen, though some of the work was
intrusted to the artist’s father, Leon Leoni, sometimes called Arezzo.
These two natives of Milan were retained by Philip II. to produce
statues at the Escorial, and besides this work on the altar they
produced the figures of Charles V., Philip, and other members of the
Royal House, which stand between the centre columns. These figures are
of bronze gilt, about thirteen feet in height. The Emperor kneels
before an altar, his head bare, invoking the assistance of God. Isabella
is by him, and the other statues represent the Empress Maria, and the
Princesses Eleonora and Maria. On the other side are the figures of
Philip II., Anna, Isabella, Doña Maria of Portugal, and Don John of
Austria.
In the Oratories there are some paintings by Pantoja de la Cruz, who was
a pupil of Coello. Pantoja was a native of Madrid; he was Court portrait
painter to Philip II., and afterwards to Philip III. Besides his work at
the Escorial, he painted several canvases for the Royal Palace at
Madrid.
In one of the chambers of the Oratories are the table and chair
belonging to Philip II.
The Sanctuary has some frescoes by Tibaldi, depicting scenes from the
Old Testament; the fresco of ‘Elias’ was the artist’s first picture for
the Escorial. A handsome tabernacle demands notice, both for its art and
the fact that it was destroyed by the French, and afterwards repaired by
Ferdinand VII. The work is by Juan de Herrera and Giacomo Trezzo of
Milan.
In the Relicario few objects survived the plundering of the French; but
Carducci’s pictures of saints should be seen, and a metal statue from
Messina is of interest. A number of skeletons and precious bones of
saints and pious persons are guarded in the Relicario. There are also a
part of the gridiron upon which San Lorenzo was martyred; some pieces of
the Holy Cross; thorns from the crown of Christ; part of the garment of
the Holy Mother; a bone of St. Paul, and many other treasures which
cannot be enumerated.
In the Ante-Sacrista the vaults were painted by Granelo and Fabricio: a
reputed Andrea del Sarto is here; a painting by Van der Velde, San Juan
by Giordano, and San Geronimo by the vigorous Spanish artist Ribera, the
master of Luca Giordano.
The Sacristy contains a number of paintings, including a work by El
Greco, the ‘Dream of Philip II.’ This eccentric genius painted for some
time at the Escorial; but his gifts were not fully appreciated by the
royal patron, who seems to have possessed a preference for the work of
the Italian romancists rather than the bold, truthful productions of the
stronger Spanish School of painters. In the hall will be seen several
pictures by artists of Spain: among others are works by Zurbarán and
Ribera, while foreign painters are represented by Tintoretto, Titian,
Guido Reni, and Paul Veronese. Tintoretto’s work was painted for a
church in Venice, but came into the hands of King Charles I. of England,
and was purchased for Philip IV. of Spain after the downfall of Charles.
The subject is ‘Washing the Apostles’ Feet.’ Some beautiful needlework
is preserved in the Sacristy, designed by Navarrete, and worked by the
monks. The altar of the Sacristy has carvings in marble upon the screen,
and a painting by Coello, containing portraits of several notable
persons, including Charles II. Coello worked for about six years upon
this picture, which was first undertaken by Rizzi, who was overtaken by
death during his labours.
Surrounding all the altars of the church are paintings of more or less
interest, which principally demonstrate the Italian influence. Luis de
Carbajal is the painter of several of these pictures. He was the pupil
of Juan Villoldo, a very mannered artist, and a follower of Navarrete.
Below the Choir will be found a painting of Carbajal, ‘Sixtus and St.
Blasius,’ and another of his works is in the Capilla, also representing
saints. Navarrete, Coello, and Tibaldi, are among the other painters of
the altar-pieces in the various chapels.
The pulpits of the Capilla Mayor are very ornate. They were made under
Ferdinand VII. from various marbles and stone, with decorations of
polished metal, and the designs were prepared by Urquiza.
IV
THE ROYAL MONASTERY
On the south side of the church is the Patio de los Evangelistas, the
Court of the Evangelists, a square of 166 feet, with two-storied
cloisters in the Grecian style. The Hieronymite Order of Monks have
always regarded the cloisters of their abbeys with the same reverence as
the interior of the buildings, and the galleries of the Court of the
Evangelists are resorts for quiet meditation and devotion. An
ornamented, vaulted ceiling is supported upon arches and pillars; there
are windows of tinted glass, and wall pictures, and a series of niches
for altars. In each of the niches or ‘stations’ the walls are adorned
with paintings. Monegro’s statues of the Apostles are in the court, and
there are four fountains of marble and beds of flowers.
We have read that Philip II. desired his edifice to serve as a monastery
for the Order of San Geronimo, or St. Jerome, who was the father
confessor of the great warrior, El Cid. Charles V. had spent the closing
years of his life among the monks of San Geronimo at Yuste, near
Plasencia, and his son, Philip, deemed it appropriate that the brothers
of that order should inhabit and rule the Escorial. The first band of
monks lived in a temporary monastery while the big religious house was
being constructed. One of the most famous of the brothers was
Villacastin, who placed the last stone of the edifice on September 13,
1584, and saw the first stone laid twenty-two years before the final
ceremony of consecration. Father Sigüenza was the priest who officiated
at the first Mass in the new church. He died in 1606, about three years
after the death of the venerable Villacastin, who reached the age of
ninety.
The Convent of San Lorenzo adjoins the Court of the Evangelists. Running
from the old church to the annexe of the Sacristy are the Salas
Capitalares, comprising two large halls and an ante-chamber. Two
paintings by Titian are in the halls: one of ‘San Geronimo in the
Wilderness,’ and the other ‘Devotion in the Garden.’
The painted ceiling is by two Italian artists, Granelo and Fabricio,
and the pictures on the walls are by artists of different nationalities.
Navarrete executed ‘Abraham and the Angels’; and Ribera’s ‘Birth of
Christ’ and ‘Æsop’ are here. But more important than these is the work
of Velazquez, the ‘Sons of Jacob,’ the only picture of the great master
among the Escorial collection. This was one of three pictures which
Velazquez painted at Rome and sent to his father-in-law, the versatile
Pacheco, artist, canon, and historian.
The pictures by Bassano were probably among those brought from Italy by
Velazquez when he went on a mission for Philip.
In the Prior’s Hall there are several examples of the work of the
Italian illuminators, some of which came from the collection of Charles
I. of England. There are an ‘Entombment’ and ‘Christ in the House of the
Pharisee’ by Tintoretto. Three of Titian’s works adorn the hall: ‘Our
Lady of Grief,’ the ‘Last Supper,’ and the ‘Prayer in the Garden.’
The original church has an altar of marble, with paintings by Titian of
the ‘Adoration of the Magi’ and ‘Ecce Homo.’ The ‘Entombment’ is a copy
of Titian’s picture in the Prado Gallery at Madrid. Many of the
paintings have been removed from the old church to the Prado, but among
the notable canvases remaining are the ‘Martyrdom of St. James,’ an
‘Annunciation,’ by Paul Veronese, and Zuccaro’s ‘Birth of Christ.’ The
most important is perhaps the picture by El Greco of ‘St. Maurice.’
On the handsome staircase there are more pictures from the brush of the
facile Giordano, one of the most rapid of painters. One of these
frescoes represents the founding of the Escorial, and it has a figure of
Philip II. inspecting the designs of the architects, Juan Bautista de
Toledo, Herrera, and Antonio Villacastin. There is also a portrait of
the king’s jester, D’Antona. San Lorenzo and the Virgin are depicted in
the centre of the dome, and there are portraits of Charles V., San
Fernando, and San Geronimo in the group. The portraits of the Emperor
Charles, Philip II., Charles II., and other royal personages are said to
be excellent likenesses.
The Upper Gallery of the Cloisters is decorated with several paintings
by Barrocci, Giordano, Carducci, Juan de Gomez, Navarrete, and Sebastian
Herrera. Navarrete’s works are of principal interest; they are ‘San
Geronimo,’ the ‘Birth of Christ,’ and the ‘Appearance of Christ to His
Mother.’
The Lecture Hall contains a ‘Resurrection,’ painted by Paul Veronese,
and some copies of Titian and Rubens. Navarrete’s ‘Burial of San
Lorenzo’ is a fair instance of this artist’s manner, and may be
considered the most interesting picture in the room.
In an adjoining small apartment there are many treasures, curiosities,
and objects of art. This collection was despoiled by the French
soldiery, but a considerable number of relics have been preserved. Among
them is a manuscript by St. Augustine concerning the christening of
children, dating from early in the seventh century. St. Teresa of Avila,
who was a guest at the Escorial, wrote the four works which are kept
here. One of the volumes is an Autobiography of the saint, and another
is a work upon _The Road to Perfection_. The two other books are codes
and regulations concerning the religious houses which Santa Teresa
founded.
The full title of the celebrated Spanish saint is Maestra Serafica Madre
Santa Teresa de Jesus. She was born in 1515, and took the veil in her
youth. Philip II. collected and preserved her writings at the Escorial,
and Philip III. urged the canonisation of the saint in 1622. At the
death of the patroness of Spain, the souls of thousands of martyrs
appeared at her bedside. Santa Teresa’s writing-desk and ink-bottle, and
an autograph of the Saint are among the most treasured relics preserved
in the Escorial.
Among the sacred relics are a portion of the gridiron of San Lorenzo, a
piece of his clothing, and the veil of St. Agata.
The statue of San Juan is by Nicolas. A jar which was placed here in the
time of Philip II. is reputed to be one of the original vessels which
held the wine at the marriage feast of Cana.
There are several pictures of the French and Flemish schools in this
room, including ‘San Geronimo,’ by Holbein. Bassano and Zuccaro are
represented, and there are a few paintings in the Florentine style, but
none of especial merit. Maëlla, a Spanish painter, who worked between
1739 and 1819, had some reputation as a fresco designer, and became a
Court artist under Charles IV. at the time when Goya was producing some
of his finest pictures. Goya subsequently took the place of Mariano
Maëlla as the king’s painter. In this room there is an ‘Immaculate
Conception’ by Maëlla.
A brother of the Order of San Geronimo painted the ceiling, and another
monk carved the figure of their patron saint upon the altar screen.
Portraits of the fathers of the Monastery are hung in the Upper Prior’s
Chamber. The paintings are mostly by minor Spanish artists and Italians
who worked at the Escorial. Sanchez Coello’s portrait of Padre Sigüenza,
the earliest chronicler of the Monastery, has been copied and hangs
here. In an ante-chamber are oil-paintings by Giordano and copies of
pictures by Reni, Raphael, and Rubens. The ‘Conception’ is by Francisco
Bayeu, a contemporary of Maëlla, who painted frescoes in many of the
Castilian churches. Bayeu’s daughter, Josefa, was the wife of the
brilliant Goya.
The Prior’s Oratory contains portraits of Charles III. and Maria of
Saxony and an old German picture of saints. There is also a sculpture of
the ‘Conception.’ The Lower Prior’s Chamber or cell has the one work of
Francisco Urbino to be seen in the Escorial, a fresco of some interest.
There is a picture by Pantoja, a portrait of the Emperor Charles in his
youth. The portraits of Maria Luisa and of Charles IV. are copies from
Goya’s works. Vicente López, who painted the portrait of Maria, wife of
Ferdinand VII., was a painter of some eminence and a contemporary of
Goya. López executed one of the best portraits of Goya.
The Carreño portraits in this apartment are good examples of the work of
this artist, who belonged to the school of Madrid. Carreño de Miranda
was a pupil of Pedro de los Cuevas, and a follower of Velazquez, who
obtained for him a commission to paint pictures of the Royal Palace of
Madrid. Carreño was made a Court painter after the death of the great
Velazquez, and many of his pictures are to be seen in the churches of
Spain and at the Escorial.
Doña Luisa Roldan’s figure of San Miguel is in the vestry. This is a
specimen of the wood carving for which the sculptors of Spain were
famous. The art of carving effigies in wood was revived successfully in
Andalusia by Martinez Montañéz, who died in 1649; and among his
followers were Pedro Roldan and Hernandez, who produced a large number
of carved images for churches and for exhibition in religious
processions. Doña Luisa Roldan, a daughter of Pedro, owed her
inspiration to the master of this art, but her achievements fall short
of the perfection which he attained.
There is a story concerning this señora’s work in the Escorial. It
appears that after a tiff with her husband, Luisa Roldan carved the
figure of San Miguel, and represented her own seraphic countenance in
that of the saint, while the scowling demon at his feet exhibits the
features of the irascible husband. The pictures in the vestry are mostly
copies of Titian and Tintoretto, but the ‘Martyrdom of San Pedro’ is
said to be an original work of Caravaggio.
In the four Minor Cloisters are several pictures. One is an anonymous
work, a landscape, and the others, of no great merit, are portraits of
saints. The crucifix to be seen here was the work of an Indian convert
to Christianity.
The spacious Refectory has dining tables of wood on stone pillars. Over
the foundation stone is the Prior’s seat, and there are two pulpits in
the hall. The kitchens, wine cellars, and other domestic offices are in
this part of the monastery.
The Real Monasterio is the most characteristic portion of the huge pile
of the Escorial, and its austerity and atmosphere of contemplation and
piety testify to the religious and ascetic spirit of the royal recluse
who founded it. This is no palace of mere delight and of luxury. It is a
temple and a retreat, a sanctuary from the world of strife and unrest,
and an asylum for the penitent and the devout. It is a monument of the
Catholic faith, built with the devotion of artists and labourers
inspired by a deep zeal for religion, erected without regard to the
immense cost of its construction and furnishing, and dedicated in the
name of the pious San Lorenzo to the worship of God and the Holy Virgin.
Truly a strangely interesting memorial.
Here, in the odour of piety, surrounded by friars and monks, Philip II.
lived the life of renunciation and of calm meditation. This tabernacle
in the wilderness is a symbol of the mind of Spain in the days of her
power, the manifestation of her profound faith, and a tribute to the
seriousness and quietism which were the ideals of one of the most
remarkable and complex of her rulers. We feel that the very stones of
the building reveal the nature of Philip, the king who would be saint,
the ambitious patriot who longed for power and vivid life, and yet
realised that the placid existence in the cloister is more excellent
than the fevered life of courts.
V
THE LIBRARY
The impress of the intellect of Philip II. is no less manifest in the
great storehouse of books in the Escorial than in the Church and in the
Monastery. It accords with the character of the founder that he should
desire to possess a vast collection of the world’s choicest volumes of
theology and philosophy, for, like Solomon, Philip esteemed wisdom as
highly as the supremacy of rulership and the possession of great riches.
His ambition as a student and an art collector was as keen as his
craving for sovereignty and might. We have seen how he had applied
himself in his youth to the study of literature and of languages, and
the respect which he yielded to the sciences, arts, and letters.
The civilised world was searched; the libraries of all nations were
overhauled to stock the Library of the Escorial with great books and
precious manuscripts. Greece, Arabia, and Palestine contributed to the
Bibliotheca of the kingly scholar, and the collection of volumes was at
one time the finest in Europe. Philip himself took the greatest interest
in the Library. He worked at the catalogue and annotated the list of
volumes. The original collection was greatly augmented from time to time
by the purchases made on the king’s behalf by agents, who travelled in
various countries, by the seizure of volumes belonging to heretics, and
by works presented by loyal and wealthy subjects. Castillo was one of
Philip’s book-hunters; the catalogue of Arabic books and documents was
prepared by the learned Father Sigüenza.
A suitable repository for the books was erected at the Escorial under
the supervision of Philip. The vaulted ceiling was painted by Vicente
Carducci, an Italian artist of great distinction, who may be ranked as
the chief of the Italian designers employed to embellish the Escorial.
Carducci’s mural paintings in the Library are perhaps the finest of all
the fresco works in the building. He was assisted by Tibaldi of Bologna,
an artist of meagre talent, who represented Philosophy, Grammar,
Arithmetic, Astronomy, and other sciences and certain of the arts, upon
his portion of the ceiling.
The Library is well lighted by windows. Even the shelves display the
taste of the founder, for they are beautifully carved by Flecha. The
tables are of marble and jasper, and the floor is paved with marble.
Between the rows of shelves are some portraits of Spanish sovereigns,
and among them is Carreño’s picture of Charles II. at the age of
fourteen. Pantoja painted the Emperor Charles V. and the portraits of
Philip II. and Philip III. The pictures represent the subjects in
life-size.
Juan de Herrera, the famous architect of the Escorial, is presented on
one of the canvases by an anonymous artist. Isabella of Portugal, wife
of Charles V., is portrayed here, together with another portrait of
Charles V. in boyhood, which hangs in the same room. The bust of Cicero
in the Library was said to have been unearthed at Herculaneum.
Upon the entrance to the Library are the words of anathema uttered by
the Pope upon any one who should dare to purloin books from the
collection. There have been, however, many losses. The French plundered
the Library, which, long before the invasion, was devastated by the fire
of 1671, and from time to time the hand of the pilferer has been laid
upon many of the volumes.
From a nucleus of four thousand volumes, collected by Philip II. and
placed in the Escorial, the Library grew in the number of its books, and
in the costly manuscripts in Arabic and other Eastern tongues. At one
period this was the most notable and valuable collection of Arab works
in the whole of Europe. The gift of Don Diego de Mendoza’s private
library further enriched the collection. Mendoza was Philip’s ambassador
to Italy, and a man of wide culture and with a love of books. When the
king inherited this splendid library, he satisfied all his ambassador’s
creditors.
Mendoza’s volumes were presented in 1576. They were bound in an unusual
manner, one cover being red and the other black, and sometimes the leaf
edges are decorated in two colours. Among other donors to the Library
were Augustin, Archbishop of Tarragona, an eminent writer, Ponce de
Léon, and Geronimo de Zurita, a historian. The Balearic Islands
contributed about three hundred volumes, some of them being the writings
of the remarkable Raymond Lully. From the Inquisition the Library
received about one hundred and forty books. Authors of repute frequently
presented their manuscripts to the great collection at the Escorial.
In 1583 a Moorish interpreter, in the employment of Philip, was
commissioned to buy all the Arab books that he could discover in Granada
and Cordova. This bibliographer, Alonso de Castillo, appears to have
devoted great labour to the extension of the Library and
catalogue-making. About seventy manuscripts in Greek, Hebrew, and
Arabic, were presented by Father Montano, who seems to have acted as
librarian, though the first to hold that office was Father Juan de San
Geronimo.
Philip III. increased the Library by the addition of confiscated books
seized from Don Ramuz del Prado; and in the reign of the same monarch,
the collection of three thousand volumes belonging to the Emperor of
Morocco was acquired.
Anticipating the rule of our biggest public library, the British Museum,
it was decreed that a copy of every book issued in Spain should be
presented to the Escorial. Besides volumes of philosophy, history,
theology, science, and poetry, there was a collection of church music in
the Library, some of which was composed by the monks, del Valle,
Torrijos, and Cordova. Many of the compositions of the renowned
choir-master, Antonio Soler, are in the Library.
Among the many valuable manuscripts in the Escorial collection are the
Gospels, illuminated in gold on vellum. The Missal is bound in red
leather and wood, with silver clasps. Bound up with these manuscripts
are the ‘Epistles of San Geronimo,’ which are still in splendid
preservation. Philip II. and many other collectors presented several
breviaries and illuminated manuscripts to the Library. The relics are
mostly well preserved, and in some cases the bindings are remarkably new
in appearance. Some of the manuscripts are in Persian, others are in the
Chinese and Arabic languages.
Several of the Latin manuscripts are exceedingly interesting, and date
from A.D. 976 and the eleventh century. The Bibles, which number
nineteen, are of the fourteenth century, and beautifully bound in
parchment. One of the choicest treasures of the Library is the
Apocalypse of St. John, richly illustrated. The Greek manuscripts
contain several works of the early Fathers, which have never been
printed. Another valuable object is the ancient copy of the Koran, most
exquisitely written and ornamented.
The great ‘Chronicle’ of Alfonso is to be seen here, as well as the
king’s treatises on ‘Hunting,’ ‘Chess,’ and ‘Draughts,’ which contain
illustrations and diagrams. A number of old Castilian Bibles, dating
from the early part of the fifteenth century, are of especial interest.
‘The Census of Spain,’ contributed by Philip II., is also preserved in
sundry volumes.
Among the sketches are works by El Mudo, Tibaldi, and Urbini. A large
number of fine engravings and drawings by Michael Angelo, Titian,
Raphael, and Albert Dürer form part of the collection of prints in the
Library.
The Reading-Room contains over fifty pictures, mostly portraits of
little value in the artistic sense. An inkstand which belonged to Father
Sigüenza is shown here. The most notable treasure is a portrait by the
vigorous Zurbarán, perhaps the most distinctively Spanish painter of the
realistic school. According to Lord Leighton, Francisco de Zurbarán
represented ‘all Spain’ in his art.
Among the portraits of illustrious persons are those of Quevedo, Father
Sigüenza, Torquemada, Francisco Ximenes, Luis de Gongora, and Cardinal
Mendoza.
VI
THE UNIVERSITY
An important part of the great building of the Escorial was the Colegio,
designed by Philip as an institution for the instruction of monks and
preachers. We have seen how from his earliest manhood the king valued
culture and esteemed the arts, and the University of the Escorial was
his tribute to learning, just as the Monastery and the Church bore
testimony of his zeal for the Faith of Rome.
The Colegio is approached from the King’s Court by steps through a
vestibule. Beneath the tower is an apartment known as the Hall of
Secrets, on account of its construction permitting whispers to be heard
from one side of the chamber to the other. There is a spacious Refectory
to the College, containing a pulpit. The arched cloister or promenade
was used for dramatic displays, and it has an upper gallery with
balconies and railings. Upon the ceiling are paintings by Francisco
Llamas, a minor artist.
In the Chapel of the College, a building over 60 feet in length and
about 30 in width, there is a handsome altar by Lorenzo Berni, carved
and gilded with considerable taste. In front of the altar is a carved
seat of pine and walnut, and there are seats for the students along the
walls.
The Seminary is attached to the University, and resembles the Colegio in
its structure. It was used by an Order of the devout who practised
severe restraints, and applied themselves to diligent study. Evidence of
their austerity is shown in the absence of windows. This part of the
Escorial contains an infirmary, an oratory, a refectory, and cells.
Passing along the Invalids’ Gallery we reach the Compana, in which there
are various offices and a marble bath. The Dispensary was formerly in
this part of the Escorial. There is a viaduct from the court of the
Compana, beneath which runs another road. Around the smaller patios in
this portion of the pile are the bakeries, storehouses, stables, and
various workshops.
To supply the Escorial with water for its seventy-six fountains, its
baths, and taps, several ingenious conduits were constructed before the
first stone of the edifice was laid. This water supply is excellent, and
there is scarcely an apartment in the Escorial which is without pure
water from the mountain springs.
VII
THE PALACE
The apartments occupied by Philip II. were in the north-east corner of
the edifice, and they are entered by the north façade. This was the
retreat of the moody monarch, and it accords with his love of seclusion
and the simplicity of his desires, though the additions of succeeding
sovereigns have rendered the Palace more luxurious and richer in
decoration and art treasures. Philip’s own apartment, where he died, is
more like the cell of a hermit than the chamber of a king. There is a
tiled floor to the room, an absence of ornamentation, and an atmosphere
of severe gloom.
Here are some relics of the king--his bookcase, writing-table, a few
chairs, and the stools upon which he laid his foot when attacked by the
gout. From this chamber Philip could peep into the Church during the
celebration of services and hear the voices of the friars at their
devotions. By opening a panel, the king was able to look upon the High
Altar and to catch the odour of the incense.
The fine staircase of the Palace was the work of Ventura Rodriguez, and
it was built in the reign of Carlos IV. In the Lower Gallery there are
pictures of historical interest, some of them being the original works
painted for the founder of the Escorial. They are chiefly battlepieces;
and one is a copy of the fresco in the Hall of Battles. Among the
pictures are the ‘Siege of Grave,’ the ‘Siege of Calais,’ the ‘Christian
Fleet attacking the Turks,’ ‘Battle at Amiens,’ and the ‘Fleet entering
the Port of Messina.’
The most important tapestries of the Escorial are in the Palace. They
were designed by the gifted Goya and by Maëlla, one of the lesser
painters of the eighteenth century. Goya’s designs are typically
Spanish, and deserve the closest attention. The tapestries were mostly
made in Madrid, though those from designs by Teniers were woven in
Holland, and a few are of French and Italian manufacture. The tapestry
works are of exceptional design and are scarcely excelled by any in
Europe. Goya’s success as a designer of tapestry cartoons gained him
election to the Académia de San Fernando, and Charles IV. appointed him
_pintor de cámara del Rey_, or Court artist.
In the Apartments of the Prince there are some noteworthy pictures of
the Italian School, and an old Dutch tapestry adorns the wall of one
room. But finer paintings are in the Apartments of the Princess, where
Alonso Cano’s genius is shown in the Virgin and the Infant Christ.
Pantoja’s portrait of Philip II., painted on wood, is here. The Head of
Christ by Guido Reni is in the bedroom; and another sleeping apartment
is decorated with a tapestry from the designs of a Flemish artist. The
drawing-room contains a tapestry of Spanish design, and there are
tapestries in the nurse-room and play-room.
The chief picture in the workroom is one of San Antonio by the powerful
Ribera. Three portraits by Mengs hang here: one of Charles III. in mail,
and the others of Maria Josephine, daughter of Charles, and Maria Luisa,
wife of Leopold of Austria, the Archduke.
In the Reception Hall there is a portrait of the Duque de Olivares, said
to be by Velazquez, but the authenticity is dubious.
The picture of Pope Innocent X. is a copy of Velazquez’s portrait. Among
the other portraits in this hall are Isabel, wife of Philip II. There
are a few landscape paintings, and one or two works of minor painters of
the Italian school.
The corridor of the Hall of the Caryatides is supposed to represent the
handle of the gridiron upon which the patron saint of the Escorial was
martyred for his faith. This is an almost square apartment, designed in
the Doric style. There are two fountains in marble, with figures of
Caryatides pouring water into the basins.
The Hall of Battles is adorned with a number of fresco-paintings
representing various combats. The battle of Higueruela, which was fought
against the Moors by Don John in 1431, was painted by two Italians,
Granelo and Fabricio, from an old battlepiece which was found at
Segovia. Philip II. was much interested in this picture, and he ordered
the two artists to reproduce it in a huge mural painting. The work was
divided into eight sections, depicting various scenes in the great
encounter with the infidels, and the king was well satisfied with the
fresco. There are two pictures of Philip’s battleships in action at
either end of the ‘Battle of Higueruela.’ Other martial subjects are
treated. They are: ‘A Review by Philip II.,’ the ‘Battle of Lisbon under
the Duke of Alba,’ the ‘Capture of Noyon,’ the ‘Firing of a City,’ the
‘Departure from St. Quintin,’ the ‘Capture of a Fort,’ the ‘Attack on
St. Quintin,’ the ‘Spanish Troops under Philibert,’ ‘A Battle,’ and
‘Before the Siege of St. Quintin.’
The ceiling of the Hall of Battles is adorned with quaint pictures.
The Apartments of the Queen are daintily decorated with tapestries, some
by Spanish and others by Dutch designers, while the hangings are of
amber silk. In the Oratory of the Queen there is an altar with a
painting of the ‘Virgin and the Infant Jesus.’ The painter was Juan de
Juanes, sometimes called Vicente Joanes, or Juan Macip. According to C.
Gasquoine Hartley, in _A Record of Spanish Painting_, this artist was
‘the first great exponent’ of the art of the Valencian School. ‘He is
one of the national painters of Spain. To some extent his painting was
imbued with the Italian ideal, and it is possible that he received his
artistic training in Italy; but the Spanish personality of his work is
rarely obscured. The intense religious solemnity, the decorous purity,
the vigorous handling, the careful painting of details, the luminous
warmth of colour, the lack of creative imagination, the disregard of
beauty, the tendency to exaggeration, all the virtue and all the
limitation of the painters of Spain are outlined in his work.’
Little is known of the life of Juanes. He was a Valencian by birth, and
he painted several pictures in the churches of his Province. Juanes was
a devoutly religious man, and his work shows a strong bias for mysticism
and warm piety. He was an industrious painter; his work ranges from
portraits to large subject pictures, and there are many of his paintings
in Valencia. Juanes died in 1579, and his style is seen in the pictures
produced by his pupils, who are, however, unimbued with his genius.
‘With Juanes,’ writes C. Gasquoine Hartley, ‘we close the record of the
early Hispano-Italian painters.’
In the Bedroom of the Queen there is a tapestry and a ceiling by López,
who also designed the ceiling of the dressing-room.
We have already noted the tapestries in the Apartments of the Princess.
The Carved Rooms demand inspection, for they contain examples of rare
decoration in woods. The carvings and the inlaid work of these rooms
cost a very large sum. Woods of the rarest and finest were employed for
the adornment of the apartments, and gilt and gold were lavished upon
the walls. The pictures painted on copper are by Montalbo, and the
ceiling painting was intrusted to Maëlla. Blue upholstery decks the
seats. There are four of these sumptuously decorated chambers. The third
of them has a ceiling-painting by Galvez. In the fourth room, Maëlla
painted the ceiling, and the walls are adorned in green and gold. There
are a few pictures here, but none of striking worth. The Oratory
contains a tapestry of Spanish design. On the altar there is a picture
by Giordano representing Santa Anna, St. Joachim, and the Holy Mother.
The Reception Room of this portion of the Palace is decorated with
tapestry, and the ceiling is painted by López. In the Antechamber,
Billiard Room, and the offices adjacent, there are more tapestries.
We have made our survey of this remarkable pile, which contains a
treasure house of works of art, an institution of learning, a convent, a
palace, and a church. Surely such a composite building is not to be seen
in any other quarter of the world. Nor is there any other edifice of
such importance and grandeur amid surroundings so savage and primitive.
The Royal Monastery of the Escorial is indeed an unique structure,
historically instructive, and of deep interest for the architect, the
art student, and the philosopher. It is a reflection and a symbol of
Spain and of Philip II.; the building, in its sombre setting of grey
crags and shadowy woods, has an indefinable atmosphere, a potent
fascination.
VIII
APPENDIX I
THE FIRST CHRONICLER OF THE ESCORIAL
We have it on the authority of Padre Fray José de Sigüenza, the
librarian of the Monasterio, and the first historian of Philip II., that
the king desired the building at the Escorial to excel the majesty of
Solomon’s Temple, and to astonish the whole world. When we consider that
the edifice was erected and adorned with very little aid from machinery,
we cannot but marvel at the expedition in carrying out the architects’
and designers’ plans. A great army of sawyers, carpenters, quarrymen,
stonemasons, and craft-workers found employment upon this great pile. It
is recorded that the labourers complained of the cold, searching winds
in winter, and that they suffered from the scorching heat in summer.
The rules applying to the workmen were stringent. The labourers appear
to have suffered from a scarcity of wine, which they desired in the hot
weather. No doubt the rigour of the climate in winter increased the
difficulties attending upon the undertaking.
Cranes and levers were employed for lifting the huge blocks of stone
quarried from the surrounding mountains. Even the rough work was
allotted only to workmen of approved ability and reputed industry, while
the task of decoration was given to masters of the arts of painting,
illuminating, and carving in wood, metal, and ivory. Upon this bleak
highland a busy colony of toilers from many parts of Europe sprang up in
a few months. Forges, workshops, and saw-pits were set up or constructed
amongst the _scoriæ_ or shale of the mountains, and the desert rang with
the beating of hammers on metal, the clicking of the mason’s chisel, and
the grating of the saws.
An immense number of carts and horses were employed, besides
pannier-mules and asses, to bring the stone from the quarries and the
metal from distant furnaces.
Only a part of the work was performed at the Escorial. The bronze was
compounded in Zaragoza; the white marble came from the Sierras de
Filabres, and the green, black, and variegated marbles were brought from
the mountains of Andalusia, while Cuenca and Segovia furnished part of
the pine wood. Many of the figures of bronze for the altars were
designed and made in Florence and Milan. Toledo supplied lamps,
candlesticks, crosses, and incense-burners. Holland provided heavy
bronze candle-holders. Spain, Italy, and Flanders were searched for
precious stones and metals to beautify the building, and artists and
craftsmen were imported from many countries.
Juan Bautista de Toledo, and his pupil Juan de Herrera, expended great
care and pains in the designs. Models of the various parts of the
Escorial were made in wood, and the designs were altered and improved by
both architects from time to time. Under the direction of Juan de
Herrera every detail of the building was submitted to him for his
approval before it was finished. Even the designs of Peregrino and
Flecha, the Italian masters, were submitted to the inspection of the
master-architect. Juan de Herrera was succeeded by Francisco de Mora as
chief architect.
The construction of the Principal Choir was a part of the work upon
which much forethought was expended. Father Sigüenza describes the
Corinthian style of the choir as the most beautiful feature of the
Church. He mentions one hundred and twenty-eight as the number of the
seats.
The Retablo was a costly piece of work, as a large quantity of jasper
and precious metal was used in its embellishment, and much gilt
employed. The columns are of the Doric order, and the bases are formed
of gilded bronze.
Father Sigüenza does not stint his praise for the ‘judicious architects
and singular painters’ employed by Philip II. at the Escorial, and his
book is characterised by a high enthusiasm for the king, and admiration
for the great work, ‘this sumptuous fabric,’ in which the worthy _padre_
spent so many years of his life as Director of the Royal Library.
Coello painted the strong features of Father Sigüenza upon a canvas that
may be seen in the Prior’s Chamber of the Monastery.
APPENDIX II
LIST OF THE PRINCIPAL PAINTERS WHOSE WORKS ARE IN THE ESCORIAL
ARTIST. SUBJECT. SITUATION.
Cano. Virgin and Infant Christ. Apartments of Princess.
Carducci. Portraits of Saints. Relicario of Church.
Arts and Sciences (fresco). Library.
Coello. Altarpieces. In Chapels.
Father Sigüenza. Upper Prior’s Chamber.
El Greco. St. Maurice. The Old Church.
Giordano. Life of David. Ceiling of Choir of Church.
Eight Frescoes. Dome of Church.
San Juan. Ante-Sacristy.
Frescoes. Staircase of Monastery.
Goya. Frescoes of Spanish Customs. Palace.
Holbein. San Geronimo. Lecture Hall.
Juanes. Virgin and Infant. Apartments of the Queen.
Navarrete Our Lady and San Juan. In Church near Prior’s Seat.
(El Mudo). Crucifixion. Library of Church.
Abraham and Angels. Salas de los Capitulos.
San Geronimo. “
Birth of Christ. Upper Gallery of Cloisters.
Appearance of Jesus. “
Burial of San Lorenzo. Lecture Hall.
Pantoja. Various. Oratories of Church.
Carlos V. Lower Prior’s Chamber.
Philip II. Library.
Philip III. Apartments of Princess.
Reni. Scriptural. Sacristy of Church.
Ribera. San Geronimo. Ante-Sacristy of Church.
Birth of Christ. Salas de los Capitulos.
Philip II. Apartments of the Prince.
San Antonio. Workroom of Palace.
Teniers. Various Frescoes. Palace.
Tibaldi. Birth of Christ.
Adoration of the Magi. Altar Screen of Church.
Elias.
Old Testament Scenes. In Chapels.
Altarpieces. “
Frescoes of Sciences. Library.
Tintoretto. Entombment. Prior’s Hall.
Washing the Apostles’ Feet. Sacristy of Church.
Titian. San Geronimo.
Agony in the Garden. Salas de los Capitulos.
Last Supper. “
Prayer in the Garden. “
Our Lady of Sorrows. “
Adoration of the Magi. “
Ecce Homo. “
Velazquez. Sons of Jacob. Sacristy of Church.
Zuccaro. The Flagellation. Altar Screen of Church.
Birth of Christ. Old Church.
Zurbarán. Sons of Jacob. Sacristy of Church.
A Portrait. Reading-Room.
[Illustration: PLATE 1.
PLAN OF THE MONASTERY.]
[Illustration: PLATE 2.
VIEW OF THE MONASTERY.]
[Illustration: PLATE 3.
VIEW OF THE MONASTERY FROM THE ORCHARD.]
[Illustration: PLATE 4.
VIEW OF THE MONASTERY FROM THE ENTRANCE OF THE ‘REAL SITIO.’]
[Illustration: PLATE 5.
VIEW OF THE MONASTERY FROM THE ROMERAL.]
[Illustration: PLATE 6.
VIEW OF THE MONASTERY (EAST SIDE).]
[Illustration: PLATE 7.
PRINCIPAL FAÇADE OF THE COURT OF THE KINGS.]
[Illustration: PLATE 8.
VIEW OF THE COURT OF THE KINGS.]
[Illustration: PLATE 9.
BALCONY IN THE COURT OF ‘LA COMPAÑA.’]
[Illustration: PLATE 10.
VIEW OF THE ‘CASA DEL PRINCIPE,’ OR LOWER LODGE.]
[Illustration: PLATE 11.
ASCENT TO THE SILLA DEL REY, THE CHAIR OF PHILIP II.]
[Illustration: PLATE 12.
THE SILLA DEL REY, THE CHAIR OF PHILIP II.]
[Illustration: PLATE 13.
THE HORCA CROSS, NEAR THE ESCORIAL.]
[Illustration: PLATE 14.
GARDEN OF THE CASITA DE ABAJO.
(ESCORIAL.)]
[Illustration: PLATE 15.
SOURCE OF THE SEMINARIO.]
[Illustration: PLATE 16.
SOURCE OF THE SEMINARIO.
(ESCORIAL.)]
[Illustration: PLATE 17.
THE COLONNADE OF THE MONASTERY.]
[Illustration: PLATE 18.
VIEW OF THE UPPER CLOISTER OF THE MONASTERY.]
[Illustration: PLATE 19.
VIEW OF THE UPPER CLOISTER OF THE MONASTERY.]
[Illustration: PLATE 20.
LOWER CLOISTER OF THE MONASTERY.]
[Illustration: PLATE 21.
VIEW OF THE LOWER CLOISTER OF THE MONASTERY.]
[Illustration: PLATE 22.
SNOW-PIT AND POND OF ‘CONVALESCENTS.’]
[Illustration: PLATE 23.
‘CONVALESCENTS’ GALLERY.]
[Illustration: PLATE 24.
THE MONKS’ WALK AND ‘CONVALESCENTS’ GALLERY.
(ESCORIAL.)]
[Illustration: PLATE 25.
‘CONVALESCENTS’ GALLERY.]
[Illustration: PLATE 26.
THE EVANGELISTS’ COURT.]
[Illustration: PLATE 27.
COURT WITH THE SPRINGS OF THE EVANGELISTS.]
[Illustration: PLATE 28.
SHIELD OF THE EMPEROR CHARLES V.]
[Illustration: PLATE 29.
COURT OF THE EVANGELISTS.]
[Illustration: PLATE 30.
INTERIOR OF THE CHURCH.]
[Illustration: PLATE 31.
DOOR-KNOCKER OF THE CHURCH AT THE ESCORIAL.]
[Illustration: PLATE 32.
CHOIR STALLS.
(BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 33.
INTERIOR VIEW FROM THE CHOIR.
(BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 34.
INTERIOR VIEW.
(BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 35.
RETABLO AT THE HIGH ALTAR.
(BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 36.
INTERIOR VIEW FROM THE HIGH ALTAR.
(BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 37.
ALTAR-PIECE AT THE HIGH ALTAR.]
[Illustration: PLATE 38.
ST. HIERONYMUS AND ST. AUGUSTINE.
(STATUES OF THE ALTAR-PIECE.)]
[Illustration: PLATE 39.
ST. MATTHEW AND ST. MARK.
(STATUES OF THE ALTAR-PIECE.)]
[Illustration: PLATE 40.
ST. PAUL.
(STATUE OF THE ALTAR-PIECE.)]
[Illustration: PLATE 41.
ST. GREGORY AND ST. AMBROSE.
(STATUES OF THE ALTAR-PIECE.)]
[Illustration: PLATE 42.
ST. PETER.
(STATUE OF THE ALTAR-PIECE.)]
[Illustration: PLATE 43.
ST. JOHN AND ST. LUKE.
(STATUES OF THE ALTAR-PIECE.)]
[Illustration: PLATE 44.
LEFT SIDE OF THE HIGH ALTAR: INTERMENT OF THE EMPEROR CHARLES V.]
[Illustration: PLATE 45.
MARBLE STATUE OF ST. LAURENT AT THE ENTRANCE OF THE CHOIR.]
[Illustration: PLATE 46.
INTERIOR VIEW OF THE CHAPEL.]
[Illustration: PLATE 47.
THE TABERNACLE.
(ESCORIAL.)]
[Illustration: PLATE 48.
PANTEON OF THE KINGS.
(ENTRANCE GATE.)]
[Illustration: PLATE 49.
BEAUTIFUL ROCK CRYSTAL CANDELABRUM IN THE CHOIR OF THE ESCORIAL.]
[Illustration: PLATE 50.
CASKET IN MALACHITE AND LAPIS-LAZULI, ORNAMENTED WITH BEAUTIFUL ENGRAVED
ROCK CRYSTAL.
(RELIQUARY OF THE ESCORIAL.)]
[Illustration: PLATE 51.
VIEW OF THE PANTEON OF THE KINGS.
ESCORIAL.]
[Illustration: PLATE 52.
PANTEON OF THE INFANTES (INTERIOR).]
[Illustration: PLATE 53.
PANTEON OF THE INFANTES (INTERIOR).]
[Illustration: PLATE 54.
TOMB OF CHARLOTTE OF BOURBON.
(PANTEON OF THE INFANTES.)]
[Illustration: PLATE 55.
TOMB OF DON JOHN OF AUSTRIA.
(PANTEON OF THE INFANTES.)]
[Illustration: PLATE 56.
VIEW OF THE PRINCIPAL STAIRCASE OF THE MONASTERY.]
[Illustration: PLATE 57.
LIBRARY OF THE MONASTERY.]
[Illustration: PLATE 58.
LIBRARY OF THE MONASTERY.]
[Illustration: PLATE 59.
LIBRARY OF THE MONASTERY.]
[Illustration: PLATE 60.
LIBRARY OF THE MONASTERY.]
[Illustration: PLATE 61.
GOLDEN MS. (10TH CENTURY).
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 62.
PRAYER-BOOK OF ISABELLA THE CATHOLIC.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 63.
SONGS OF ST. MARY. MS. BELONGING TO ALFONSO THE WISE (13TH CENTURY).
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 64.
LATIN PRAYER-BOOK OF FERDINAND THE CATHOLIC.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 65.
MASS-BOOK OF PHILIP II.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 66.
BREVIARY OF CHARLES V.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 67.
PSALTER OF THE EMPEROR CHARLES V.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 68.
NATURAL HISTORY OF PLINY THE YOUNGER. ITALIAN MS. OF THE 16TH CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 69.
PAGE 238 OF THE MASS-BOOK OF ISABELLA THE CATHOLIC: MS. OF THE 15TH
CENTURY, THE VIGNETTE OF WHICH CONTAINS THE NAME OF THE QUEEN.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 70.
FIRST PAGE OF A HEBREW BIBLE: PRECIOUS MSS. OF THE END OF THE 14TH
CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 71.
PERSIAN MS., THE WORK OF MUHAMMED SCHAM EL DIN HAPHETH, POET OF THE 14TH
CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 72.
MANUSCRIPT OF THE YEAR 1050.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 73.
VIRGIL’S POEMS: MS. OF THE 15TH CENTURY, WRITTEN IN SPAIN.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 74.
VIRGIL: MANUSCRIPT OF THE YEAR 966.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 75.
VIRGIL: MANUSCRIPT OF THE YEAR 966.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 76.
THE APOCALYPSE OF ST. JOHN: MANUSCRIPT OF THE 15TH CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 77.
TWO PAGES OF THE KORAN OF MULEY ZIDAN, EMPEROR OF MOROCCO IN 1594.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 78.
THE TREE OF LOVE, WRITTEN IN 1288.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 79.
PERSIAN MANUSCRIPT, THE WORK OF MUHAMMED SCHAM EL DIN HAPHETH, POET OF
THE 14TH CENTURY.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 80.
MASS-BOOK OF ISABEL THE CATHOLIC, MANUSCRIPT OF THE 15TH CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 81.
FRONTISPIECE OF THE KORAN OF MULEY ZIDAN, EMPEROR OF MOROCCO IN 1594.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 82.
MASS-BOOK OF THE EMPRESS ISABEL, MOTHER OF PHILIP II.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 83.
MASS-BOOK OF PHILIP III. AND QUEEN MARGARITA.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 84.
GREEK MANUSCRIPT OF THE END OF THE 14TH CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 85.
BREVIARY OF PHILIP II. (16TH CENTURY).
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 86.
MASS-BOOK AND HOLY OFFICE OF PHILIP II.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 87.
LATIN PRAYER-BOOK OF FERDINAND THE CATHOLIC.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 88.
ARABIAN MANUSCRIPT (NATURAL HISTORY).
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 89.
READING DESK IN THE CHOIR.
(ESCORIAL.)]
[Illustration: PLATE 90.
SACRISTY (MONASTERY).]
[Illustration: PLATE 91.
PARANYMPH OF THE COLLEGE (MONASTERY).]
[Illustration: PLATE 92.
OUR LORD CRUCIFIED, SCULPTURED IN MARBLE (MONASTERY).]
[Illustration: PLATE 93.
INTERMENT OF PHILIP II. (MONASTERY).]
[Illustration: PLATE 94.
CHAPTER ROOM (MONASTERY).]
[Illustration: PLATE 95.
CHAPTER ROOM (MONASTERY).]
[Illustration: PLATE 96.
CHAPTER HALL (MONASTERY).]
[Illustration: PLATE 97.
PRESENTATION OF THE VIRGIN
AT THE TEMPLE,
ATTRIBUTED TO VAN EYCK (MONASTERY).]
[Illustration: PLATE 98.
ALTAR-PIECE OF THE SANTA FORMA, PAINTED BY CLAUDIO COELLO.
(SACRISTY OF THE MONASTERY.)]
[Illustration: PLATE 99.
EMBROIDERED ALTAR-CLOTHS.
(FROM THE SACRISTY.)]
[Illustration: PLATE 100.
EMBROIDERED COPES.
(SACRISTY OF THE ESCORIAL.)]
[Illustration: PLATE 101.
CASKET OF MALACHITE AND LAPIS-LAZULI, ORNAMENTED WITH ENGRAVED ROCK
CRYSTAL.
(RELICARIO OF THE ESCORIAL.)]
[Illustration: PLATE 102.
CHRIST ON THE CROSS, IN WROUGHT COPPER.
(RELICARIO OF THE ESCORIAL.)]
[Illustration: PLATE 103.
BRONZE LECTERN REPRESENTING AN EAGLE, MADE AT ANTWERP IN 1571.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 104.
BRONZE LECTERN REPRESENTING AN ANGEL, MADE AT ANTWERP IN 1571, BY JEAN
SIMON.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 105.
ST. MICHAEL OVERCOMING THE DEVIL, BY PEDRO ROLDAN,
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 106.
CHRIST, WITH THE VIRGIN AND ST. JOHN: STATUES IN MARBLE.
(THE ESCORIAL.)]
[Illustration: PLATE 107.
GATE OF THE SANTA FORMA.
(SACRISTY OF THE MONASTERY.)]
[Illustration: PLATE 108.
MIRROR IN ROCK CRYSTAL.
(SACRISTY OF THE ESCORIAL.)]
[Illustration: PLATE 109.
ALTAR-PIECE OF CHARLES V., IN WROUGHT COPPER.
(FROM THE CAMARIN OF ST. THERESA AT THE ESCORIAL.)]
[Illustration: PLATE 110.
ALABASTER STATUE OF ST. JOHN BAPTIST.
(FROM THE CAMARIN OF ST. THERESA AT THE ESCORIAL.)]
[Illustration: PLATE 111.
INSIDE COVER OF A RELIQUARY WHICH BELONGED TO PIUS V. 1566-1572.
(FROM THE CAMARIN OF ST. THERESA.)]
[Illustration: PLATE 112.
RELIQUARY OF ROCK CRYSTAL.
(FROM THE CAMARIN OF ST. THERESA.)]
[Illustration: PLATE 113.
BONE RELIQUARY OF THE END OF THE 12TH CENTURY.
(CAMARIN OF ST. THERESA.)]
[Illustration: PLATE 114.
RELIQUARY OF WROUGHT IRON, INLAID.
(RELICARIO OF THE ESCORIAL.)]
[Illustration: PLATE 115.
RELIQUARY OF WROUGHT IRON, INLAID.
(RELICARIO OF THE ESCORIAL.)]
[Illustration: PLATE 116.
RECEPTION HALL.
(PALACE.)]
[Illustration: PLATE 117.
RECEPTION HALL.
(PALACE.)]
[Illustration: PLATE 118.
VIEW OF THE DINING HALL.
(PALACE.)]
[Illustration: PLATE 119.
VIEW OF THE DINING HALL.
(PALACE.)]
[Illustration: PLATE 120.
ANTE-ROOM.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 121.
HALL OF AMBASSADORS.
(PALACE.)]
[Illustration: PLATE 122.
A ROOM OF PHILIP II.
(PALACE.)]
[Illustration: PLATE 123.
MEMORIAL OF KING PHILIP II.
(ESCORIAL.)]
[Illustration: PLATE 124.
CHAIRS OF PHILIP IV.
(PALACE.)]
[Illustration: PLATE 125.
ESCUTCHEON OF KING PHILIP II.
(THE ESCORIAL.)]
[Illustration: PLATE 126.
BUEN RETIRO PORCELAIN, IMITATIONS OF WEDGWOOD.
(THE HALL OF CHINA OF THE CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 127.
BUEN RETIRO PORCELAIN, IMITATIONS OF WEDGWOOD PANELS.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 128.
VIEW OF THE DINING HALL.
(Casa del Principe.)]
[Illustration: PLATE 129.
THE JUDGMENT OF SOLOMON (IVORY).
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 130.
THE FISHERMAN CAUGHT IN THE NETS (IVORY).
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 131.
SCULPTURE IN IVORY CALLED ‘PRINCESA DE SAN SEVERO.’
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 132.
THE ADORATION OF THE SHEPHERDS (IVORY).
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 133.
ROUND TABLE WITH A TRAY OF SÈVRES PORCELAIN.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 134.
TABLE, CHAIR, AND PORCELAIN FROM THE ROYAL WORKS AT BUEN RETIRO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 135.
MARY MAGDALENE: FROM THE ROYAL WORKS AT BUEN RETIRO.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 136.
BUEN RETIRO PORCELAIN: IMITATION OF WEDGWOOD.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 137.
TOP OF A ROUND TABLE IN SÈVRES PORCELAIN.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 138.
THE DESCENT FROM THE CROSS: SCULPTURE IN IVORY.
(PALACE.)]
[Illustration: PLATE 139.
ANTE-ROOM OF CHOICE WOODS.
(PALACE.)]
[Illustration: PLATE 140.
CHAIR OF THE EMPEROR CHARLES V.
(PALACE.)]
[Illustration: PLATE 141.
THE EMPEROR CHARLES V., THE EMPRESS ISABEL, HIS DAUGHTER MARIA, HIS
SISTERS ELEONORA, QUEEN OF FRANCE, AND MARIA, QUEEN OF HUNGARY.
(ESCORIAL.)]
[Illustration: PLATE 142.
POMPEIAN HALL.
(PALACE.)]
[Illustration: PLATE 143.
ORATORY OF CHOICE WOODS IN THE ANTE-CHAMBER.
(PALACE.)]
[Illustration: PLATE 144.
EXPEDITION TO THE AZORES.
(HALL OF BATTLES.)]
[Illustration: PLATE 145.
BATTLE OF HIGUERUELA, 1431 (1ST SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 146.
BATTLE OF HIGUERUELA, 1431 (2ND SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 147.
BATTLE OF HIGUERUELA, 1431 (3RD SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 148.
BATTLE OF HIGUERUELA, 1431 (4TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 149.
BATTLE OF HIGUERUELA, 1431 (5TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 150.
BATTLE OF HIGUERUELA, 1431 (6TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 151.
BATTLE OF HIGUERUELA, 1431 (7TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 152.
BATTLE OF HIGUERUELA, 1431 (8TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 153.
BATTLE OF HIGUERUELA, 1431 (9TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 154.
BATTLE OF HIGUERUELA, 1431 (10TH SECTION OF THE SERIES OF DRAWINGS).
(HALL OF BATTLES.)]
[Illustration: PLATE 155.
FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.
(HALL OF BATTLES IN THE ESCORIAL.)]
[Illustration: PLATE 156.
FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.
(HALL OF BATTLES IN THE ESCORIAL.)]
[Illustration: PLATE 157.
FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.
(HALL OF BATTLES IN THE ESCORIAL.)]
[Illustration: PLATE 158.
SURRENDER OF THE CHATELET FORT.
(HALL OF BATTLES.)]
[Illustration: PLATE 159.
THE SIEGE OF HAN AND SURRENDER OF ITS CASTLE.
(HALL OF BATTLES.)]
[Illustration: PLATE 160.
BATTLE OF GRAVELINAS.
(HALL OF BATTLES.)]
[Illustration: PLATE 161.
PREPARATIONS FOR THE BATTLE OF GRAVELINAS.
(HALL OF BATTLES.)]
[Illustration: PLATE 162.
TAKING OF ST. QUINTIN BY THE SPANISH INFANTRY REGIMENTS.
(HALL OF BATTLES.)]
[Illustration: PLATE 163.
BATTLE BEFORE ST. QUINTIN.
(HALL OF BATTLES.)]
[Illustration: PLATE 164.
PREPARATIONS FOR THE SIEGE OF ST. QUINTIN.
(HALL OF BATTLES.)]
[Illustration: PLATE 165.
DEPARTURE OF THE SPANISH ARMY FROM THE FORTIFIED PLACE OF ST. QUINTIN.
(HALL OF BATTLES.)]
[Illustration: PLATE 166.
THE DUKE OF ALBA REVIEWING HIS TROOPS AT CANTILLANA.
(HALL OF BATTLES.)]
[Illustration: PLATE 167.
EFFIGIES OF ALL THE KINGS OF SPAIN, FROM THE TIME OF THE GOTHS, UNTIL
PHILIP V., TAKEN FROM CHARTS, MEDALS, AND PAINTINGS.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 168.
PLUTO AND PROSERPINA, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 169.
ALLEGORY OF AFRICA, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 170.
PHAETON STRUCK BY JUPITER’S THUNDERBOLT.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 171.
THE BATTLE OF LEPANTO, BY L. GIORDANO.
(REPRODUCED FROM THE FRESCO IN THE ESCORIAL.)]
[Illustration: PLATE 172.
EXPEDITION TO THE TERCEIRE ISLE (AZORES).
(FRAGMENT OF A FRESCO PAINTING IN THE HALL OF BATTLES.)]
[Illustration: PLATE 173.
APOLLO AND MERCURY, BY PEREGRINO TIBALDI.
(FRESCO ON THE ARCH OF THE LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 174.
A SWEET SINGER, BY WATTEAU.
(MUSEUM OF THE ESCORIAL.)]
[Illustration: PLATE 175.
A LOVE SCENE, BY WATTEAU.
(MUSEUM OF THE ESCORIAL.)]
[Illustration: PLATE 176.
PHILIP II. RECEIVING A DEPUTATION FROM THE LOW COUNTRIES IN THE
ESCORIAL, BY SANT ARCOS.]
[Illustration: PLATE 177.
PORTRAIT OF PHILIP II. AT THE AGE OF 71, BY ANTONIO MORO.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 178.
SECOND SET OF EFFIGIES OF ALL THE KINGS OF SPAIN, FROM THE TIME OF THE
GOTHS, UNTIL PHILIP V., TAKEN FROM CHARTS, MEDALS, AND PAINTINGS.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 179.
ST. ISIDORE, BY CORRADO.
(IN THE MUSEUM AT THE ESCORIAL.)]
[Illustration: PLATE 180.
PAN AND MISENUS, BY PEREGRINO TIBALDI.
(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 181.
HOMER AND VIRGIL, BY PEREGRINO TIBALDI.
(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 182.
SOLOMON AND THE QUEEN OF SHEBA, BY V. CARDUCCI.
(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 183.
PINDAR AND HORACE, BY PEREGRINO TIBALDI.
(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 184.
THE VISITATION, BY PEREGRINO TIBALDI.
(FRESCO IN THE CLOISTER OF THE ESCORIAL.)]
[Illustration: PLATE 185.
THE MARRIAGE OF THE VIRGIN, BY PEREGRINO TIBALDI.
(FRESCO IN THE CLOISTER OF THE ESCORIAL.)]
[Illustration: PLATE 186.
THE ANNUNCIATION, BY LUCAS CANGIAGI.
(FRESCO IN THE CLOISTER OF THE ESCORIAL.)]
[Illustration: PLATE 187.
TRIPTYCH, WITH PAINTINGS ON VELLUM.
(CAMARIN OF ST. THERESA.)]
[Illustration: PLATE 188.
THE SEVEN CAPITAL SINS, BY JEROME BOSCH, ON WOOD.
(In the Room of Philip II. at the Escorial.)]
[Illustration: PLATE 189.
THE STORY OF THE PASSION: DIPTYCH, IN IVORY, OF THE 13TH CENTURY.
(FROM THE CAMARIN OF ST. THERESA.)]
[Illustration: PLATE 190.
FRIEZE OF THE STAIRCASE IN THE MONASTERY, REPRESENTING THE BATTLE,
SIEGE, AND CAPTURE OF ST. QUINTIN, AND THE FOUNDATION OF THE MONASTERY,
BY L. GIORDANO.]
[Illustration: PLATE 191.
‘LA SANTA FORMA.’ THE MASTERPIECE OF CLAUDE COELLO.
(SACRISTY OF THE ESCORIAL.)]
[Illustration: PLATE 192.
THE RESURRECTION, BY PEREGRINO TIBALDI.
(THE CLOISTER OF THE ESCORIAL.)]
[Illustration: PLATE 193.
THE INTERMENT OF CHRIST, BY TINTORETTO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 194.
JESUS AT THE PHARISEE’S HOUSE, BY TINTORETTO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 195.
THE RESURRECTION OF OUR LORD: FLORENTINE SCHOOL, GREY PAINTING.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 196.
THE BIRTH OF OUR LORD, BY TINTORETTO.
(CHAPTER ROOM OF THE ESCORIAL.)]
[Illustration: PLATE 197.
THE ANNUNCIATION, BY PAUL VERONESE.
(CHAPTER ROOM OF THE ESCORIAL.)]
[Illustration: PLATE 198.
PORUS BROUGHT BEFORE ALEXANDER THE GREAT, BY CARLOS VAN LOO.
(MONASTERY OF THE ESCORIAL.)]
[Illustration: PLATE 199.
THE CROWN OF THORNS, BY JEROME BOSCH, ON WOOD.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 200.
TRIPTYCH, BY JEROME BOSCH.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 201.
TRIPTYCH, REPRESENTING THE TERRESTRIAL DELIGHTS, AND THE PUNISHMENT OF
SIN IN HELL, BY JEROME BOSCH.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 202.
PORTRAIT OF CHARLES V. AT THE AGE OF 47, BY JUAN PANTOJA.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 203.
CHRIST BRINGING FORTH THE SOULS OF THE SAINTS: FLORENTINE SCHOOL.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 204.
THE WASHING OF FEET, BY TINTORETTO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 205.
THE NATIVITY, BY JOSEF RIBERA.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 206.
THE LAST SUPPER, BY TITIAN.
(THE ESCORIAL.)]
[Illustration: PLATE 207.
ST. CHRISTOPHER (ON WOOD), BY J. PATENIER.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 208.
JACOB RECEIVING JOSEPH’S COAT, BY VELAZQUEZ.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 209.
THE PENITENT MAGDALENE, BY L. GIORDANO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 210.
MUMMY OF CHARLES V., BY V. PALMAROLI.
(THE ESCORIAL.)]
[Illustration: PLATE 211.
JACOB GUARDING THE FLOCKS OF LABAN, BY J. RIBERA.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 212.
THE SATYR MARSYAS FLAYED ALIVE BY APOLLO, BY L. GIORDANO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 213.
LOT AND HIS FAMILY, BY A. VACCARO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 214.
THE ADORATION OF THE MAGI, BY VERONESE.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 215.
THE CHASTISEMENT OF ARACHNE, BY L. GIORDANO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 216.
ALEXANDER CONQUERING DARIUS, BY F. SOLIMENA.
(MONASTERY.)]
[Illustration: PLATE 217.
ST. MAURICE AND OTHER MARTYRS, BY EL GRECO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 218.
QUEEN ESTHER, BY TINTORETTO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 219.
THE ANNUNCIATION, AND THE BIRTH OF CHRIST. BY COXCIS.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 220.
THE HOLY TRINITY, BY J. RIBERA.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 221.
VISION OF JESUS TO HIS MOTHER, BY P. VERONÈSE.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 222.
THE CARNATION GARDENER, BY F. BAYEU.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 223.
THE WATER-SELLER, BY F. BAYEU.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 224.
THE YOUNG BULL AT CARABANCHEL DE ABAJO, BY F. BAYEU
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 225.
PROMENADE OF LAS DELICIAS, BY F. BAYEU.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 226.
THE PORK MERCHANT, BY F. BAYEU.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 227.
DEPARTURE FOR THE HUNT, AFTER P. WOUWERMAN, BY GINES DE AGUIRRE.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 228.
DESCENT FROM THE CROSS (R. VAN DER WEYDEN).]
[Illustration: PLATE 229.
CHILD RIDING A SHEEP, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 230.
A LADY AND HER CAVALIER, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 231.
COUNTRY DANCE, BY F. GOYA.
(TAPESTRY IN THE DINING HALL OF THE PALACE.)]
[Illustration: PLATE 232.
CASTING OF BULLETS IN A FOREST, BY GOYA.
(CASA DEL PRINCIPE, ESCORIAL.)]
[Illustration: PLATE 233.
THE KITE, BY F. GOYA.
(TAPESTRY IN THE ESCORIAL PALACE.)]
[Illustration: PLATE 234.
THE WASHERWOMEN, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 235.
YOUNG MAN WITH A BIRD, AND A BAGPIPER, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 236.
A PROMENADE IN ANDALUSIA, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 237.
THE CHINA MERCHANT, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 238.
DOGS IN A LEASH, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 239.
THE LITTLE GIANTS, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 240.
THE GRAPE-SELLERS, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 241.
THE CARD-PLAYERS, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 242.
THE WOOD-CUTTERS, BY F. GOYA.
(TAPESTRY IN THE DINING HALL OF THE PALACE.)]
[Illustration: PLATE 243.
CHILDREN PICKING FRUIT, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 244.
CHILDREN CLIMBING A TREE, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 245.
THE SEE-SAW, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 246.
THE REAPERS, BY F. GOYA.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 247.
TAPESTRY AFTER THE POMPEIAN STYLE.
(IN THE PALACE.)]
[Illustration: PLATE 248.
STORY OF TELEMACHUS: THE DANCE OF THE NYMPHS.
(GOBELIN TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 249.
STORY OF TELEMACHUS: NEPTUNE WRECKING ULYSSES’ VESSEL.
(GOBELIN TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 250.
STORY OF TELEMACHUS: CALYPSO.
(GOBELIN TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 251.
STORY OF TELEMACHUS: YOUNG TELEMACHUS.
(GOBELIN TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 252.
CHILDREN PLAYING AT BULL-FIGHTING, BY F. BAYEU.
(TAPESTRY IN THE ESCORIAL PALACE.)]
[Illustration: PLATE 253.
THE GARDENS OF BUEN RETIRO.
(TAPESTRY IN THE PALACE.)]
[Illustration: PLATE 254.
ST. JOSEPH AND THE CHILD JESUS.
(CASA DEL PRINCIPE, ESCORIAL.)]
[Illustration: PLATE 255.
THE JUDGMENT OF SOLOMON, BY F. DE URBINA.
(CEILING IN THE PRIOR’S CELL IN THE MONASTERY.)]
[Illustration: PLATE 256.
THE VIRGIN, BY CORRADO.
(CASA DEL PRINCIPE, ESCORIAL.)]
[Illustration: PLATE 257.
WOMAN READING A LETTER, BY D. TENIERS.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 258.
THE CONVERSION OF ST. PAUL, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 259.
APOLLO GRIEVING OVER THE DEATH OF HIS SON PHAETON: BUEN-RETIRO CHINA.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 260.
THE FALL AND DEATH OF JULIAN THE APOSTATE, BY L. GIORDANO.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 261.
THE BAGPIPER, BY D. TENIERS.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 262.
ST. JOHN THE BAPTIST, BY ANNIBALE CARACCI.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 263.
A SMOKER, BY D. TENIERS.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 264.
THE HELIADES, DAUGHTERS OF THE SUN, CHANGED INTO POPLARS, AFTER THE
DEATH OF THEIR BROTHER PHAETON: BUEN-RETIRO CHINA.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 265.
THE CONCEPTION OF THE VIRGIN, BY AN UNKNOWN ARTIST.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 266.
THE HOLY FAMILY, BY RAPHAEL.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 267.
SEMIRAMIS FIGHTING THE ENEMY. BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 268.
THE RAPE OF THE SABINES, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 269.
ALLEGORY OF AMERICA, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 270.
ALLEGORY OF ASIA, BY L. GIORDANO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 271.
THE DREAM OF PHILIP II., BY EL GRECO.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 272.
EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.]
[Illustration: PLATE 273.
EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.]
[Illustration: PLATE 274.
EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.]
[Illustration: PLATE 275.
THE PRINCE’S ROOM.
(ESCORIAL.)]
[Illustration: PLATE 276.
POMPEIAN ROOM.
(ESCORIAL.)]
[Illustration: PLATE 277.
TOWER ROOM (CASITA DE ABAJO)
(ESCORIAL.)]
[Illustration: PLATE 278.
THE ROYAL PALACE AND MONASTERY: PLAN AND SECTION.]
* * * * *
THE
SPANISH SERIES
Edited by ALBERT F. CALVERT
A new and important series of volumes, dealing with Spain in its various
aspects, its history, its cities and monuments. Each volume will be
complete in itself in an uniform binding, and the number and excellence
of the reproductions from pictures will justify the claim that these
books comprise the most copiously illustrated series that has yet been
issued, some volumes having over 300 pages of reproductions of pictures,
etc.
Crown 8vo. Price 3/6 net
MURILLO. A Biography and Appreciation. Illustrated by over 165
reproductions from photographs of his most celebrated pictures.
SPANISH ARMS AND ARMOUR. A Historical and Descriptive Account of
the Royal Armoury at Madrid. Illustrated with 386 reproductions
from photographs.
THE ESCORIAL. A Historical and Descriptive Account of the Spanish
Royal Palace, Monastery and Mausoleum. Illustrated with plans and
278 reproductions from pictures and photographs.
CORDOVA. A Historical and Descriptive Account of the Ancient City
which the Carthaginians styled the “Gem of the South.” With over
155 Illustrations.
SEVILLE. A Historical and Descriptive Account. With 300
Illustrations.
THE PRADO. A Guide and Handbook to the Royal Picture Gallery of
Madrid. Illustrated with 221 reproductions from photographs of Old
Masters.
IN PREPARATION
GOYA
GRANADA
VELAZQUEZ
TOLEDO
ROYAL PALACES
MADRID
LEON, BURGOS, &C.
VALLADOLID, SEGOVIA, &C.
* * * * *
_UNIFORM WITH THIS VOLUME_
MURILLO
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED BY OVER 165 REPRODUCTIONS FROM
PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
While the names of Murillo and Velazquez are inseparably linked in the
history of Art as Spain’s immortal contribution to the small band of
world-painters, the great Court-Painter to Philip IV. has ever received
the lion’s share of public attention. Many learned and critical works
have been written about Murillo, but whereas Velazquez has been
familiarised to the general reader by the aid of small, popular
biographies, the niche is still empty which it is hoped that this book
will fill.
In this volume the attempt has been made to show the painter’s art in
its relation to the religious feeling of the age in which he lived, and
his own feeling towards his art. Murillo was the product of his
religious era, and of his native province, Andalusia. To Europe in his
lifetime he signified little or nothing. He painted to the order of the
religious houses of his immediate vicinity; his works were immured in
local monasteries and cathedrals, and, passing immediately out of
circulation, were forgotten or never known.
_UNIFORM WITH THIS VOLUME_
SPANISH ARMS AND ARMOUR
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ROYAL ARMOURY AT MADRID.
ILLUSTRATED WITH 386 REPRODUCTIONS FROM PHOTOGRAPHS
Although several valuable and voluminous catalogues of the Spanish Royal
Armoury have, from time to time, been compiled, this “finest collection
of armour in the world” has been subjected so often to the disturbing
influences of fire, removal, and re-arrangement, that no hand catalogue
of the Museum is available, and this book has been designed to serve
both as a historical souvenir of the institution and a record of its
treasures.
The various exhibits with which the writer illustrates his narrative are
reproduced to the number of over 300 on art paper, and the selection of
weapons and armour has been made with a view not only to render the
series interesting to the general reader, but to present a useful text
book of European armoury for the guidance of artists, sculptors,
antiquaries, costumiers, and all who have practical interest in
historical accuracy.
_UNIFORM WITH THIS VOLUME_
THE ESCORIAL
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH ROYAL PALACE,
MONASTERY AND MAUSOLEUM. ILLUSTRATED WITH PLANS AND 278 REPRODUCTIONS
FROM PICTURES AND PHOTOGRAPHS
The Royal Palace, Monastery, and Mausoleum of El Escorial, which rears
its gaunt, grey walls in one of the bleakest but most imposing districts
in the whole of Spain, was erected to commemorate a victory over the
French in 1557. It was occupied and pillaged by the French two and
a-half centuries later, and twice it has been greatly diminished by
fire; but it remains to-day, not only the incarnate expression of the
fanatic religious character and political genius of Philip II., but the
greatest mass of wrought granite which exists on earth, the leviathan of
architecture, the eighth wonder of the world.
In the text of this book the author has endeavoured to reconstitute the
glories and tragedies of the living past of the Escorial, and to
represent the wonders of the stupendous edifice by reproductions of over
two hundred and seventy of the finest photographs and pictures
obtainable. Both as a review and a pictorial record it is hoped that the
work will make a wide appeal among all who are interested in the
history, the architecture, and the art of Spain.
_UNIFORM WITH THIS VOLUME_
CORDOVA
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE ANCIENT CITY WHICH THE
CARTHAGINIANS STYLED THE “GEM OF THE SOUTH,” WITH OVER 155 ILLUSTRATIONS
Gay-looking, vivacious in its beauty, silent, ill-provided, depopulated,
Cordova was once the pearl of the West, the city of cities, Cordova of
the thirty suburbs and three thousand mosques; to-day she is no more
than an overgrown village, but she still remains the most Oriental town
in Spain.
Cordova, once the centre of European civilisation, under the Moors the
Athens of the West, the successful rival of Baghdad and Damascus, the
seat of learning and the repository of the arts, is now no more than a
third-rate provincial town; but the artist, the antiquary and the lover
of the beautiful, will still find in its streets and squares and patios
a mysterious spell that cannot be resisted.
_UNIFORM WITH THIS VOLUME_
SEVILLE
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH 300 ILLUSTRATIONS
Seville, which has its place in mythology as the creation of Hercules,
and was more probably founded by the Phœnicians, which became
magnificent under the Roman rule, was made the capital of the Goths, was
the centre of Moslem power and splendour, and fell before the military
prowess of St. Ferdinand, is still the Queen of Andalusia, the Spanish
Athens, the foster-mother of Velazquez and Murillo, the city of poets
and pageantry and love.
Seville is always gay, and responsive and fascinating to the receptive
visitor, and all sorts of people go there with all sorts of motives. The
artist repairs to the Andalusian city to fill his portfolio; the lover
of art makes the pilgrimage to study Murillo in all his glory. The
seasons of the Church attract thousands from reasons of devotion or
curiosity. And of all these myriad visitors, who go with their minds
full of preconceived notions, not one has yet confessed to being
disappointed with Seville.
The author has here attempted to convey in the illustrations an
impression of this laughing city where all is gaiety and mirth and
ever-blossoming roses, where the people pursue pleasure as the serious
business of life in an atmosphere of exhilarating enjoyment.
_UNIFORM WITH THIS VOLUME_
THE PRADO
A GUIDE AND HANDBOOK TO THE ROYAL PICTURE GALLERY OF MADRID. ILLUSTRATED
WITH 221 REPRODUCTIONS FROM PHOTOGRAPHS OF OLD MASTERS
This volume is an attempt to supplement the accurate but formal notes
contained in the official catalogue of a gallery which is considered the
finest in the world. It has been said that the day one enters the Prado
for the first time is an important event like marriage, the birth of a
child, or the coming into an inheritance; an experience of which one
feels the effects to the day of one’s death.
The excellence of the Madrid gallery is the excellence of exclusion; it
is a collection of magnificent gems. Here one becomes conscious of a
fresh power in Murillo, and is amazed anew by the astonishing apparition
of Velazquez; here is, in truth, a rivalry of miracles of art.
The task of selecting pictures for reproduction from what is perhaps the
most splendid gallery of old masters in existence, was one of no little
difficulty, it is believed that the collection is representative, and
that the letterpress will form a serviceable companion to the visitor to
The Prado.
_UNIFORM WITH THIS VOLUME_
TOLEDO
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE “CITY OF GENERATIONS,” WITH
OVER 480 ILLUSTRATIONS
The origin of Imperial Toledo, “the crown of Spain, the light of the
world, free from the time of the mighty Goths,” is lost in the
impenetrable mists of antiquity. Mighty, unchangeable, invincible, the
city has been described by Wörmann as “a gigantic open-air museum of the
architectural history of early Spain, arranged upon a lofty and
conspicuous table of rock.”
But while some writers have declared that Toledo is a theatre with the
actors gone and only the scenery left, the author does not share the
opinion. He believes that the power and virility upon which Spain built
up her greatness is reasserting itself. The machinery of the theatre of
Toledo is rusty, the pulleys are jammed from long disuse, but the
curtain is rising steadily if slowly, and already can be heard the
tuning-up of fiddles in its ancient orchestra.
In this belief the author of this volume has not only set forth the
story of Toledo’s former greatness, but has endeavoured to place before
his readers a panorama of the city as it appears to-day, and to show
cause for his faith in the greatness of the Toledo of the future.
_UNIFORM WITH THIS VOLUME_
GRANADA AND THE ALHAMBRA
A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN, TOGETHER WITH A PARTICULAR
ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE, AND THE DECORATION OF THE
MOORISH PALACE, WITH OVER 450 ILLUSTRATIONS
This volume is the third and abridged edition of a work which the author
was inspired to undertake by the surpassing loveliness of the Alhambra,
and by his disappointment in the discovery that no such thing as an even
moderately adequate illustrated souvenir of “this glorious sanctuary of
Spain” was obtainable. Keenly conscious of the want himself, he essayed
to supply it, and the result is a volume that has been acclaimed with
enthusiasm alike by critics, artists, architects, and archæologists.
In his preface to the first edition, Mr. Calvert wrote: “The Alhambra
may be likened to an exquisite opera which can only be appreciated to
the full when one is under the spell of its magic influence. But as the
witchery of an inspired score can be recalled by the sound of an air
whistled in the street, so--it is my hope--the pale ghost of the Moorish
fairy-land may live again in the memories of travellers through the
medium of this pictorial epitome.”
_UNIFORM WITH THIS VOLUME_
VELAZQUEZ
A BIOGRAPHY AND APPRECIATION. ILLUSTRATED WITH 142 REPRODUCTIONS FROM
PHOTOGRAPHS OF HIS MOST CELEBRATED PICTURES
Diego Rodriguez de Silva y Velazquez--“our Velasquez,” as Palomino
proudly styles him--has been made the subject of innumerable books in
every European language, yet the General Editor of this Spanish Series
feels that it would not be complete without the inclusion of yet another
contribution to the broad gallery of Velazquez literature.
The great Velazquez, the eagle in art--subtle, simple, incomparable--the
supreme painter, is still a guiding magnet of the art of to-day. This
greatest of Spanish artists, a master not only in portrait painting, but
in character and animal studies, in landscapes and historical subjects,
impressed the grandeur of his superb personality upon all his work.
Spain, it has been said, the country whose art was largely borrowed,
produced Velazquez, and through him Spanish art became the light of a
new artistic life.
The author cannot boast that he has new data to offer, but he has put
forward his conclusions with modesty; he has reproduced a great deal
that is most representative of the artist’s work; and he has endeavoured
to keep always in view his object to present a concise, accurate, and
readable life of Velazquez.
_UNIFORM WITH THIS VOLUME_
MADRID
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SPANISH CAPITAL, WITH OVER
300 ILLUSTRATIONS
Madrid is at once one of the most interesting and most maligned cities
in Europe. It stands at an elevation of 2,500 feet above the sea level,
in the centre of an arid, treeless, waterless, and wind-blown plain; but
whatever may be thought of the wisdom of selecting a capital in such a
situation, one cannot but admire the uniqueness of its position, and the
magnificence of its buildings, and one is forced to admit that, having
fairly entered the path of progress, Madrid bids fair to become one of
the handsomest and most prosperous of European cities.
The splendid promenades, the handsome buildings, and the spacious
theatres combine to make Madrid one of the first cities of the world,
and the author has endeavoured with the aid of the camera, to place
every feature and aspect of the Spanish metropolis before the reader.
Some of the illustrations reproduced here have been made familiar to the
English public by reason of the interesting and stirring events
connected with the Spanish Royal Marriage, but the greater number were
either taken by the author, or are the work of photographers specially
employed to obtain new views for the purpose of this volume.
_UNIFORM WITH THIS VOLUME_
GOYA
A BIOGRAPHY AND AN APPRECIATION. ILLUSTRATED BY REPRODUCTIONS OF 600 OF
HIS PICTURES
The last of the old masters and the first of the moderns, as he has been
called, Francisco José de Goya y Lucientes is not so familiarised to
English readers as his genius deserves. He was born at a time when the
tradition of Velazquez was fading, and the condition of Spanish painting
was debased almost beyond hope of salvation; he broke through the
academic tradition of imitation; “he, next to Velazquez, is to be
accounted as the man whom the Impressionists of our time have to thank
for their most definite stimulus, their most immediate inspiration.”
The genius of Goya was a robust, imperious, and fulminating genius; his
iron temperament was passionate, dramatic, and revolutionary; he painted
a picture as he would have fought a battle. He was an athletic, warlike,
and indefatigable painter; a naturalist like Velazquez; fantastic like
Hogarth; eccentric like Rembrandt; the last flame-coloured flash of
Spanish genius.
It is impossible to reproduce his colouring; but in the reproductions of
his works the author has endeavoured to convey to the reader some idea
of Goya’s boldness of style, his mastery of frightful shadows and
mysterious lights, and his genius for expressing all terrible emotions.
_UNIFORM WITH THIS VOLUME_
LEON, BURGOS AND SALAMANCA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH OVER 350 ILLUSTRATIONS
In Leon, once the capital of the second kingdom in Spain; in Burgos,
which boasts one of the most magnificent cathedrals in Spain, and the
custodianship of the bones of the Cid; and in Salamanca, with its
university, which was one of the oldest in Europe, the author has
selected three of the most interesting relics of ancient grandeur in
this country of departed greatness.
Leon to-day is nothing but a large agricultural village, torpid, silent,
dilapidated; Burgos, which still retains traces of the Gotho-Castilian
character, is a gloomy and depleting capital; and Salamanca is a city of
magnificent buildings, a broken hulk, spent by the storms that from time
to time have devastated her.
Yet apart from the historical interest possessed by these cities, they
still make an irresistible appeal to the artist and the antiquary. They
are content with their stories of old-time greatness and their
cathedrals, and these ancient architectural splendours, undisturbed by
the touch of a modernising and renovating spirit, continue to attract
the visitor.
_UNIFORM WITH THIS VOLUME_
VALLADOLID, OVIEDO, SEGOVIA, ZAMORA, AVILA AND ZARAGOZA
A HISTORICAL AND DESCRIPTIVE ACCOUNT, WITH OVER 325 ILLUSTRATIONS
The glory of Valladolid has departed, but the skeleton remains, and
attached to its ancient stones are the memories that Philip II. was born
here, that here Cervantes lived, and Christopher Columbus died. In this
one-time capital of Spain, in the Plaza Mayor, the fires of the Great
Inquisition were first lighted, and here Charles V. laid the foundation
of the Royal Armoury, which was afterwards transferred to Madrid.
More than seven hundred years have passed since Oviedo was the proud
capital of the Kingdoms of Las Asturias, Leon, and Castile. Segovia,
though no longer great, has still all the appurtenances of greatness,
and with her granite massiveness and austerity, she remains an
aristocrat even among the aristocracy of Spanish cities. Zamora, which
has a history dating from time almost without date, was the key of Leon
and the centre of the endless wars between the Moors and the Christians,
which raged round it from the eighth to the eleventh centuries.
In this volume the author has striven to re-create the ancient greatness
of these four cities, and has preserved their memories in a wealth of
excellent and interesting illustrations.
_UNIFORM WITH THIS VOLUME_
ROYAL PALACES OF SPAIN
A HISTORICAL AND DESCRIPTIVE ACCOUNT OF THE SEVEN PRINCIPAL PALACES OF
THE SPANISH KINGS. PROFUSELY ILLUSTRATED
Spain is beyond question the richest country in the world in the number
of its Royal Residences, and while few are without artistic importance,
all are rich in historical memories. Thus, from the Alcazar at Seville,
which is principally associated with Pedro the Cruel, to the Retiro,
built to divert the attention of Philip IV. from his country’s decay;
from the Escorial, in which the gloomy mind of Philip II. is perpetuated
in stone, to La Granja, which speaks of the anguish and humiliation of
Christina before Sergeant Garcia and his rude soldiery; from Aranjuéz to
Rio Frió, and from El Pardo, darkened by the agony of a good king, to
Miramar, to which a widowed Queen retired to mourn: all the history of
Spain, from the splendid days of Charles V. to the present time, is
crystallised in the Palaces that constitute the patrimony of the Crown.
The Royal Palaces of Spain are open to visitors at stated times, and it
is hoped that this volume, with its wealth of illustrations, will serve
the visitor both as a guide and a souvenir.
* * * * *
BY ALBERT F. CALVERT
THE ALHAMBRA
OF GRANADA, BEING A BRIEF HISTORY OF THE MOSLEM RULE IN SPAIN FROM THE
REIGN OF MOHAMMED THE FIRST TO THE FINAL EXPULSION OF THE MOORS,
TOGETHER WITH A PARTICULAR ACCOUNT OF THE CONSTRUCTION, THE ARCHITECTURE
AND THE DECORATION OF THE MOORISH PALACE, WITH 80 COLOURED PLATES AND
NEARLY 300 BLACK AND WHITE ILLUSTRATIONS (NEW EDITION)
Size 10 x 7½ Price £2 2s. net
PRESS NOTICES
“It is hardly too much to say that this is one of the most magnificent
books ever issued from the English Press.”
_Building World._
“One is really puzzled where to begin and when to stop in praising the
illustrations.”
_Bookseller._
“The most complete record of this wonder of architecture which has ever
been contemplated, much less attempted.”
_British Architect._
“A treasure to the student of decorative art.”
_Morning Advertiser._
“Mr. CALVERT has given us a Book Beautiful.”
_Western Daily Press._
“It is the last word on the subject, no praise is too high.”
_Nottingham Express._
“May be counted among the more important art books which have been
published during recent years.”
_The Globe._
“Has a pride of place that is all its own among the books of the month.”
_Review of Reviews._
“Has in many respects surpassed any books on the Alhambra which up to
the present have appeared in our own country or abroad.”
_El Graduador, Spain._
“It is one of the most beautiful books of modern times.”
_Ely Gazette._
“One of the most artistic productions of the year.”
_Publishers’ Circular._
“The most beautiful book on the Alhambra issued in England.”
_Sphere._
“The standard work on a splendid subject.”
_Daily Telegraph._
“A remarkable masterpiece of book production.”
_Eastern Daily Press._
“A perfect treasure of beauty and delight.”
_Keighley News._
“A magnificent work.”
_Melbourne Age, Australia._
“Immense collection of fine plates.”
_The Times._
“A standard work, the compilation of which would credit a life’s
labour.”
_Hull Daily Mail._
* * * * *
MOORISH REMAINS IN SPAIN
BEING A BRIEF RECORD OF THE ARABIAN CONQUEST AND OCCUPATION OF THE
PENINSULA, WITH A PARTICULAR ACCOUNT OF THE MOHAMMEDAN ARCHITECTURE AND
DECORATION IN THE CITIES OF CORDOVA, SEVILLE AND TOLEDO, WITH MANY
COLOURED PLATES, AND OVER 400 BLACK AND WHITE ILLUSTRATIONS, DIAGRAMS,
ETC., DEDICATED BY PERMISSION TO H.M. KING ALFONSO XIII.
Crown 4to. (7½ x 10 ins.) Price £2 2s. net
PRESS NOTICES
“The making of this book must surely have been a veritable labour of
love; and love’s labour has certainly not been lost.”
_Pall Mall Gazette._
“The best age of Moorish architecture in Spain is shown with remarkable
vividness and vitality.”
_The Scotsman._
“A most gorgeous book.... We cheerfully admit Mr. CALVERT into the ranks
of those whom posterity will applaud for delightful yet unprofitable
work.”
_Outlook._
“A large and sumptuous volume.”
_Tribune._
“The illustrations are simply marvels of reproduction.”
_Dundee Advertiser._
“One of the books to which a simple literary review cannot pretend to do
justice.”
_Spectator._
“A special feature of a work of peculiar interest and value are the
illustrations.”
_Newcastle Chronicle._
“The illustrations are given with a minuteness and faithfulness of
detail, and colour, which will be particularly appreciated and
acknowledged by those who are most acquainted with the subject
themselves.”
_Liverpool Post._
“It is impossible to praise too highly the care with which the
illustrations have been prepared.”
_Birmingham Daily Post._
“It is illustrated with so lavish a richness of colour that to turn its
pages gives one at first almost the same impression of splendour as one
receives in wandering from hall to hall of the Alcazar of Seville; and
this is probably the highest compliment we could pay to the book or its
author.”
_Academy._
“It is certainly one of the most interesting books of the year.”
_Crown._
“The occasional delicacy of design and harmony of colour can scarcely be
surpassed ... a valuable and profusely illustrated volume.”
_Guardian._
“An excellent piece of work.”
_The Times._
“Mr. CALVERT has performed a useful work.”
_Daily Telegraph._
“A truly sumptuous volume.”
_The Speaker._
“Mr. CALVERT has given a very complete account of the evolution of
Moresco art.”
_The Connoisseur._
* * * * *
LIFE OF CERVANTES
A NEW LIFE OF THE GREAT SPANISH AUTHOR TO COMMEMORATE THE TERCENTENARY
OF THE PUBLICATION OF “DON QUIXOTE,” WITH NUMEROUS PORTRAITS AND
REPRODUCTIONS FROM EARLY EDITIONS OF “DON QUIXOTE”
Size Crown 8vo. 150 pp. Price 3/6 net
PRESS NOTICES
“A popular and accessible account of the career of Cervantes.”
_Daily Chronicle._
“A very readable and pleasant account of one of the great writers of all
time.”
_Morning Leader._
“We recommend the book to all those to whom Cervantes is more than a
mere name.”
_Westminster Gazette._
“Nothing could be more useful than this careful and authoritative book.”
_Vanity Fair._
“It is made trebly interesting by the very complete set of Cervantes’
portraits it contains, and by the inclusion of a valuable bibliography.”
_Black and White._
“Nothing better could be desired.”
_Literary World._
“A capital and most interesting little book.”
_The Queen._
“Excellent little volume.”
_The Graphic._
“A book full of information and of convenient compass.”
_Onlooker._
“A handy, compendious life, with good Quixotic pictures.”
_Rapid Review._
“Can be heartily recommended to all who want to know something of the
life of Cervantes.”
_Nottingham Express._
“Mr. CALVERT is entitled to the gratitude of book-lovers for his
industrious devotion at one of our greatest literary shrines.”
_Birmingham Post._
“Should be greatly appreciated by all lovers of the chivalrous Knight.”
_Dublin Express._
“A most interesting résumé of all facts up to the present time known.”
_El Nervion de Bilbao, Spain._
“The most notable work dedicated to the immortal author of _Don Quixote_
that has been published in England.”
_El Graduador, Spain._
“Although the book is written in English no Spaniard could have written
it with more conscientiousness and enthusiasm.”
_El Defensor de Granada, Spain._
*** End of this LibraryBlog Digital Book "The Escorial" ***
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