Chapter IX: Principal Pictures in the Escorial, 79 (1)

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.