The Project Gutenberg eBook of The Escorial

This ebook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this ebook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

Title: The Escorial

Author: Albert Frederick Calvert

Release date: February 14, 2020 [eBook #61407]

Most recently updated: January 24, 2021

Language: English

Credits: Produced by Chuck Greif and the Online Distributed

Proofreading Team at http://www.pgdp.net (This file was

produced from imageChuck Greif and the Online Distributed

Proofreading Team at http://www.pgdp.net (This file was

produced from images available at The Internet Archive)

s available at The Internet Archive)

*** START OF THE PROJECT GUTENBERG EBOOK THE ESCORIAL ***

Contents.

List of Illustrations

(etext transcriber's note)

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    DE-

SCRIPTIVE 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.

P R E F A C E

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.

PLATE 1

PLAN OF THE MONASTERY.

PLATE 2

VIEW OF THE MONASTERY.

PLATE 3

VIEW OF THE MONASTERY FROM THE ORCHARD.

PLATE 4

VIEW OF THE MONASTERY FROM THE ENTRANCE OF THE ‘REAL SITIO.’

PLATE 5

VIEW OF THE MONASTERY FROM THE ROMERAL.

PLATE 6

VIEW OF THE MONASTERY (EAST SIDE).

PLATE 7

PRINCIPAL FAÇADE OF THE COURT OF THE KINGS.

PLATE 8

VIEW OF THE COURT OF THE KINGS.

PLATE 9

BALCONY IN THE COURT OF ‘LA COMPAÑA.’

PLATE 10

VIEW OF THE ‘CASA DEL PRINCIPE,’ OR LOWER LODGE.

PLATE 11

ASCENT TO THE SILLA DEL REY, THE CHAIR OF PHILIP II.

PLATE 12

THE SILLA DEL REY, THE CHAIR OF PHILIP II.

PLATE 13

THE HORCA CROSS, NEAR THE ESCORIAL.

PLATE 14

GARDEN OF THE CASITA DE ABAJO.

(ESCORIAL.)

PLATE 15

SOURCE OF THE SEMINARIO.

PLATE 16

SOURCE OF THE SEMINARIO.

(ESCORIAL.)

PLATE 17

THE COLONNADE OF THE MONASTERY.

PLATE 18

VIEW OF THE UPPER CLOISTER OF THE MONASTERY.

PLATE 19

VIEW OF THE UPPER CLOISTER OF THE MONASTERY.

PLATE 20

LOWER CLOISTER OF THE MONASTERY.

PLATE 21

VIEW OF THE LOWER CLOISTER OF THE MONASTERY.

PLATE 22

SNOW-PIT AND POND OF ‘CONVALESCENTS.’

PLATE 23

‘CONVALESCENTS’ GALLERY.

PLATE 24

THE MONKS’ WALK AND ‘CONVALESCENTS’ GALLERY.

(ESCORIAL.)

PLATE 25

‘CONVALESCENTS’ GALLERY.

PLATE 26

THE EVANGELISTS’ COURT.

PLATE 27

COURT WITH THE SPRINGS OF THE EVANGELISTS.

PLATE 28

SHIELD OF THE EMPEROR CHARLES V.

PLATE 29

COURT OF THE EVANGELISTS.

PLATE 30

INTERIOR OF THE CHURCH.

PLATE 31

DOOR-KNOCKER OF THE CHURCH AT THE ESCORIAL.

PLATE 32

CHOIR STALLS.

(BASILICA OF THE MONASTERY.)

PLATE 33

INTERIOR VIEW FROM THE CHOIR.

(BASILICA OF THE MONASTERY.)

PLATE 34

INTERIOR VIEW.

(BASILICA OF THE MONASTERY.)

PLATE 35

RETABLO AT THE HIGH ALTAR.

(BASILICA OF THE MONASTERY.)

PLATE 36

INTERIOR VIEW FROM THE HIGH ALTAR.

(BASILICA OF THE MONASTERY.)

PLATE 37

ALTAR-PIECE AT THE HIGH ALTAR.

PLATE 38

ST. HIERONYMUS AND ST. AUGUSTINE.

(STATUES OF THE ALTAR-PIECE.)

PLATE 39

ST. MATTHEW AND ST. MARK.

(STATUES OF THE ALTAR-PIECE.)

PLATE 40

ST. PAUL.

(STATUE OF THE ALTAR-PIECE.)

PLATE 41

ST. GREGORY AND ST. AMBROSE.

(STATUES OF THE ALTAR-PIECE.)

PLATE 42

ST. PETER.

(STATUE OF THE ALTAR-PIECE.)

PLATE 43

ST. JOHN AND ST. LUKE.

(STATUES OF THE ALTAR-PIECE.)

PLATE 44

LEFT SIDE OF THE HIGH ALTAR: INTERMENT OF THE EMPEROR CHARLES V.

PLATE 45

MARBLE STATUE OF ST. LAURENT AT THE ENTRANCE OF THE CHOIR.

PLATE 46

INTERIOR VIEW OF THE CHAPEL.

PLATE 47

THE TABERNACLE.

(ESCORIAL.)

PLATE 48

PANTEON OF THE KINGS.

(ENTRANCE GATE.)

PLATE 49

BEAUTIFUL ROCK CRYSTAL CANDELABRUM IN THE CHOIR OF THE ESCORIAL.

PLATE 50

CASKET IN MALACHITE AND LAPIS-LAZULI, ORNAMENTED WITH BEAUTIFUL ENGRAVED ROCK CRYSTAL.

(RELIQUARY OF THE ESCORIAL.)

PLATE 51

VIEW OF THE PANTEON OF THE KINGS.

ESCORIAL.

PLATE 52

PANTEON OF THE INFANTES (INTERIOR).

PLATE 53

PANTEON OF THE INFANTES (INTERIOR).

PLATE 54

TOMB OF CHARLOTTE OF BOURBON.

(PANTEON OF THE INFANTES.)

PLATE 55

TOMB OF DON JOHN OF AUSTRIA.

(PANTEON OF THE INFANTES.)

PLATE 56

VIEW OF THE PRINCIPAL STAIRCASE OF THE MONASTERY.

PLATE 57

LIBRARY OF THE MONASTERY.

PLATE 58

LIBRARY OF THE MONASTERY.

PLATE 59

LIBRARY OF THE MONASTERY.

PLATE 60

LIBRARY OF THE MONASTERY.

PLATE 61

GOLDEN MS. (10TH CENTURY).

(LIBRARY OF THE MONASTERY.)

PLATE 62

PRAYER-BOOK OF ISABELLA THE CATHOLIC.

(LIBRARY OF THE MONASTERY.)

PLATE 63

SONGS OF ST. MARY. MS. BELONGING TO ALFONSO THE WISE (13TH CENTURY).

(LIBRARY OF THE MONASTERY.)

PLATE 64

LATIN PRAYER-BOOK OF FERDINAND THE CATHOLIC.

(LIBRARY OF THE MONASTERY.)

PLATE 65

MASS-BOOK OF PHILIP II.

(LIBRARY OF THE MONASTERY.)

PLATE 66

BREVIARY OF CHARLES V.

(LIBRARY OF THE MONASTERY.)

PLATE 67

PSALTER OF THE EMPEROR CHARLES V.

(LIBRARY OF THE ESCORIAL.)

PLATE 68

NATURAL HISTORY OF PLINY THE YOUNGER. ITALIAN MS. OF THE 16TH CENTURY.

(LIBRARY OF THE ESCORIAL.)

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.)

PLATE 70

FIRST PAGE OF A HEBREW BIBLE: PRECIOUS MSS. OF THE END OF THE 14TH CENTURY.

(LIBRARY OF THE ESCORIAL.)

PLATE 71

PERSIAN MS., THE WORK OF MUHAMMED SCHAM EL DIN HAPHETH, POET OF THE 14TH CENTURY.

(LIBRARY OF THE ESCORIAL.)

PLATE 72

MANUSCRIPT OF THE YEAR 1050.

(LIBRARY OF THE ESCORIAL.)

PLATE 73

VIRGIL’S POEMS: MS. OF THE 15TH CENTURY, WRITTEN IN SPAIN.

(LIBRARY OF THE ESCORIAL.)

PLATE 74

VIRGIL: MANUSCRIPT OF THE YEAR 966.

(LIBRARY OF THE ESCORIAL.)

PLATE 75

VIRGIL: MANUSCRIPT OF THE YEAR 966.

(LIBRARY OF THE ESCORIAL.)

PLATE 76

THE APOCALYPSE OF ST. JOHN: MANUSCRIPT OF THE 15TH CENTURY.

(LIBRARY OF THE ESCORIAL.)

PLATE 77

TWO PAGES OF THE KORAN OF MULEY ZIDAN, EMPEROR OF MOROCCO IN 1594.

(LIBRARY OF THE ESCORIAL.)

PLATE 78

THE TREE OF LOVE, WRITTEN IN 1288.

(LIBRARY OF THE ESCORIAL.)

PLATE 79

PERSIAN MANUSCRIPT, THE WORK OF MUHAMMED SCHAM EL DIN HAPHETH, POET OF THE 14TH CENTURY.

(LIBRARY OF THE MONASTERY.)

PLATE 80

MASS-BOOK OF ISABEL THE CATHOLIC, MANUSCRIPT OF THE 15TH CENTURY.

(LIBRARY OF THE ESCORIAL.)

PLATE 81

FRONTISPIECE OF THE KORAN OF MULEY ZIDAN, EMPEROR OF MOROCCO IN 1594.

(LIBRARY OF THE ESCORIAL.)

PLATE 82

MASS-BOOK OF THE EMPRESS ISABEL, MOTHER OF PHILIP II.

(LIBRARY OF THE ESCORIAL.)

PLATE 83

MASS-BOOK OF PHILIP III. AND QUEEN MARGARITA.

(LIBRARY OF THE ESCORIAL.)

PLATE 84

GREEK MANUSCRIPT OF THE END OF THE 14TH CENTURY.

(LIBRARY OF THE ESCORIAL.)

PLATE 85

BREVIARY OF PHILIP II. (16TH CENTURY).

(LIBRARY OF THE MONASTERY.)

PLATE 86

MASS-BOOK AND HOLY OFFICE OF PHILIP II.

(LIBRARY OF THE MONASTERY.)

PLATE 87

LATIN PRAYER-BOOK OF FERDINAND THE CATHOLIC.

(LIBRARY OF THE MONASTERY.)

PLATE 88

ARABIAN MANUSCRIPT (NATURAL HISTORY).

(LIBRARY OF THE MONASTERY.)

PLATE 89

READING DESK IN THE CHOIR.

(ESCORIAL.)

PLATE 90

SACRISTY (MONASTERY).

PLATE 91

PARANYMPH OF THE COLLEGE (MONASTERY).

PLATE 92

OUR LORD CRUCIFIED, SCULPTURED IN MARBLE (MONASTERY).

PLATE 93

INTERMENT OF PHILIP II. (MONASTERY).

PLATE 94

CHAPTER ROOM (MONASTERY).

PLATE 95

CHAPTER ROOM (MONASTERY).

PLATE 96

CHAPTER HALL (MONASTERY).

PLATE 97

PRESENTATION OF THE VIRGIN AT THE TEMPLE,

ATTRIBUTED TO VAN EYCK (MONASTERY).

PLATE 98

ALTAR-PIECE OF THE SANTA FORMA, PAINTED BY CLAUDIO COELLO.

(SACRISTY OF THE MONASTERY.)

PLATE 99

EMBROIDERED ALTAR-CLOTHS.

(FROM THE SACRISTY.)

PLATE 100

EMBROIDERED COPES.

(SACRISTY OF THE ESCORIAL.)

PLATE 101

CASKET OF MALACHITE AND LAPIS-LAZULI, ORNAMENTED WITH ENGRAVED ROCK CRYSTAL.

(RELICARIO OF THE ESCORIAL.)

PLATE 102

CHRIST ON THE CROSS, IN WROUGHT COPPER.

(RELICARIO OF THE ESCORIAL.)

PLATE 103

BRONZE LECTERN REPRESENTING AN EAGLE, MADE AT ANTWERP IN 1571.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 104

BRONZE LECTERN REPRESENTING AN ANGEL, MADE AT ANTWERP IN 1571, BY JEAN SIMON.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 105

ST. MICHAEL OVERCOMING THE DEVIL, BY PEDRO ROLDAN,

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 106

CHRIST, WITH THE VIRGIN AND ST. JOHN: STATUES IN MARBLE.

(THE ESCORIAL.)

PLATE 107

GATE OF THE SANTA FORMA.

(SACRISTY OF THE MONASTERY.)

PLATE 108

MIRROR IN ROCK CRYSTAL.

(SACRISTY OF THE ESCORIAL.)

PLATE 109

ALTAR-PIECE OF CHARLES V., IN WROUGHT COPPER.

(FROM THE CAMARIN OF ST. THERESA AT THE ESCORIAL.)

PLATE 110

ALABASTER STATUE OF ST. JOHN BAPTIST.

(FROM THE CAMARIN OF ST. THERESA AT THE ESCORIAL.)

PLATE 111

INSIDE COVER OF A RELIQUARY WHICH BELONGED TO PIUS V. 1566-1572.

(FROM THE CAMARIN OF ST. THERESA.)

PLATE 112

RELIQUARY OF ROCK CRYSTAL.

(FROM THE CAMARIN OF ST. THERESA.)

PLATE 113

BONE RELIQUARY OF THE END OF THE 12TH CENTURY.

(CAMARIN OF ST. THERESA.)

PLATE 114

RELIQUARY OF WROUGHT IRON, INLAID.

(RELICARIO OF THE ESCORIAL.)

PLATE 115

RELIQUARY OF WROUGHT IRON, INLAID.

(RELICARIO OF THE ESCORIAL.)

PLATE 116

RECEPTION HALL.

(PALACE.)

PLATE 117

RECEPTION HALL.

(PALACE.)

PLATE 118

VIEW OF THE DINING HALL.

(PALACE.)

PLATE 119

VIEW OF THE DINING HALL.

(PALACE.)

PLATE 120

ANTE-ROOM.

(CASA DEL PRINCIPE.)

PLATE 121

HALL OF AMBASSADORS.

(PALACE.)

PLATE 122

A ROOM OF PHILIP II.

(PALACE.)

PLATE 123

MEMORIAL OF KING PHILIP II.

(ESCORIAL.)

PLATE 124

CHAIRS OF PHILIP IV.

(PALACE.)

PLATE 125

ESCUTCHEON OF KING PHILIP II.

(THE ESCORIAL.)

PLATE 126

BUEN RETIRO PORCELAIN, IMITATIONS OF WEDGWOOD.

(THE HALL OF CHINA OF THE CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 127

BUEN RETIRO PORCELAIN, IMITATIONS OF WEDGWOOD PANELS.

(CASA DEL PRINCIPE.)

PLATE 128

VIEW OF THE DINING HALL.

(Casa del Principe.)

PLATE 129

THE JUDGMENT OF SOLOMON (IVORY).

(CASA DEL PRINCIPE.)

PLATE 130

THE FISHERMAN CAUGHT IN THE NETS (IVORY).

(CASA DEL PRINCIPE.)

PLATE 131

SCULPTURE IN IVORY CALLED ‘PRINCESA DE SAN SEVERO.’

(CASA DEL PRINCIPE.)

PLATE 132

THE ADORATION OF THE SHEPHERDS (IVORY).

(CASA DEL PRINCIPE.)

PLATE 133

ROUND TABLE WITH A TRAY OF SÈVRES PORCELAIN.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 134

TABLE, CHAIR, AND PORCELAIN FROM THE ROYAL WORKS AT BUEN RETIRO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 135

MARY MAGDALENE: FROM THE ROYAL WORKS AT BUEN RETIRO.

(CASA DEL PRINCIPE.)

PLATE 136

BUEN RETIRO PORCELAIN: IMITATION OF WEDGWOOD.

(CASA DEL PRINCIPE.)

PLATE 137

TOP OF A ROUND TABLE IN SÈVRES PORCELAIN.

(CASA DEL PRINCIPE.)

PLATE 138

THE DESCENT FROM THE CROSS: SCULPTURE IN IVORY.

(PALACE.)

PLATE 139

ANTE-ROOM OF CHOICE WOODS.

(PALACE.)

PLATE 140

CHAIR OF THE EMPEROR CHARLES V.

(PALACE.)

PLATE 141

THE EMPEROR CHARLES V., THE EMPRESS ISABEL, HIS DAUGHTER MARIA, HIS SISTERS ELEONORA, QUEEN OF FRANCE, AND MARIA, QUEEN OF HUNGARY.

(ESCORIAL.)

PLATE 142

POMPEIAN HALL.

(PALACE.)

PLATE 143

ORATORY OF CHOICE WOODS IN THE ANTE-CHAMBER.

(PALACE.)

PLATE 144

EXPEDITION TO THE AZORES.

(HALL OF BATTLES.)

PLATE 145

BATTLE OF HIGUERUELA, 1431 (1ST SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)

PLATE 146

BATTLE OF HIGUERUELA, 1431 (2ND SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)

PLATE 147

BATTLE OF HIGUERUELA, 1431 (3RD SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)

PLATE 148

BATTLE OF HIGUERUELA, 1431 (4TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)

PLATE 149

BATTLE OF HIGUERUELA, 1431 (5TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)

PLATE 150

BATTLE OF HIGUERUELA, 1431 (6TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)

PLATE 151

BATTLE OF HIGUERUELA, 1431 (7TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)

PLATE 152

BATTLE OF HIGUERUELA, 1431 (8TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)

PLATE 153

BATTLE OF HIGUERUELA, 1431 (9TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)

PLATE 154

BATTLE OF HIGUERUELA, 1431 (10TH SECTION OF THE SERIES OF DRAWINGS).

(HALL OF BATTLES.)

PLATE 155

FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.

(HALL OF BATTLES IN THE ESCORIAL.)

PLATE 156

FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.

(HALL OF BATTLES IN THE ESCORIAL.)

PLATE 157

FRAGMENT OF THE BATTLE OF HIGUERUELA, 1431, BY GRANELO AND FABRICIO.

(HALL OF BATTLES IN THE ESCORIAL.)

PLATE 158

SURRENDER OF THE CHATELET FORT.

(HALL OF BATTLES.)

PLATE 159

THE SIEGE OF HAN AND SURRENDER OF ITS CASTLE.

(HALL OF BATTLES.)

PLATE 160

BATTLE OF GRAVELINAS.

(HALL OF BATTLES.)

PLATE 161

PREPARATIONS FOR THE BATTLE OF GRAVELINAS.

(HALL OF BATTLES.)

PLATE 162

TAKING OF ST. QUINTIN BY THE SPANISH INFANTRY REGIMENTS.

(HALL OF BATTLES.)

PLATE 163

BATTLE BEFORE ST. QUINTIN.

(HALL OF BATTLES.)

PLATE 164

PREPARATIONS FOR THE SIEGE OF ST. QUINTIN.

(HALL OF BATTLES.)

PLATE 165

DEPARTURE OF THE SPANISH ARMY FROM THE FORTIFIED PLACE OF ST. QUINTIN.

(HALL OF BATTLES.)

PLATE 166

THE DUKE OF ALBA REVIEWING HIS TROOPS AT CANTILLANA.

(HALL OF BATTLES.)

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.)

PLATE 168

PLUTO AND PROSERPINA, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 169

ALLEGORY OF AFRICA, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 170

PHAETON STRUCK BY JUPITER’S THUNDERBOLT.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 171

THE BATTLE OF LEPANTO, BY L. GIORDANO.

(REPRODUCED FROM THE FRESCO IN THE ESCORIAL.)

PLATE 172

EXPEDITION TO THE TERCEIRE ISLE (AZORES).

(FRAGMENT OF A FRESCO PAINTING IN THE HALL OF BATTLES.)

PLATE 173

APOLLO AND MERCURY, BY PEREGRINO TIBALDI.

(FRESCO ON THE ARCH OF THE LIBRARY OF THE ESCORIAL.)

PLATE 174

A SWEET SINGER, BY WATTEAU.

(MUSEUM OF THE ESCORIAL.)

PLATE 175

A LOVE SCENE, BY WATTEAU.

(MUSEUM OF THE ESCORIAL.)

PLATE 176

PHILIP II. RECEIVING A DEPUTATION FROM THE LOW COUNTRIES IN THE ESCORIAL, BY SANT ARCOS.

PLATE 177

PORTRAIT OF PHILIP II. AT THE AGE OF 71, BY ANTONIO MORO.

(LIBRARY OF THE ESCORIAL.)

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.)

PLATE 179

ST. ISIDORE, BY CORRADO.

(IN THE MUSEUM AT THE ESCORIAL.)

PLATE 180

PAN AND MISENUS, BY PEREGRINO TIBALDI.

(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)

PLATE 181

HOMER AND VIRGIL, BY PEREGRINO TIBALDI.

(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)

PLATE 182

SOLOMON AND THE QUEEN OF SHEBA, BY V. CARDUCCI.

(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)

PLATE 183

PINDAR AND HORACE, BY PEREGRINO TIBALDI.

(FRESCO OF THE ARCH IN THE LIBRARY OF THE ESCORIAL.)

PLATE 184

THE VISITATION, BY PEREGRINO TIBALDI.

(FRESCO IN THE CLOISTER OF THE ESCORIAL.)

PLATE 185

THE MARRIAGE OF THE VIRGIN, BY PEREGRINO TIBALDI.

(FRESCO IN THE CLOISTER OF THE ESCORIAL.)

PLATE 186

THE ANNUNCIATION, BY LUCAS CANGIAGI.

(FRESCO IN THE CLOISTER OF THE ESCORIAL.)

PLATE 187

TRIPTYCH, WITH PAINTINGS ON VELLUM.

(CAMARIN OF ST. THERESA.)

PLATE 188

THE SEVEN CAPITAL SINS, BY JEROME BOSCH, ON WOOD.

(IN THE ROOM OF PHILIP II. AT THE ESCORIAL.)

PLATE 189

THE STORY OF THE PASSION: DIPTYCH, IN IVORY, OF THE 13TH CENTURY.

(FROM THE CAMARIN OF ST. THERESA.)

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.

PLATE 191

‘LA SANTA FORMA.’ THE MASTERPIECE OF CLAUDE COELLO.

(SACRISTY OF THE ESCORIAL.)

PLATE 192

THE RESURRECTION, BY PEREGRINO TIBALDI.

(THE CLOISTER OF THE ESCORIAL.)

PLATE 193

THE INTERMENT OF CHRIST, BY TINTORETTO.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 194

JESUS AT THE PHARISEE’S HOUSE, BY TINTORETTO.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 195

THE RESURRECTION OF OUR LORD: FLORENTINE SCHOOL, GREY PAINTING.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 196

THE BIRTH OF OUR LORD, BY TINTORETTO.

(CHAPTER ROOM OF THE ESCORIAL.)

PLATE 197

THE ANNUNCIATION, BY PAUL VERONESE.

(CHAPTER ROOM OF THE ESCORIAL.)

PLATE 198

PORUS BROUGHT BEFORE ALEXANDER THE GREAT, BY CARLOS VAN LOO.

(MONASTERY OF THE ESCORIAL.)

PLATE 199

THE CROWN OF THORNS, BY JEROME BOSCH, ON WOOD.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 200

TRIPTYCH, BY JEROME BOSCH.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 201

TRIPTYCH, REPRESENTING THE TERRESTRIAL DELIGHTS, AND THE PUNISHMENT OF SIN IN HELL, BY JEROME BOSCH.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 202

PORTRAIT OF CHARLES V. AT THE AGE OF 47, BY JUAN PANTOJA.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 203

CHRIST BRINGING FORTH THE SOULS OF THE SAINTS: FLORENTINE SCHOOL.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 204

THE WASHING OF FEET, BY TINTORETTO.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 205

THE NATIVITY, BY JOSEF RIBERA.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 206

THE LAST SUPPER, BY TITIAN.

(THE ESCORIAL.)

PLATE 207

ST. CHRISTOPHER (ON WOOD), BY J. PATENIER.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 208

JACOB RECEIVING JOSEPH’S COAT, BY VELAZQUEZ.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 209

THE PENITENT MAGDALENE, BY L. GIORDANO.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 210

MUMMY OF CHARLES V., BY V. PALMAROLI.

(THE ESCORIAL.)

PLATE 211

JACOB GUARDING THE FLOCKS OF LABAN, BY J. RIBERA.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 212

THE SATYR MARSYAS FLAYED ALIVE BY APOLLO, BY L. GIORDANO.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 213

LOT AND HIS FAMILY, BY A. VACCARO.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 214

THE ADORATION OF THE MAGI, BY VERONESE.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 215

THE CHASTISEMENT OF ARACHNE, BY L. GIORDANO.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 216

ALEXANDER CONQUERING DARIUS, BY F. SOLIMENA.

(MONASTERY.)

PLATE 217

ST. MAURICE AND OTHER MARTYRS, BY EL GRECO.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 218

QUEEN ESTHER, BY TINTORETTO.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 219

THE ANNUNCIATION, AND THE BIRTH OF CHRIST. BY COXCIS.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 220

THE HOLY TRINITY, BY J. RIBERA.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 221

VISION OF JESUS TO HIS MOTHER, BY P. VERONÈSE.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 221

THE CARNATION GARDENER, BY F. BAYEU.

(TAPESTRY IN THE PALACE.)

PLATE 223

THE WATER-SELLER, BY F. BAYEU.

(TAPESTRY IN THE PALACE.)

PLATE 224

THE YOUNG BULL AT CARABANCHEL DE ABAJO, BY F. BAYEU

(TAPESTRY IN THE PALACE.)

PLATE 225

PROMENADE OF LAS DELICIAS, BY F. BAYEU.

(TAPESTRY IN THE PALACE.)

PLATE 226

THE PORK MERCHANT, BY F. BAYEU.

(TAPESTRY IN THE PALACE.)

PLATE 227

DEPARTURE FOR THE HUNT, AFTER P. WOUWERMAN, BY GINES DE AGUIRRE.

(TAPESTRY IN THE PALACE.)

PLATE 228

DESCENT FROM THE CROSS (R. VAN DER WEYDEN).

PLATE 229

CHILD RIDING A SHEEP, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 230

A LADY AND HER CAVALIER, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 231

COUNTRY DANCE, BY F. GOYA.

(TAPESTRY IN THE DINING HALL OF THE PALACE.)

PLATE 232

CASTING OF BULLETS IN A FOREST, BY GOYA.

(CASA DEL PRINCIPE, ESCORIAL.)

PLATE 233

THE KITE, BY F. GOYA.

(TAPESTRY IN THE ESCORIAL PALACE.)

PLATE 234

THE WASHERWOMEN, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 235

YOUNG MAN WITH A BIRD, AND A BAGPIPER, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 236

A PROMENADE IN ANDALUSIA, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 237

THE CHINA MERCHANT, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 238

DOGS IN A LEASH, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 239

THE LITTLE GIANTS, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 240

THE GRAPE-SELLERS, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 241

THE CARD-PLAYERS, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 242

THE WOOD-CUTTERS, BY F. GOYA.

(TAPESTRY IN THE DINING HALL OF THE PALACE.)

PLATE 243

CHILDREN PICKING FRUIT, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 244

CHILDREN CLIMBING A TREE, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 245

THE SEE-SAW, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 246

THE REAPERS, BY F. GOYA.

(TAPESTRY IN THE PALACE.)

PLATE 247

TAPESTRY AFTER THE POMPEIAN STYLE.

(IN THE PALACE.)

PLATE 248

STORY OF TELEMACHUS: THE DANCE OF THE NYMPHS.

(GOBELIN TAPESTRY IN THE PALACE.)

PLATE 249

STORY OF TELEMACHUS: NEPTUNE WRECKING ULYSSES’ VESSEL.

(GOBELIN TAPESTRY IN THE PALACE.)

PLATE 250

STORY OF TELEMACHUS: CALYPSO.

(GOBELIN TAPESTRY IN THE PALACE.)

PLATE 251

STORY OF TELEMACHUS: YOUNG TELEMACHUS.

(GOBELIN TAPESTRY IN THE PALACE.)

PLATE 252

CHILDREN PLAYING AT BULL-FIGHTING, BY F. BAYEU.

(TAPESTRY IN THE ESCORIAL PALACE.)

PLATE 253

THE GARDENS OF BUEN RETIRO.

(TAPESTRY IN THE PALACE.)

PLATE 254

ST. JOSEPH AND THE CHILD JESUS.

(CASA DEL PRINCIPE, ESCORIAL.)

PLATE 255

THE JUDGMENT OF SOLOMON, BY F. DE URBINA.

(CEILING IN THE PRIOR’S CELL IN THE MONASTERY.)

PLATE 256

THE VIRGIN, BY CORRADO.

(CASA DEL PRINCIPE, ESCORIAL.)

PLATE 257

WOMAN READING A LETTER, BY D. TENIERS.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 258

THE CONVERSION OF ST. PAUL, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 259

APOLLO GRIEVING OVER THE DEATH OF HIS SON PHAETON: BUEN-RETIRO CHINA.

(CASA DEL PRINCIPE.)

PLATE 260

THE FALL AND DEATH OF JULIAN THE APOSTATE, BY L. GIORDANO.

(CASA DEL PRINCIPE.)

PLATE 261

THE BAGPIPER, BY D. TENIERS.

(CASA DEL PRINCIPE.)

PLATE 262

ST. JOHN THE BAPTIST, BY ANNIBALE CARACCI.

(CASA DEL PRINCIPE.)

PLATE 263

A SMOKER, BY D. TENIERS.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 264

THE HELIADES, DAUGHTERS OF THE SUN, CHANGED INTO POPLARS, AFTER THE DEATH OF THEIR BROTHER PHAETON: BUEN-RETIRO CHINA.

(CASA DEL PRINCIPE.)

PLATE 265

THE CONCEPTION OF THE VIRGIN, BY AN UNKNOWN ARTIST.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 266

THE HOLY FAMILY, BY RAPHAEL.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 267

SEMIRAMIS FIGHTING THE ENEMY. BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 268

THE RAPE OF THE SABINES, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 269

ALLEGORY OF AMERICA, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 270

ALLEGORY OF ASIA, BY L. GIORDANO.

(CASA DEL PRINCIPE AT THE ESCORIAL.)

PLATE 271

THE DREAM OF PHILIP II., BY EL GRECO.

(CHAPTER HALL OF THE ESCORIAL.)

PLATE 272

EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.

PLATE 273

EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.

PLATE 274

EFFIGIES OF THE DIFFERENT KINGS OF SPAIN.

PLATE 275

THE PRINCE’S ROOM.

(ESCORIAL.)

PLATE 276

POMPEIAN ROOM.

(ESCORIAL.)

PLATE 277

TOWER ROOM (CASITA DE ABAJO)

(ESCORIAL.)

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 THE PROJECT GUTENBERG EBOOK THE ESCORIAL ***

Updated editions will replace the previous one—the old editions will be renamed.

Creating the works from print editions not protected by U.S. copyright law means that no one owns a United States copyright in these works, so the Foundation (and you!) can copy and distribute it in the United States without permission and without paying copyright royalties. Special rules, set forth in the General Terms of Use part of this license, apply to copying and distributing Project Gutenberg™ electronic works to protect the PROJECT GUTENBERG™ concept and trademark. Project Gutenberg is a registered trademark, and may not be used if you charge for an eBook, except by following the terms of the trademark license, including paying royalties for use of the Project Gutenberg trademark. If you do not charge anything for copies of this eBook, complying with the trademark license is very easy. You may use this eBook for nearly any purpose such as creation of derivative works, reports, performances and research. Project Gutenberg eBooks may be modified and printed and given away—you may do practically ANYTHING in the United States with eBooks not protected by U.S. copyright law. Redistribution is subject to the trademark license, especially commercial redistribution.

START: FULL LICENSE

THE FULL PROJECT GUTENBERG LICENSE

PLEASE READ THIS BEFORE YOU DISTRIBUTE OR USE THIS WORK

To protect the Project Gutenberg™ mission of promoting the free distribution of electronic works, by using or distributing this work (or any other work associated in any way with the phrase “Project Gutenberg”), you agree to comply with all the terms of the Full Project Gutenberg™ License available with this file or online at www.gutenberg.org/license.

Section 1. General Terms of Use and Redistributing Project Gutenberg™ electronic works

1.A. By reading or using any part of this Project Gutenberg™ electronic work, you indicate that you have read, understand, agree to and accept all the terms of this license and intellectual property (trademark/copyright) agreement. If you do not agree to abide by all the terms of this agreement, you must cease using and return or destroy all copies of Project Gutenberg™ electronic works in your possession. If you paid a fee for obtaining a copy of or access to a Project Gutenberg™ electronic work and you do not agree to be bound by the terms of this agreement, you may obtain a refund from the person or entity to whom you paid the fee as set forth in paragraph 1.E.8.

1.B. “Project Gutenberg” is a registered trademark. It may only be used on or associated in any way with an electronic work by people who agree to be bound by the terms of this agreement. There are a few things that you can do with most Project Gutenberg™ electronic works even without complying with the full terms of this agreement. See paragraph 1.C below. There are a lot of things you can do with Project Gutenberg™ electronic works if you follow the terms of this agreement and help preserve free future access to Project Gutenberg™ electronic works. See paragraph 1.E below.

1.C. The Project Gutenberg Literary Archive Foundation (“the Foundation” or PGLAF), owns a compilation copyright in the collection of Project Gutenberg™ electronic works. Nearly all the individual works in the collection are in the public domain in the United States. If an individual work is unprotected by copyright law in the United States and you are located in the United States, we do not claim a right to prevent you from copying, distributing, performing, displaying or creating derivative works based on the work as long as all references to Project Gutenberg are removed. Of course, we hope that you will support the Project Gutenberg™ mission of promoting free access to electronic works by freely sharing Project Gutenberg™ works in compliance with the terms of this agreement for keeping the Project Gutenberg™ name associated with the work. You can easily comply with the terms of this agreement by keeping this work in the same format with its attached full Project Gutenberg™ License when you share it without charge with others.

1.D. The copyright laws of the place where you are located also govern what you can do with this work. Copyright laws in most countries are in a constant state of change. If you are outside the United States, check the laws of your country in addition to the terms of this agreement before downloading, copying, displaying, performing, distributing or creating derivative works based on this work or any other Project Gutenberg™ work. The Foundation makes no representations concerning the copyright status of any work in any country other than the United States.

1.E. Unless you have removed all references to Project Gutenberg:

1.E.1. The following sentence, with active links to, or other immediate access to, the full Project Gutenberg™ License must appear prominently whenever any copy of a Project Gutenberg™ work (any work on which the phrase “Project Gutenberg” appears, or with which the phrase “Project Gutenberg” is associated) is accessed, displayed, performed, viewed, copied or distributed:

This eBook is for the use of anyone anywhere in the United States and most other parts of the world at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg License included with this eBook or online at www.gutenberg.org. If you are not located in the United States, you will have to check the laws of the country where you are located before using this eBook.

1.E.2. If an individual Project Gutenberg™ electronic work is derived from texts not protected by U.S. copyright law (does not contain a notice indicating that it is posted with permission of the copyright holder), the work can be copied and distributed to anyone in the United States without paying any fees or charges. If you are redistributing or providing access to a work with the phrase “Project Gutenberg” associated with or appearing on the work, you must comply either with the requirements of paragraphs 1.E.1 through 1.E.7 or obtain permission for the use of the work and the Project Gutenberg™ trademark as set forth in paragraphs 1.E.8 or 1.E.9.

1.E.3. If an individual Project Gutenberg™ electronic work is posted with the permission of the copyright holder, your use and distribution must comply with both paragraphs 1.E.1 through 1.E.7 and any additional terms imposed by the copyright holder. Additional terms will be linked to the Project Gutenberg™ License for all works posted with the permission of the copyright holder found at the beginning of this work.

1.E.4. Do not unlink or detach or remove the full Project Gutenberg™ License terms from this work, or any files containing a part of this work or any other work associated with Project Gutenberg™.

1.E.5. Do not copy, display, perform, distribute or redistribute this electronic work, or any part of this electronic work, without prominently displaying the sentence set forth in paragraph 1.E.1 with active links or immediate access to the full terms of the Project Gutenberg™ License.

1.E.6. You may convert to and distribute this work in any binary, compressed, marked up, nonproprietary or proprietary form, including any word processing or hypertext form. However, if you provide access to or distribute copies of a Project Gutenberg™ work in a format other than “Plain Vanilla ASCII” or other format used in the official version posted on the official Project Gutenberg™ website (www.gutenberg.org), you must, at no additional cost, fee or expense to the user, provide a copy, a means of exporting a copy, or a means of obtaining a copy upon request, of the work in its original “Plain Vanilla ASCII” or other form. Any alternate format must include the full Project Gutenberg™ License as specified in paragraph 1.E.1.

1.E.7. Do not charge a fee for access to, viewing, displaying, performing, copying or distributing any Project Gutenberg™ works unless you comply with paragraph 1.E.8 or 1.E.9.

1.E.8. You may charge a reasonable fee for copies of or providing access to or distributing Project Gutenberg™ electronic works provided that:

- • You pay a royalty fee of 20% of the gross profits you derive from the use of Project Gutenberg™ works calculated using the method you already use to calculate your applicable taxes. The fee is owed to the owner of the Project Gutenberg™ trademark, but he has agreed to donate royalties under this paragraph to the Project Gutenberg Literary Archive Foundation. Royalty payments must be paid within 60 days following each date on which you prepare (or are legally required to prepare) your periodic tax returns. Royalty payments should be clearly marked as such and sent to the Project Gutenberg Literary Archive Foundation at the address specified in Section 4, “Information about donations to the Project Gutenberg Literary Archive Foundation.”

- • You provide a full refund of any money paid by a user who notifies you in writing (or by e-mail) within 30 days of receipt that s/he does not agree to the terms of the full Project Gutenberg™ License. You must require such a user to return or destroy all copies of the works possessed in a physical medium and discontinue all use of and all access to other copies of Project Gutenberg™ works.

- • You provide, in accordance with paragraph 1.F.3, a full refund of any money paid for a work or a replacement copy, if a defect in the electronic work is discovered and reported to you within 90 days of receipt of the work.

- • You comply with all other terms of this agreement for free distribution of Project Gutenberg™ works.

1.E.9. If you wish to charge a fee or distribute a Project Gutenberg™ electronic work or group of works on different terms than are set forth in this agreement, you must obtain permission in writing from the Project Gutenberg Literary Archive Foundation, the manager of the Project Gutenberg™ trademark. Contact the Foundation as set forth in Section 3 below.

1.F.

1.F.1. Project Gutenberg volunteers and employees expend considerable effort to identify, do copyright research on, transcribe and proofread works not protected by U.S. copyright law in creating the Project Gutenberg™ collection. Despite these efforts, Project Gutenberg™ electronic works, and the medium on which they may be stored, may contain “Defects,” such as, but not limited to, incomplete, inaccurate or corrupt data, transcription errors, a copyright or other intellectual property infringement, a defective or damaged disk or other medium, a computer virus, or computer codes that damage or cannot be read by your equipment.

1.F.2. LIMITED WARRANTY, DISCLAIMER OF DAMAGES - Except for the “Right of Replacement or Refund” described in paragraph 1.F.3, the Project Gutenberg Literary Archive Foundation, the owner of the Project Gutenberg™ trademark, and any other party distributing a Project Gutenberg™ electronic work under this agreement, disclaim all liability to you for damages, costs and expenses, including legal fees. YOU AGREE THAT YOU HAVE NO REMEDIES FOR NEGLIGENCE, STRICT LIABILITY, BREACH OF WARRANTY OR BREACH OF CONTRACT EXCEPT THOSE PROVIDED IN PARAGRAPH 1.F.3. YOU AGREE THAT THE FOUNDATION, THE TRADEMARK OWNER, AND ANY DISTRIBUTOR UNDER THIS AGREEMENT WILL NOT BE LIABLE TO YOU FOR ACTUAL, DIRECT, INDIRECT, CONSEQUENTIAL, PUNITIVE OR INCIDENTAL DAMAGES EVEN IF YOU GIVE NOTICE OF THE POSSIBILITY OF SUCH DAMAGE.

1.F.3. LIMITED RIGHT OF REPLACEMENT OR REFUND - If you discover a defect in this electronic work within 90 days of receiving it, you can receive a refund of the money (if any) you paid for it by sending a written explanation to the person you received the work from. If you received the work on a physical medium, you must return the medium with your written explanation. The person or entity that provided you with the defective work may elect to provide a replacement copy in lieu of a refund. If you received the work electronically, the person or entity providing it to you may choose to give you a second opportunity to receive the work electronically in lieu of a refund. If the second copy is also defective, you may demand a refund in writing without further opportunities to fix the problem.

1.F.4. Except for the limited right of replacement or refund set forth in paragraph 1.F.3, this work is provided to you ‘AS-IS’, WITH NO OTHER WARRANTIES OF ANY KIND, EXPRESS OR IMPLIED, INCLUDING BUT NOT LIMITED TO WARRANTIES OF MERCHANTABILITY OR FITNESS FOR ANY PURPOSE.

1.F.5. Some states do not allow disclaimers of certain implied warranties or the exclusion or limitation of certain types of damages. If any disclaimer or limitation set forth in this agreement violates the law of the state applicable to this agreement, the agreement shall be interpreted to make the maximum disclaimer or limitation permitted by the applicable state law. The invalidity or unenforceability of any provision of this agreement shall not void the remaining provisions.

1.F.6. INDEMNITY - You agree to indemnify and hold the Foundation, the trademark owner, any agent or employee of the Foundation, anyone providing copies of Project Gutenberg™ electronic works in accordance with this agreement, and any volunteers associated with the production, promotion and distribution of Project Gutenberg™ electronic works, harmless from all liability, costs and expenses, including legal fees, that arise directly or indirectly from any of the following which you do or cause to occur: (a) distribution of this or any Project Gutenberg™ work, (b) alteration, modification, or additions or deletions to any Project Gutenberg™ work, and (c) any Defect you cause.

Section 2. Information about the Mission of Project Gutenberg™

Project Gutenberg™ is synonymous with the free distribution of electronic works in formats readable by the widest variety of computers including obsolete, old, middle-aged and new computers. It exists because of the efforts of hundreds of volunteers and donations from people in all walks of life.

Volunteers and financial support to provide volunteers with the assistance they need are critical to reaching Project Gutenberg™’s goals and ensuring that the Project Gutenberg™ collection will remain freely available for generations to come. In 2001, the Project Gutenberg Literary Archive Foundation was created to provide a secure and permanent future for Project Gutenberg™ and future generations. To learn more about the Project Gutenberg Literary Archive Foundation and how your efforts and donations can help, see Sections 3 and 4 and the Foundation information page at www.gutenberg.org.

Section 3. Information about the Project Gutenberg Literary Archive Foundation

The Project Gutenberg Literary Archive Foundation is a non-profit 501(c)(3) educational corporation organized under the laws of the state of Mississippi and granted tax exempt status by the Internal Revenue Service. The Foundation’s EIN or federal tax identification number is 64-6221541. Contributions to the Project Gutenberg Literary Archive Foundation are tax deductible to the full extent permitted by U.S. federal laws and your state’s laws.

The Foundation’s business office is located at 809 North 1500 West, Salt Lake City, UT 84116, (801) 596-1887. Email contact links and up to date contact information can be found at the Foundation’s website and official page at www.gutenberg.org/contact

Section 4. Information about Donations to the Project Gutenberg Literary Archive Foundation

Project Gutenberg™ depends upon and cannot survive without widespread public support and donations to carry out its mission of increasing the number of public domain and licensed works that can be freely distributed in machine-readable form accessible by the widest array of equipment including outdated equipment. Many small donations ($1 to $5,000) are particularly important to maintaining tax exempt status with the IRS.

The Foundation is committed to complying with the laws regulating charities and charitable donations in all 50 states of the United States. Compliance requirements are not uniform and it takes a considerable effort, much paperwork and many fees to meet and keep up with these requirements. We do not solicit donations in locations where we have not received written confirmation of compliance. To SEND DONATIONS or determine the status of compliance for any particular state visit www.gutenberg.org/donate.

While we cannot and do not solicit contributions from states where we have not met the solicitation requirements, we know of no prohibition against accepting unsolicited donations from donors in such states who approach us with offers to donate.

International donations are gratefully accepted, but we cannot make any statements concerning tax treatment of donations received from outside the United States. U.S. laws alone swamp our small staff.

Please check the Project Gutenberg web pages for current donation methods and addresses. Donations are accepted in a number of other ways including checks, online payments and credit card donations. To donate, please visit: www.gutenberg.org/donate.

Section 5. General Information About Project Gutenberg™ electronic works

Professor Michael S. Hart was the originator of the Project Gutenberg™ concept of a library of electronic works that could be freely shared with anyone. For forty years, he produced and distributed Project Gutenberg™ eBooks with only a loose network of volunteer support.

Project Gutenberg™ eBooks are often created from several printed editions, all of which are confirmed as not protected by copyright in the U.S. unless a copyright notice is included. Thus, we do not necessarily keep eBooks in compliance with any particular paper edition.

Most people start at our website which has the main PG search facility: www.gutenberg.org.

This website includes information about Project Gutenberg™, including how to make donations to the Project Gutenberg Literary Archive Foundation, how to help produce our new eBooks, and how to subscribe to our email newsletter to hear about new eBooks.

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

back

Table of Contents

THE ESCORIAL

To His Excellency SEÑOR DON WENCESLAO R. DE VILLA-URRUTIA.

P R E F A C E

CONTENTS

LIST OF ILLUSTRATIONS

THE ESCORIAL

I PHILIP II. AND THE ESCORIAL

II THE ESCORIAL FROM WITHOUT

III THE CHURCH

IV THE ROYAL MONASTERY

V THE LIBRARY

VI THE UNIVERSITY

VII THE PALACE

VIII APPENDIX I THE FIRST CHRONICLER OF THE ESCORIAL

APPENDIX II LIST OF THE PRINCIPAL PAINTERS WHOSE WORKS ARE IN THE ESCORIAL

THE FULL PROJECT GUTENBERG LICENSE