,,the ,,spanish ,,series ,,the ,,escorial ,,the ,,spanish ,,series ,,edited ,,by ,,albert ,f4 ,,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 ,,leon1 ,,burgos ,,salamanca ,,valladolid1 ,,oviedo1 ,,segovia1 ,,zamora1 ,,avila ,,zaragoza ,,the ,,escorial ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the ,,spanish ,,royal ,,palace1 ,,monastery ,,and ,,mausoleum1 ,,by ,,albert ,f4 ,,calvert1 ,,with #bgh ,,illustrations ,,london3 ,,john ,,lane1 ,,the ,,bodley ,,head ,,new ,,york3 ,,john ,,lane ,,company ,,mcmvii ,edinburgh3 ,t4 and ,a4 ,,constable1 ,printers to ,his ,majesty ,to ,his ,excellency ,,se,,or ,,don ,,wenceslao ,r4 ,,de ,,villa-,,urrutia4 ,your ,excellency1 ,in putting forth this modest account of the ,escorial1 that marvellous monument to the ,hapsburg dynasty1 ,i beg to inscribe it to your ,excellency1 as a tribute of my esteem and an expression of admiration of your ,excellency's great work in the interests of ,spain1 and as historian of #8,the ,relations between ,spain and ,austria during the ,reign of the ,empress ,margaret4' ,i am1 ,your ,excellency's ,sincere and obliged1 ,,albert ,f4 ,,calvert4 ,,preface ,no work dealing exclusively with the ,royal ,palace and ,monastery of the ,escorial1 and purporting to give a full historical and descriptive account of that remarkable monument of ,philip ,,ii4 of ,spain1 has hitherto been published in ,england4 ,in this volume ,i have endeavoured to present1 in condensed form1 a history of the founding and building of the edifice1 to deal in detail with the more interesting features of its architecture1 and to describe the pictures1 fresco paintings1 illuminated missals1 and other works of art contained in the several portions of this great composite pile4 ,the ,escorial reflects the genius of ,spain at the period following upon the final emancipation from the sway of the ,moors4 ,it is an image1 as it were1 of the powerful monarch who founded it1 and spent so many years of his life in superintending the construction and decoration of the building4 ,the ,real ,monasterio de ,san ,lorenzo del ,escorial is a repository of many of the world's masterpieces of art1 a library of rare and costly manuscripts and volumes1 a sumptuous hermitage1 a college1 and a sanctuary4 ,it is one of the wonders of ,spain1 and among the most historically interesting royal residences in ,europe4 ,with the aid of the letterpress and the illustrations included here1 those readers who have not visited the ,escorial will1 ,i trust1 be enabled to realise something of its massive grandeur1 and to appreciate its significance in the history of the ,spanish nation2 while those who propose to inspect this #8,leviathan of ,architecture' will find these pages useful in directing their attention to the chief works of art and objects of interest4 ,in preparing this description1 ,i have sought for historical facts amid the pages of ,don ,antonio ,rotondo's large and admirable work upon ,the ,escorial1 in the ,historia del ,escorial of ,father ,sigenza1 in the writings of ,prescott and ,dunham1 and the volume of ,pedro ,madrazo on ,new ,castile4 ,i am also indebted to ,c4 ,gasquoine ,hartley for notes upon the artists of the ,escorial1 gathered from her ,record of ,spanish ,painting1 and particularly to ,mr4 ,walter ,m4 ,gallichan for his assistance in the compilation of the material4 ,many of the illustrations in this volume appear by the courtesy of ,seor ,don ,j4 ,lacoste1 who supplied the photographs and gave me permission to reproduce them4 ,a4 ,f4 ,c4 #8,,royston' ,,swiss ,,cottage ,n4,w4 ,,contents ,,chap4 ,,page ,i4 ,,philip ,,ii4 ,,and ,,the ,,escorial1 #a ,,ii4 ,,the ,,escorial ,,from ,,without1 #bb ,,iii4 ,,the ,,church1 #ca ,,iv4 ,,the ,,royal ,,monastery1 #de ,v4 ,,the ,,library1 #ee ,,vi4 ,,the ,,university1 #fb ,,vii4 ,,the ,,palace1 #fe ,,viii4 ,,appendixes1 #gc ,,ix4 ,,principal ,,pictures ,,in ,,the ,,escorial1 #gi ,,list ,,of ,,illustrations ,,plate ,plan of the ,monastery1 #a ,view of the ,monastery1 #b ,view of the ,monastery from the ,orchard1 #c ,view of the ,monastery from the ,entrance of the #8,real ,sitio1' #d ,view of the ,monastery from the ,romeral1 #e ,view of the ,monastery 7,east ,side71 #f ,principal ,faade of the ,court of the ,kings1 #g ,view of the ,court of the ,kings1 #h ,balcony in the ,court of #8,la ,compaa1' #i ,view of the #8,casa del ,principe1' or ,lower ,lodge1 #aj ,ascent to the ,silla del ,rey1 the ,chair of ,philip ,,ii41 #aa ,the ,silla del ,rey1 the ,chair of ,philip ,,ii41 #ab ,the ,horca 7,gallows7 ,cross1 near the ,escorial1 #ac ,garden of the ,caseta de ,abajo4 7,escorial71 #ad ,source of the ,seminario1 #ae ,source of the ,seminario4 7,escorial71 #af ,the ,colonnade of the ,monastery1 #ag ,view of the ,upper ,cloister of the ,monastery1 #ah ,view of the ,upper ,cloister of the ,monastery1 #ai ,lower ,cloister of the ,monastery1 #bj ,view of the ,lower ,cloister of the ,monastery1 #ba ,snow-pit and ,pond of #8,convalescents1' #bb #8,convalescents' ,gallery1 #bc ,the ,monks' ,walk and #8,convalescents' ,gallery4 7,escorial71 #bd #8,convalescents' ,gallery1 #be ,the ,evangelists' ,court1 #bf ,court with the ,springs of the ,evangelists1 #bg ,shield of the ,emperor ,charles ,v41 #bh ,court of the ,evangelists1 #bi ,interior of the ,church1 #cj ,door-knocker of the ,church at the ,escorial1 #ca ,choir ,stalls4 7,basilica of the ,monastery71 #cb ,interior ,view from the ,choir4 7,basilica of the ,monastery71 #cc ,interior ,view4 7,basilica of the ,monastery71 #cd ,retablo at the ,high ,altar4 7,basilica of the ,monastery71 #ce ,interior ,view from the ,high ,altar4 7,basilica of the ,monastery71 #cf ,altar-piece at the ,high ,altar1 #cg ,st4 ,hieronymus and ,st4 ,augustine4 7,statues of the ,altar-piece71 #ch ,st4 ,matthew and ,st4 ,mark4 7,statues of the ,altar-piece71 #ci ,st4 ,paul4 7,statue of the ,altar-piece71 #dj ,st4 ,gregory and ,st4 ,ambrose4 7,statues of the ,altar-piece71 #da ,st4 ,peter4 7,statue of the ,altar-piece71 #db ,st4 ,john and ,st4 ,luke4 7,statues of the ,altar-piece71 #dc ,left ,side of the ,high ,altar3 ,interment of the ,emperor ,charles ,v41 #dd ,marble ,statue of ,san ,lorenzo at the ,entrance of the ,choir1 #de ,interior ,view of the ,chapel1 #df ,the ,tabernacle4 7,escorial71 #dg ,panteon of the ,kings4 7,entrance ,gate71 #dh ,beautiful ,rock ,crystal ,candelabrum in the ,choir of the ,escorial1 #di ,casket in ,malachite and ,lapis-lazuli1 ornamented with beautiful engraved ,rock ,crystal4 7,reliquary of the ,escorial71 #ej ,view of the ,panteon of the ,kings4 7,escorial71 #ea ,panteon of the ,infantes 7,interior71 #eb ,panteon of the ,infantes 7,interior71 #ec ,tomb of ,charlotte of ,bourbon4 7,panteon of the ,infantes71 #ed ,tomb of ,don ,john of ,austria4 7,panteon of the ,infantes71 #ee ,view of the ,principal ,staircase of the ,monastery1 #ef ,library of the ,monastery1 #eg ,library of the ,monastery1 #eh ,library of the ,monastery1 #ei ,library of the ,monastery1 #fj ,golden ,,ms4 7#ajth ,century74 7,library of the ,monastery71 #fa ,prayer-book of ,isabella the ,catholic4 7,library of the ,monastery71 #fb ,songs of ,st4 ,mary4 ,,ms4 7#acth ,century7 belonging to ,alfonso the ,wise4 7,library of the ,monastery71 #fc ,latin ,prayer-book of ,ferdinand the ,catholic4 7,library of the ,monastery71 #fd ,mass-book of ,philip ,,ii4 7,library of the ,monastery71 #fe ,breviary of ,charles ,v4 7,library of the ,monastery71 #ff ,psalter of the ,emperor ,charles ,v4 7,library of the ,escorial71 #fg ,natural ,history of ,pliny the ,younger1 ,italian ,,ms4 of the #afth ,century4 7,library of the ,escorial71 #fh ,page #bch of the ,mass-book of ,isabella the ,catholic3 ,,ms4 of the #aeth ,century1 the ,vignette of which contains the name of the ,queen4 7,library of the ,escorial71 #fi ,first page of a ,hebrew ,bible3 precious ,,mss4 of the end of the #adth ,century4 7,library of the ,escorial71 #gj ,persian ,,ms41 the work of ,muhammed ,scham ,el ,din ,hapheth1 ,poet of the #adth ,century4 7,library of the ,escorial71 #ga ,manuscript of the ,year #ajej4 7,library of the ,escorial71 #gb ,virgil's ,poems3 ,,ms4 of the #aeth ,century1 written in ,spain4 7,library of the ,escorial71 #gc ,virgil3 ,manuscript of the ,year #iff4 7,library of the ,escorial71 #gd ,virgil3 ,manuscript of the ,year #iff4 7,library of the ,escorial71 #ge ,the ,apocalypse of ,st4 ,john3 ,manuscript of the #aeth ,century1 7,library of the ,escorial71 #gf ,two pages of the ,koran of ,muley ,zidan1 ,emperor of ,morocco in #aeid4 7,library of the ,escorial71 #gg #8,the ,tree of ,love1' written in #abhh4 7,library of the ,escorial71 #gh ,persian ,manuscript1 the work of ,muhammed ,scham ,el ,din ,hapheth1 ,poet of the #adth ,century4 7,library of the ,monastery71 #gi ,mass-book of ,isabel the ,catholic1 ,manuscript of the #aeth ,century4 7,library of the ,escorial71 #hj ,frontispiece of the ,koran of ,muley ,zidan1 ,emperor of ,morocco in #aeid4 7,library of the ,escorial71 #ha ,mass-book of the ,empress ,isabel1 ,mother of ,philip ,,ii4 7,library of the ,escorial71 #hb ,mass-book of ,philip ,,iii4 and ,queen ,margarita4 7,library of the ,escorial71 #hc ,greek ,manuscript of the end of the #adth ,century4 7,library of the ,escorial71 #hd ,breviary of ,philip ,,ii4 7#afth ,century74 7,library of the ,monastery71 #he ,mass-book and ,holy ,office of ,philip ,,ii4 7,library of the ,monastery71 #hf ,latin ,prayer-book of ,ferdinand the ,catholic4 7,library of the ,monastery71 #hg ,arabian ,manuscript 7,natural ,history74 7,library of the ,monastery71 #hh ,reading ,desk in the ,choir4 7,escorial71 #hi ,sacristy 7,monastery71 #ij ,paranymph of the ,college 7,monastery71 #ia ,our ,lord ,crucified1 sculptured in ,marble 7,monastery71 #ib ,interment of ,philip ,,ii4 7,monastery71 #ic ,chapter ,room 7,monastery71 #id ,chapter ,room 7,monastery71 #ie ,chapter ,hall 7,monastery71 #if ,presentation of the ,virgin at the ,temple1 attributed to ,van ,eyck 7,monastery71 #ig ,altar-piece of the ,santa ,forma1 painted by ,claudio ,coello4 7,sacristy of the ,monastery71 #ih ,embroidered ,altar-cloths4 7,from the ,sacristy71 #ii ,embroidered ,copes4 7,sacristy of the ,escorial71 #ajj ,casket of ,malachite and ,lapis-lazuli1 ornamented with engraved ,rock ,crystal4 7,relicario of the ,escorial71 #aja ,christ on the ,cross1 in ,wrought ,copper4 7,relicario of the ,escorial71 #ajb ,bronze ,lectern representing an ,eagle1 made at ,antwerp in #aega4 7,chapter ,hall of the ,escorial71 #ajc ,bronze ,lectern representing an ,angel1 made at ,antwerp in #aega1 by ,jean ,simon4 7,chapter ,hall of the ,escorial71 #ajd ,st4 ,michael overcoming the ,devil1 by ,pedro ,roldan4 7,chapter ,hall of the ,escorial71 #aje ,christ1 with the ,virgin and ,st4 ,john3 ,statues in ,marble4 7,the ,escorial71 #ajf ,gate of the ,santa ,forma4 7,sacristy of the ,monastery71 #ajg ,mirror in ,rock ,crystal4 7,sacristy of the ,escorial71 #ajh ,altar-piece of ,charles ,v41 in ,wrought ,copper 7,from the ,camarin of ,st4 ,theresa at the ,escorial71 #aji ,alabaster ,statue of ,st4 ,john ,baptist4 7,from the ,camarin of ,st4 ,theresa at the ,escorial71 #aaj ,inside ,cover of a ,reliquary which belonged to ,pius ,v4 #aeff-aegb4 7,from the ,camarin of ,st4 ,theresa71 #aaa ,reliquary of ,rock ,crystal4 7,from the ,camarin of ,st4 ,theresa71 #aab ,bone ,reliquary of the end of the #abth ,century4 7,camarin of ,st4 ,theresa71 #aac ,reliquary of ,wrought ,iron1 inlaid4 7,relicario of the ,escorial71 #aad ,reliquary of ,wrought ,iron1 inlaid4 7,relicario of the ,escorial71 #aae ,reception ,hall4 7,palace71 #aaf ,reception ,hall4 7,palace71 #aag ,view of the ,dining ,hall4 7,palace71 #aah ,view of the ,dining ,hall4 7,palace71 #aai ,ante-room4 7,casa del ,principe71 #abj ,hall of ,ambassadors4 7,palace71 #aba ,a ,room of ,philip ,,ii4 7,palace71 #abb ,memorial of ,king ,philip ,,ii4 7,the ,escorial71 #abc ,chairs of ,philip ,,iv4 7,palace71 #abd ,escutcheon of ,king ,philip ,,ii4 7,the ,escorial71 #abe ,buen ,retiro ,porcelain1 ,imitations of ,wedgwood4 7,the ,hall of ,china of the ,casa del ,principe71 #abf ,buen ,retiro ,porcelain1 ,imitations of ,wedgwood ,panels4 7,casa del ,principe71 #abg ,view of the ,dining ,hall4 7,casa del ,principe71 #abh ,the ,judgment of ,solomon 7,ivory74 7,casa del ,principe71 #abi ,the ,fisherman caught in the ,nets 7,ivory74 7,casa del ,principe71 #acj ,sculpture in ,ivory called #8,princesa de ,san ,severo4' 7,casa del ,principe71 #aca ,the ,adoration of the ,shepherds 7,ivory74 7,casa del ,principe71 #acb ,round ,table with a ,tray of ,svres ,porcelain4 7,casa del ,principe71 #acc ,table1 ,chair1 and ,porcelain from the ,royal ,works at ,buen ,retiro4 7,casa del ,principe71 #acd ,mary ,magdalene1 from the ,royal ,works at ,buen ,retiro4 7,casa del ,principe71 #ace ,buen ,retiro ,porcelain3 ,imitation of ,wedgwood4 7,casa del ,principe71 #acf ,top of a ,round ,table in ,svres ,porcelain4 7,casa del ,principe71 #acg ,the ,descent from the ,cross3 ,sculpture in ,ivory4 7,palace71 #ach ,ante-room of ,choice ,woods4 7,palace71 #aci ,chair of the ,emperor ,charles ,v4 7,palace71 #adj ,the ,emperor ,charles ,v41 the ,empress ,isabel1 his ,daughter ,maria1 his ,sisters ,eleonora1 ,queen of ,france1 and ,maria1 ,queen of ,hungary4 7,escorial71 #ada ,pompeian ,hall4 7,palace71 #adb ,oratory of ,choice ,woods in the ,ante-chamber4 7,palace71 #adc ,expedition to the ,azores4 7,hall of ,battles71 #add ,battle of ,higueruela1 #adca 7#ast ,section of the ,series of ,drawings74 7,hall of ,battles71 #ade ,battle of ,higueruela1 #adca 7#bnd ,section of the ,series of ,drawings74 7,hall of ,battles71 #adf ,battle of ,higueruela1 #adca 7#crd ,section of the ,series of ,drawings74 7,hall of ,battles71 #adg ,battle of ,higueruela1 #adca 7#dth ,section of the ,series of ,drawings74 7,hall of ,battles71 #adh ,battle of ,higueruela1 #adca 7#eth ,section of the ,series of ,drawings74 7,hall of ,battles71 #adi ,battle of ,higueruela1 #adca 7#fth ,section of the ,series of ,drawings74 7,hall of ,battles71 #aej ,battle of ,higueruela1 #adca 7#gth ,section of the ,series of ,drawings74 7,hall of ,battles71 #aea ,battle of ,higueruela1 #adca 7#hth ,section of the ,series of ,drawings74 7,hall of ,battles71 #aeb ,battle of ,higueruela1 #adca 7#ith ,section of the ,series of ,drawings74 7,hall of ,battles71 #aec ,battle of ,higueruela1 #adca 7#ajth ,section of the ,series of ,drawings74 7,hall of ,battles71 #aed ,fragment of the ,battle of ,higueruela1 #adca1 by ,granelo and ,fabricio4 7,hall of ,battles in the ,escorial71 #aee ,fragment of the ,battle of ,higueruela1 #adca1 by ,granelo and ,fabricio4 7,hall of ,battles in the ,escorial71 #aef ,fragment of the ,battle of ,higueruela1 #adca1 by ,granelo and ,fabricio4 7,hall of ,battles in the ,escorial71 #aeg ,surrender of the ,chatelet ,fort4 7,hall of ,battles71 #aeh ,the ,siege of ,han and ,surrender of its ,castle4 7,hall of ,battles71 #aei ,battle of ,gravelinas4 7,hall of ,battles71 #afj ,preparations for the ,battle of ,gravelinas4 7,hall of ,battles71 #afa ,taking of ,st4 ,quintin by the ,spanish ,infantry ,regiments4 7,hall of ,battles71 #afb ,battle before ,st4 ,quintin4 7,hall of ,battles71 #afc ,preparations for the ,siege of ,st4 ,quintin4 7,hall of ,battles71 #afd ,departure of the ,spanish ,army from the ,fortified ,place of ,st4 ,quintin4 7,hall of ,battles71 #afe ,the ,duke of ,alba reviewing his ,troops at ,cantillana4 7,hall of ,battles71 #aff ,effigies of all the ,kings of ,spain1 from the ,time of the ,goths1 until ,philip ,v41 taken from ,charts1 ,medals1 and ,paintings4 7,library of the ,escorial71 #afg ,pluto and ,proserpina1 by ,l4 ,giordano4 7,casa del ,principe at the ,escorial71 #afh ,allegory of ,africa1 by ,l4 ,giordano4 7,casa del ,principe at the ,escorial71 #afi ,phaeton struck by ,jupiter's ,thunderbolt4 7,casa del ,principe at the ,escorial71 #agj ,the ,battle of ,lepanto1 by ,l4 ,giordano4 7,reproduced from the ,fresco in the ,escorial71 #aga ,expedition to the ,terceire ,isle 7,azores74 7,fragment of a ,fresco ,painting in the ,hall of ,battles71 #agb ,apollo and ,mercury1 by ,peregrino ,tibaldi4 7,fresco on the ,arch of the ,library of the ,escorial71 #agc ,a ,sweet ,singer1 by ,watteau4 7,museum of the ,escorial71 #agd ,a ,love ,scene1 by ,watteau4 7,museum of the ,escorial71 #age ,philip ,,ii4 receiving a ,deputation from the ,low ,countries in the ,escorial1 by ,sant ,arcos1 #agf ,portrait of ,philip ,,ii4 at the age of #ga1 by ,antonio ,moro4 7,library of the ,escorial71 #agg ,second ,set of ,effigies of all the ,kings of ,spain1 from the ,time of the ,goths1 until ,philip ,v41 taken from ,charts1 ,medals1 and ,paintings4 7,library of the ,escorial71 #agh ,st4 ,isidore1 by ,corrado4 7,in the ,museum at the ,escorial71 #agi ,pan and ,misenus1 by ,peregrino ,tibaldi4 7,fresco of the ,arch in the ,library of the ,escorial71 #ahj ,homer and ,virgil1 by ,peregrino ,tibaldi4 7,fresco of the ,arch in the ,library of the ,escorial71 #aha ,solomon and the ,queen of ,sheba1 by ,v4 ,carducci4 7,fresco of the ,arch in the ,library of the ,escorial71 #ahb ,pindar and ,horace1 by ,peregrino ,tibaldi4 7,fresco of the ,arch in the ,library of the ,escorial71 #ahc ,the ,visitation1 by ,peregrino ,tibaldi4 7,fresco of the ,arch in the ,cloister of the ,escorial71 #ahd ,the ,marriage of the ,virgin1 by ,peregrino ,tibaldi4 7,fresco in the ,cloister of the ,escorial71 #ahe ,the ,annunciation1 by ,lucas ,cangiagi4 7,fresco in the ,cloister of the ,escorial71 #ahf ,triptych1 with ,paintings on ,vellum4 7,camarin of ,st4 ,theresa71 #ahg ,the ,seven ,capital ,sins1 by ,jerome ,bosch1 on ,wood4 7,in the ,room of ,philip ,,ii4 at the ,escorial71 #ahh ,the ,story of the ,passion3 ,diptych1 in ,ivory1 of the #acth ,century4 7,from the ,camarin of ,st4 ,theresa71 #ahi ,frieze of the ,staircase in the ,monastery1 representing the ,battle1 ,siege1 and ,capture of ,st4 ,quintin1 and the ,foundation of the ,monastery1 by ,l4 ,giordano1 #aij #8,la ,santa ,forma1' the ,masterpiece of ,claude ,coello4 7,sacristy of the ,escorial71 #aia ,the ,resurrection1 by ,peregrino ,tibaldi4 7,the ,cloister of the ,escorial71 #aib ,the ,interment of ,christ1 by ,tintoretto4 7,chapter ,hall of the ,escorial71 #aic ,jesus at the ,pharisee's ,house1 by ,tintoretto4 7,chapter ,hall of the ,escorial71 #aid ,the ,resurrection of ,our ,lord3 ,florentine ,school1 ,grey ,painting4 7,chapter ,hall of the ,escorial71 #aie ,the ,birth of ,our ,lord1 by ,tintoretto4 7,chapter ,room of the ,escorial71 #aif ,the ,annunciation1 by ,paul ,veronse4 7,chapter ,room of the ,escorial71 #aig ,porus brought before ,alexander the ,great1 by ,carlos van ,loo4 7,monastery of the ,escorial71 #aih ,the ,crown of ,thorns1 by ,jerome ,bosch1 on ,wood4 7,chapter ,hall of the ,escorial71 #aii ,triptych1 by ,jerome ,bosch4 7,chapter ,hall of the ,escorial71 #bjj ,triptych1 representing the ,terrestrial ,delights1 and the ,punishment of ,sin in ,hell1 by ,jerome ,bosch4 7,chapter ,hall of the ,escorial71 #bja ,portrait of ,charles ,v4 at the age of #dg1 by ,juan ,pantoja4 7,chapter ,hall of the ,escorial71 #bjb ,christ bringing forth the ,souls of the ,saints3 ,florentine ,school4 7,chapter ,hall of the ,escorial71 #bjc ,the ,washing of ,feet1 by ,tintoretto4 7,chapter ,hall of the ,escorial71 #bjd ,the ,nativity1 by ,josef ,ribera4 7,chapter ,hall of the ,escorial71 #bje ,the ,last ,supper1 by ,titian4 7,the ,escorial71 #bjf ,st4 ,christopher 7on ,wood71 by ,j4 ,patinier4 7,chapter ,hall of the ,escorial71 #bjg ,jacob receiving ,joseph's ,coat1 by ,velazquez4 7,chapter ,hall of the ,escorial71 #bjh ,the ,penitent ,magdalene1 by ,l4 ,giordano4 7,chapter ,hall of the ,escorial71 #bji ,mummy of ,charles ,v41 by ,v4 ,palmaroli4 7,the ,escorial71 #baj ,jacob guarding the ,flocks of ,laban1 by ,j4 ,ribera4 7,chapter ,hall of the ,escorial71 #baa ,the ,satyr ,marsyas flayed alive by ,apollo1 by ,l4 ,giordano4 7,chapter ,hall of the ,escorial71 #bab ,lot and his ,family1 by ,a4 ,vaccaro4 7,chapter ,hall of the ,escorial71 #bac ,the ,adoration of the ,magi1 by ,veronse4 7,chapter ,hall of the ,escorial71 #bad ,the ,chastisement of ,arachne1 by ,l4 ,giordano4 7,chapter ,hall of the ,escorial71 #bae ,alexander conquering ,darius1 by ,f4 ,solimena4 7,monastery71 #baf ,st4 ,maurice and other ,martyrs1 by ,el ,greco4 7,chapter ,hall of the ,escorial71 #bag ,queen ,esther1 by ,tintoretto4 7,chapter ,hall of the ,escorial71 #bah ,the ,annunciation1 and the ,birth of ,christ1 by ,coxcis4 7,chapter ,hall of the ,escorial71 #bai ,the ,holy ,trinity1 by ,j4 ,ribera4 7,chapter ,hall of the ,escorial71 #bbj ,vision of ,jesus to ,his ,mother1 by ,p4 ,veronse4 7,chapter ,hall of the ,escorial71 #bba ,the ,carnation ,gardener1 by ,f4 ,bayeu4 7,tapestry in the ,palace71 #bbb ,the ,water-seller1 by ,f4 ,bayeu4 7,tapestry in the ,palace71 #bbc ,the ,young ,bull at ,carabanchel de ,abajo1 by ,f4 ,bayeu4 7,tapestry in the ,palace71 #bbd ,promenade of ,las ,delicias1 by ,f4 ,bayeu4 7,tapestry in the ,palace71 #bbe ,the ,pork ,merchant1 by ,f4 ,bayeu4 7,tapestry in the ,palace71 #bbf ,departure for the ,hunt1 after ,p4 ,wouwerman1 by ,gines de ,aguirre4 7,tapestry in the ,palace71 #bbg ,descent from the ,cross4 7,r4 ,van der ,weyden71 #bbh ,child riding a ,sheep1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bbi ,a ,lady and her ,cavalier1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bcj ,country ,dance1 by ,f4 ,goya4 7,tapestry in the ,dining ,hall of the ,palace71 #bca ,casting of ,bullets in a ,forest1 by ,goya4 7,casa del ,principe1 ,escorial71 #bcb ,the ,kite1 by ,f4 ,goya4 7,tapestry in the ,escorial ,palace71 #bcc ,the ,washerwomen1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bcd ,young ,man with a ,bird1 and a ,bagpiper1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bce ,a ,promenade in ,andalusia1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bcf ,the ,china ,merchant1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bcg ,dogs in a ,leash1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bch ,the ,little ,giants1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bci ,the ,grape-sellers1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bdj ,the ,card-players1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bda ,the ,wood-cutters1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bdb ,children picking ,fruit1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bdc ,children climbing a ,tree1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bdd ,the ,see-saw1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bde ,the ,reapers1 by ,f4 ,goya4 7,tapestry in the ,palace71 #bdf ,tapestry after the ,pompeian ,style4 7,in the ,palace71 #bdg ,story of ,telemachus3 the ,dance of the ,nymphs4 7,gobelin ,tapestry in the ,palace71 #bdh ,story of ,telemachus3 ,neptune wrecking ,ulysses' ,vessel1 7,gobelin ,tapestry in the ,palace71 #bdi ,story of ,telemachus3 ,calypso4 7,gobelin ,tapestry in the ,palace71 #bej ,story of ,telemachus3 young ,telemachus4 7,gobelin ,tapestry in the ,palace71 #bea ,children playing at ,bull-fighting1 by ,f4 ,bayeu4 7,tapestry in the ,escorial ,palace71 #beb ,the ,gardens of ,buen ,retiro4 7,tapestry in the ,palace71 #bec ,st4 ,joseph and the ,child ,jesus4 7,casa del ,principe71 #bed ,the ,judgment of ,solomon1 by ,f4 de ,urbina4 7,ceiling in the ,prior's ,cell in the ,monastery71 #bee ,the ,virgin1 by ,corrado4 7,casa del ,principe71 #bef ,woman reading a ,letter1 by ,d4 ,teniers4 7,casa del ,principe71 #beg ,the ,conversion of ,st4 ,paul1 by ,l4 ,giordano4 7,casa del ,principe71 #beh ,apollo grieving over the ,death of his son ,phaeton3 ,buen-,retiro ,china4 7,casa del ,principe71 #bei ,the ,fall and ,death of ,julian the ,apostate1 by ,l4 ,giordano4 7,casa del ,principe71 #bfj ,the ,bagpiper1 by ,d4 ,teniers4 7,casa del ,principe71 #bfa ,st4 ,john the ,baptist1 by ,annibale ,caracci4 7,casa del ,principe71 #bfb ,a ,smoker1 by ,d4 ,teniers4 7,casa del ,principe71 #bfc ,the ,heliades1 ,daughters of the ,sun1 changed into ,poplars1 after the ,death of their brother ,phaeton3 ,buen-,retiro ,china4 7,casa del ,principe71 #bfd ,the ,conception of the ,virgin1 by an unknown ,artist4 7,casa del ,principe71 #bfe ,the ,holy ,family1 by ,raphael4 7,casa del ,principe71 #bff ,semiramis fighting the ,enemy1 by ,l4 ,giordano4 7,casa del ,principe71 #bfg ,the ,rape of the ,sabines1 by ,l4 ,giordano4 7,casa del ,principe71 #bfh ,allegory of ,america1 by ,l4 ,giordano4 7,casa del ,principe71 #bfi ,allegory of ,asia1 by ,l4 ,giordano4 7,casa del ,principe71 #bgj ,the ,dream of ,philip ,,ii41 by ,el ,greco4 7,chapter ,hall of the ,escorial71 #bga ,effigies of the different ,kings of ,spain1 #bgb ,effigies of the different ,kings of ,spain1 #bgc ,effigies of the different ,kings of ,spain1 #bgd ,the ,prince's ,room4 7,escorial71 #bge ,pompeian ,room4 7,escorial71 #bgf ,tower ,room 7,caseta de ,abajo74 7,escorial71 #bgg ,the ,royal ,palace and ,monastery3 plan and section1 #bgh ,,the ,,escorial ,i ,,philip ,,ii4 ,,and ,,the ,,escorial ,buildings1 like poems or pictures1 reflect the character of those who conceive and produce them4 ,the ,escorial may be likened to a document or a painting revealing the temperament1 the aspirations1 and the philosophy of a powerful1 sombre1 and withal1 fascinating personality4 ,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 erection1 extension1 improvement1 and internal adornment of an immense and costly pile1 comprising within its walls a monastery1 a church1 a burial-fane1 a palace1 a college1 and a gallery of the arts4 ,the ,escorial was a place of retirement1 an imposing hermitage for the devout and moody ,philip ,,ii4 of ,spain4 ,it is a monument to his power1 a revelation of his mind2 and1 if we study the edifice1 we shall learn what manner of man he was who founded it4 ,ferdinand and ,isabella consolidated ,spain into one great empire1 and under their grandson1 ,charles ,v41 the nation advanced in greatness1 until it held sway over vast regions of the ,new ,world4 ,when the ,emperor ,charles yielded sovereignty1 in #aeef1 the sceptre passed to his son1 ,philip4 ,two years after1 upon the death of the ,emperor 7,sept4 #ba1 #aeeh71 ,philip ,,ii4 became ruler over the whole of the ,spanish dominion at home and abroad4 ,the heir of ,charles ,v4 was born at ,valladolid on ,may #ba1 #aebg4 ,his mother was the ,empress ,isabella1 daughter of ,emanuel the ,great of ,portugal1 and by his father he descended from ,charles the ,bold of ,burgundy4 ,under the tutorship of ,juan ,martinez ,siliceo1 the young prince received his education at the celebrated ,university of ,salamanca4 ,he excelled in knowledge of the classics1 and exhibited considerable linguistic talent1 for he was able to write in ,latin with facility and possessed an acquaintance with ,french and ,italian4 ,architecture1 painting1 and sculpture interested the youth1 and he studied mathematics4 ,his royal mother died when ,philip was twelve years old4 ,four years later the prince was betrothed to the ,infanta ,mary1 daughter of ,john ,,iii4 of ,portugal and ,catherine1 sister of the ,emperor ,charles ,v4 ,in #aedc this desired alliance with ,portugal was confirmed by the marriage of ,philip to his cousin1 the ,infanta1 in the city of ,salamanca4 ,shortly after the ceremony1 the young pair went to reside in ,valladolid1 and here was born to them a son1 ,don ,carlos1 whose mysterious death in captivity at the age of twenty-three remains unexplained4 ,in giving birth to her first child1 the princess lost her life4 ,before the rejoicings of the nation at the birth of a prince were at an end1 the country was startled by the death of the young mother1 and gaiety was suddenly changed to mourning4 ,from the ,cathedral of ,granada1 where the body of the ,princess ,mary was buried1 the remains were afterwards removed to the stately mausoleum of the ,escorial1 the resting-place for the bones of the royal family of ,spain1 which was erected by ,philip many years later4 ,in #aeed ,philip ,,ii41 not yet a sovereign1 married ,mary of ,england4 ,the union was arranged by his father1 ,charles ,v41 and for a time the prince lived in ,england with his bride4 ,he was1 however1 called upon to attend the ,emperor in ,flanders1 and was absent from ,mary until #aeeg1 when he again visited ,england4 ,his stay was a brief one1 for he was summoned in less than four months to the ,netherlands4 ,in the following year ,queen ,mary died4 ,upon the accession of ,elizabeth to the throne of ,england1 ,philip of ,spain received her assurances of amity4 ,not many weeks after the burial of ,mary1 ,philip directed ,feria1 his ambassador in ,england1 to propose1 on his behalf1 a matrimonial as well as a political alliance with ,elizabeth4 ,the queen replied that she must consult ,parliament upon the subject1 and that #8should she be induced to marry1 there was no man she should prefer to him4' ,philip wrote an affectionate letter to ,elizabeth1 declaring that he longed for the success of his ambassador's mission4 ,the ,protestant ,reformation1 which swept over ,england1 was1 however1 a sufficient bar to the marriage of ,philip and ,elizabeth4 ,philip expressed his disappointment when the final answer was received from ,england1 but he still protested his friendship for ,elizabeth1 and hoped that amicable relations would continue between the two nations4 ,in #aeei ,philip married the ,princess ,elizabeth of ,france4 ,it had been proposed that the princess should marry ,don ,carlos1 the son and heir of ,philip2 but1 for diplomatic reasons1 it was considered more expedient that ,elizabeth1 who was only fourteen years of age1 should wed with the king4 ,the proposal came from ,france1 and in reply to it1 the ,spanish envoys avowed that #8notwithstanding their master's repugnance to entering into wedlock1 yet1 from his regard to the ,french monarch1 and his desire for the public weal1 he would consent to waive his scruples and accept the hand of the ,french princess with the same dowry promised to his son ,don ,carlos4' ,tragedy attended the wedding festivities of ,philip and ,elizabeth of ,france4 ,in the course of a tournament1 arranged by ,henry1 father of the princess1 a challenge was sent by that monarch to ,lord ,montgomery1 a ,scottish nobleman and captain of the king's guard1 renowned for his feats of arms4 ,the queen begged the king to refrain from the encounter1 but ,henry commanded the unwilling ,montgomery to prepare for the combat4 ,at the first encounter the ,scot pierced the visor of his opponent2 the lance splintered1 and a piece of it penetrated the eye of the king1 who was borne from the arena by his attendants seriously wounded and unconscious4 ,for ten days he lay in pain1 and died on ,july #aj1 #aeei1 of his injury4 ,his queen1 ,catherine de ,medici1 thus saw the fulfilment of her foreboding when she vainly besought the valorous ,henry to abstain from further jousting4 ,the battle of ,st4 ,quintin1 in ,august #aeeg1 which saw the triumph of the ,spanish arms over the ,french1 was an event of extreme moment1 and was the source of ,philip's resolve to erect the ,escorial4 ,in this engagement the ,duke of ,savoy1 at the head of the ,spanish troops1 ,d',egmont1 in command of the ,dutch and ,german horsemen and infantry1 and ,lord ,pembroke with his force of ,british soldiers1 defeated the army of ,france1 and killed three thousand men4 ,during the height of the battle1 which was fought on the day dedicated to ,san ,lorenzo1 ,philip besought the assistance of that saint1 and vowed that if aid were vouchsafed1 he would build a mighty and permanent monument to the deliverer4 ,the ,french general was the ,duke de ,nevers1 who was assisted by the ,constable of ,france1 ,montmorency4 ,to ,coligni1 the great admiral1 was given the task of augmenting the garrison of ,st4 ,quintin4 ,the troops of ,france were nevertheless greatly outnumbered by the ,spanish forces4 ,flemings1 ,englishmen1 and ,spaniards1 in combined array1 made desperate assault upon the defenders of ,st4 ,quintin4 ,in a last rally the ,french formed squares1 but the artillery of the ,duke of ,savoy broke up their ranks4 ,montmorency was among the prisoners who were seized by the ,spanish1 and it is recorded that he was treated with considerate courtesy4 ,it is probable that another motive in addition to gratitude to ,san ,lorenzo actuated ,philip ,,ii4 in building the monastery of the ,escorial4 ,he was under an obligation by the will of ,charles ,v4 to erect a royal burial-place1 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 mausoleum1 and to provide a retreat for himself in the closing days of his reign4 ,whatever may have inspired the resolution1 it is quite evident that the idea took passionate possession of the king's mind1 and that he spent vast treasure and much industry upon the work of rearing this extraordinary conglomerate pile4 ,the choice of a situation for the building accords with all that we know of ,philip's trend of thought and feeling in middle life4 ,he was not hasty in determining the position for the upraising of his monument4 ,the place must be solitary1 stern1 and amid impressive surroundings1 where nature is seen in a mood of perennial musing and melancholy4 ,no doubt the king wandered often in the wastes of ,castile1 among the rocks1 the treeless plains1 and the mountainous surrounding of ,madrid1 in quest of a suitable site for his hermitage and sanctuary4 ,it was necessary1 in a material sense1 that the district should produce an abundance of stone of a durable quality4 ,how ,philip came to fix upon this spur of the bleak ,guadarrama is not precisely known4 ,probably his conception of the ,escorial was that of an austere and plain building1 which should1 so far as possible1 resemble the natural surroundings1 and suggest a part of them rather than a contrast to their sternness4 ,the retreat was to be no palace of gilded luxury1 but a grim and majestic building consecrated to devotion1 penance1 and solemn reflection4 ,where could a more appropriate spot be found for the retirement of a recluse than among the encompassing crags1 defiles1 and peaks of the ,guadarrama ,mountains8 ,in ancient times iron had been worked in this desolate wilderness of ,castile4 ,the scori1 or refuse of the mines1 lay upon the hillsides1 and gave the name of #8,escorial' to this shoulder of the range4 ,after a search1 which had lasted two years1 ,philip concluded that no better situation could be desired4 ,in his decision he was assisted by experts in geology1 the science of health1 and the art of architecture4 ,the site was distant eight leagues from ,madrid1 and close to a hamlet known as ,escorial4 ,in the document written by ,philip respecting the founding of the monastery1 we read that1 inspired by gratitude to ,god for ,his benefits1 the king desired to establish churches and convents1 and to build a place of burial for his royal successors4 #8,for these considerations we are ,founding and building the ,royal ,monastery of ,san ,lorenzo1 near the town of the ,escorial1 in the diocese and archbishopric of ,toledo1 and we dedicate it to the blessed ,san ,lorenzo on account of the special devotion which we have to this ,saint1 and in memory of the victory which we gained on his feast-day4 ,we ,found it according to the ,order of ,st4 ,jerome because of the affection and devotion we have for this ,order1 and which the ,emperor and ,king1 our ,father1 had for the same4 ,besides this we have decided that a college shall also be ,founded1 where the arts and theology shall be taught1 and where some young men shall be brought up under the rule of a seminary1' etc4 ,philip purchased all the land required for the erection of the monastery before the work of clearing it was begun4 ,he took up residence on the site1 in rude temporary lodgings1 and followed with closest interest every detail of the designing and construction4 ,his chosen architect was ,juan ,bautista de ,toledo1 who had studied his art in ,rome and ,naples4 ,toledo was a native of ,madrid1 and in ,italy he had made his reputation by designing a palace at ,posilipo1 and the celebrated ,strada di ,toledo4 ,he was assisted in planning the ,escorial by ,lucas de ,escalante and ,pedro de ,tolosa4 ,the first stone was laid on ,april #bc1 #aefc4 ,toledo worked upon the ,escorial till #aefg1 when he died4 ,his scheme embraced the monastery for fifty ,hieronymite monks1 the royal residence1 the burial-chamber1 and the church4 ,juan ,bautista de ,toledo was succeeded by ,juan de ,herrera1 who enlarged the convent and designed a bell tower4 ,his assistant was ,juan de ,minjores1 who had executed the church of the ,alhambra1 and planned part of the ,alcazar of ,seville4 ,toledo's plan was ambitious and eccentric4 ,he was influenced by the ,renaissance ideals1 and he employed the ,doric style in its severest examples4 ,philip would have no luxurious decorations1 no flamboyant effects2 everything must be plain to austerity4 ,some critics have asserted that the simplicity of the ,escorial is impressive and noble1 while others complain of its rigidity and sombreness4 ,the plan of the building is in the shape of a gridiron1 to commemorate1 it is surmised1 the fate of ,san ,lorenzo1 who was roasted on a grid4 ,the handle of the gridiron is represented by the ,palace of the ,infantas2 the monastery1 the seminary1 and the royal apartments represent the bars of the implement upon which the saint was martyred4 ,it is evident that the architects were not allowed perfect freedom in their designs4 ,the king constantly inspected their plans1 corrected or improved them according to his own ideas1 and made numerous suggestions4 ,from his youth ,philip had displayed a love of architecture1 and there is no doubt that he was personally the inventor of many features of the ,escorial4 ,it has been related that he somewhat hampered the designers by his frequent insistence upon severity of style1 and by his interference in many details of the work4 ,the king often repaired to a rock commanding a view of the busy scene beneath1 where he would sit for hours1 watching the progress made by the great army of craftsmen and toilers4 ,a fear1 which was almost morbid1 assailed him at the dread thought that he might die before his scheme was brought to its completion4 ,his days were occupied in superintending the tasks of the architects1 artists1 and decorators1 and in pious meditation in his retreat4 ,sometimes he would roam with his gun1 in the surrounding grey wilderness1 unattended1 and buried in reflection4 ,his relations with the favourite painters of his retinue were of the friendliest order1 and he avoided the attitude of the mere patron4 ,with ,titian the king was very intimate1 and he would sit by the easel of ,coello1 watching the picture that grew upon the canvas4 ,the studio of ,coello adjoined the royal apartment1 and ,philip came frequently to converse with the painter4 ,he delighted also in the society of ,antonio ,moro4 ,to ,titian he paid large sums for his services1 and when the work was finished the king handsomely pensioned the artist4 ,when ,titian died1 the pension was continued to his son4 ,in #aegj ,philip married for the fourth time1 his bride being ,anne of ,austria4 ,a year later the queen gave birth to ,fernando1 who died at ,madrid at the age of seven1 and was buried in the ,escorial4 ,the body of ,don ,john of ,austria1 natural brother of ,philip1 was interred beneath the altar of the church in the following year4 ,in #aegd the remains of the illustrious ,emperor ,charles were transferred to the vaults of the ,escorial with much ceremony1 and at the same time several other royal coffins were removed to the newly-made royal resting-place4 ,during the solemn service a terrific storm destroyed the dais which had been erected for the ceremony1 and the splendid trappings that covered it4 ,besides the havoc of hurricanes1 the building twice suffered serious injury from fires4 ,the first broke out when the work was almost finished4 ,the cause of the conflagration was a lightning stroke1 and the flames raged for several hours1 creating consternation among the monks and the other inmates of the edifice4 ,when the fire was subdued1 the king had to grieve the destruction of the fine belfry and the loss of a costly peal of bells4 ,although the fabric was much damaged1 no lives were lost1 and several sacred relics were recovered uninjured4 ,the heavy cost of erecting the ,escorial increased the amounts paid in taxation1 and among the people of ,spain there was some discontent with the expenditure4 ,there was also disaffection upon one or two occasions among the mechanics employed upon the building4 ,the cause1 or the effect1 of this insubordinate feeling was the rumour that ,satan in the guise of a hound with wings prowled about the corridors in the dark4 ,a friar hearing certain gruesome sounds during matins1 went out to investigate the cause of the disturbance1 and discovered a stray dog wandering in the building4 ,the dog was promptly hanged1 and his carcass exposed on the exterior of the edifice2--proof positive that the mysterious visits were at an end4 ,it is interesting to learn that a party of ,japanese delegates came to request an audience of ,philip in the year #aehb4 ,the ,jesuits had made several converts in ,japan1 and it was proposed to ordain some of these as priests4 ,but the papal sanction had to be obtained1 and the ruler of ,japan sent an embassy to the ,pope4 ,before going to ,rome1 these representatives came to ,spain and paid reverence to ,philip1 who entertained them cordially4 ,in #aehf the king was busy with preparations for the ceremony of consecrating the church of the ,escorial1 which had been completed some time previously4 ,during the erection of the church1 services were held in a temporary structure1 and in this building there was a celebration of the mass before the procession entered the new church4 ,philip1 the prince1 and several great clerics supported the canopy which was carried in the solemn pageant4 ,the temporary church1 which stood in the hamlet1 was afterwards reconstructed1 and placed at the service of the people4 ,about the year #aehb the king was seized with a distemper of an epidemic character1 and was so prostrated that he prepared himself for death1 and wrote his will4 ,but his disorder1 although dangerous1 was not fatal1 though the queen1 who was also attacked1 died in this same year4 ,she was interred among other royal persons in the ,escorial4 ,the death of ,philip ,,ii4 occurred in #aeih4 ,he was indisposed at ,madrid1 and desired to be at once removed to his beloved ,escorial4 ,so severe was his illness that it was necessary to bear him thither slowly in a litter4 ,six days were spent in conveying the stricken monarch over the eight leagues from ,madrid to the palace among the ,guadarrama ,mountains4 ,for fifty days the king lay in suffering4 ,it was his wish to see every part of the building before he died1 and he was borne slowly through the palace1 the church1 the convent1 and the college4 ,philip was patient and resigned in the contemplation of the last hour of his life4 ,he evinced his zeal in piety to the end1 and ordered the release of certain prisoners as a final act of mercy4 ,when death approached1 the king asked that the prince and ,isabella might attend at his bedside1 and to them he exhorted holiness1 and spoke of the vanity of ambition and the insecurity of power4 ,on ,september #ac ,philip ,,ii4 partook of the last sacrament1 and passed away4 ,so died the ,founder of the ,escorial1 and the initiator of the great work which the ,spanish people claimed as one of the chief wonders of the world4 ,he had lived to see the realisation of his desire4 ,year by year he had watched the development of his plans1 the building of the monastery1 the uplifting of the church1 and the establishment of a court and a college in this remote ,castilian highland4 ,the hours of his retirement had been devoted to the gratification of his taste in the arts1 to contemplation1 and to penance4 ,like ,solomon1 he had surrounded himself with objects of priceless worth1 and he passed his days in an atmosphere of beauty4 sthetic1 and at the same time ascetic1 ,philip seemed possessed of a dual nature in which rival forces constantly contended4 ,if his mind was marked by gloom1 it was relieved by his passion for art and by his love of the simple pleasures of a country life4 ,nor was the king apparently devoid of a capacity for enjoying occasionally the conventional gaieties of life1 for among his numerous retinue1 he maintained a fool1 or royal jester1 one ,miguel ,d',antona1 a grotesque dwarf1 with an ugly1 humorous countenance4 ,the ,escorial was a royal hobby4 ,but for us it is something more1 for it illustrates in divers ways the thought1 fancy1 and idiosyncrasy of an enigmatic personality4 ,and more than this1 the building instructs us in the temper of a memorable age1 profound in faith1 zealous in patriotism1 and conspicuous in martial valour4 ,an inspection of the ,escorial is as the reading of a long and remarkable chapter in the history of ,spain4 ,in accordance with his father's wishes1 ,philip ,,iii4 began to build the present burial-vaults soon after his accession to the throne4 ,he did not live to see the completion of the work1 which was continued during the reign of ,philip ,,iv4 ,the construction was1 however1 delayed through the attitude of the overseer of the works1 who objected to the expenditure of so large a sum of money from the national exchequer2 but under the monk ,nicolas1 the ,panteon was at length made ready1 in #afed1 for the reception of the coffins of members of the royal families4 #8,no monarchs of the earth1' writes a chronicler1 #8have a mausoleum comparable to this of the ,escorial1 which to the glory of ,spain was conceived by ,charles ,v41 undertaken by ,philip ,,ii41 carried on by ,philip ,,iii41 and completed by ,philip ,,iv4' ,the second devastating fire at the ,escorial broke out in #afga1 and was supposed to have been caused by the fall of a rocket during a firework exhibition1 following upon a day of rejoicing4 ,the ,english translator of the works of ,francisco de los ,santos states that the fire #8ruined and destroyed' the edifice1 but this is an exaggeration1 though the damage was very great4 ,it is said that the flames were not quenched for fifteen days1 and that the peal of bells was melted4 ,the queen-regent1 ,anne of ,austria1 restored the ,escorial in #afgf1 and provided it with a new set of bells4 ,another disaster might have befallen the ,monasterio in #agee1 when ,lisbon was levelled by the great earthquake1 but1 fortunately1 only a shock was perceived by the inmates of the building4 ,charles ,,iii4 made a few additions to the ,escorial1 and his son proposed the addition of a bull-ring2 but the king1 upon hearing of this project1 forbade the work1 and the prince contented himself with erecting a caseta or villa1 which was named de ,abajo4 ,it was at the ,escorial that ,charles ,,iv4 unearthed a plot concocted by the queen1 ,godoy1 and ,prince ,fernando1 with the object of betraying ,spain to ,france4 ,the prince was placed in confinement at the ,monastery1 and his tutor and other members of the royal household were also imprisoned4 ,it is probable that ,canon ,escoiquiz1 one of the ,court1 was in treaty with ,napoleon's representatives4 ,fernando was tried and pardoned1 though his part in the conspiracy seemed to admit of no doubt4 ,in #ahjg the ,french troops stormed the ,monasterio1 which was defended by the priest ,ruiz1 who lost his life in the assault4 ,the monks were expelled by the ,french1 but allowed to occupy an adjacent building4 ,terrible pillage succeeded the capture of the ,escorial1 and much of its treasure was looted and sent to ,france4 ,after the ,peace the brethren returned to the ,monastery1 and the ,french restored some of the plundered works of art4 ,there was a restoration of the building under ,ferdinand ,,vii41 the completion of the work being celebrated on the day of ,san ,lorenzo4 ,upon the death of the king many of the pictures were transferred from the ,escorial to ,madrid4 ,in #ahdf ,isabella ,,ii4 married her cousin1 ,francisco de ,assisi1 at the ,escorial1 and upon the same day her sister was united to the ,duc de ,montpensier4 ,during the cholera epidemic at ,madrid1 in #ahef1 the inmates of the ,escorial were almost free from the disease1 proving beyond doubt that the position of the place among the mountains is extremely healthy4 ,in the summer of #ahfa the first train from ,madrid arrived at the ,escorial4 ,there are several historians of the ,real ,monasterio4 ,friar ,juan was probably the first writer on the subject1 though his ,memoirs1 written in #aeif1 have not been printed4 ,father ,sigenza prepared a chronicle of the ,escorial in #afje2 and in #afih a work was issued by ,jimenez2 ,santos also wrote in the same year4 ,ponz was the chronicler in #aghh4 ,after a lapse of thirty years1 ,bermejo wrote upon the building1 and since #ahdc the historians have been ,alvarez1 ,madoy1 ,ramajo1 and ,rotondo4 ,the last writer took extreme pains in collecting an immense amount of information upon the ,escorial and its history4 ,his huge volume1 which appeared in ,madrid about #ahfc1 is a classic upon the subject4 ,among the earlier writers1 perhaps the most interesting is ,franciso de los ,santos1 whose work was published in ,madrid in #afha1 under the title1 ,descripcion del ,real ,monasterio de ,san ,lorenzo del ,escorial4 ,,ii ,,the ,,escorial ,,from ,,without ,the ,real ,sitio1 or ,real ,monasterio de ,san ,lorenzo del ,escorial1 is1 as we have seen1 a great combination of fabrics1 consisting of a convent1 a seminary1 a palace1 a church1 and a panteon4 ,it is therefore scarcely correct to speak of the structure as the #8,palace of the ,escorial1' for the royal apartments form but a part of the building4 ,san ,lorenzo1 to whom ,philip ,,ii4 dedicated the mighty monument1 was by birth an ,aragonese from the town of ,huesca4 ,it is not necessary here to relate his history4 ,his cruel martyrdom occurred in the time of ,valentianus1 ,a4,d4 #bfa1 and it was upon the feast day of the saint that ,spain gained the great victory over the ,french at ,st4 ,quintin in ,picardy4 ,a chronicler of the period of ,philip ,,ii4 has declared that3 #8,it is impossible to properly describe the grace1 the ornaments1 the grandeur1 and the majestic harmony1 that one remarks in this entire edifice4444 ,to write a description of it is an impossible task for me1 whilst ,i could never tire of admiring it2 for the rest1 this is what always happens when one tries to describe architecture and the arts4' ,this limitation in adequate expression is one of the penalties of such a task as the present work4 ,the mere detailing of all parts of the ,escorial would be very laborious and beyond the limit of present space1 and the result might prove quite uninteresting to the non-technical reader1 and possibly of no great service to the visitor4 ,there are1 however1 certain conventional methods of description which can be scarcely avoided in an account which aims at conciseness and accuracy4 ,let us then begin by stating that the ,western or ,principal ,frontage is #gdd feet long and #gb feet high1 and that the towers at either end are #bjj feet in height4 ,the chief entrance is in the centre of the faade1 and it is known as the ,portico ,principal del ,monasterio4 ,supporting the cornice are eight ,doric columns1 and a door1 #bj feet high and #ab feet wide1 is placed between the central columns4 ,the door is white1 with huge copper-gilt studs and knockers4 ,surrounding the door are the enormous blocks of stone1 which were carried here upon specially constructed wains1 drawn by forty-eight pairs of oxen4 ,the panels on each side of the doorway are decorated with gridirons in relief1 as symbols of the martyrdom of ,san ,lorenzo4 ,monegro's figure of ,san ,lorenzo1 huge1 and carved in stone1 stands above the door4 ,the head and the hands are of ,andalusian marble4 ,monegro is said to have asked the sum of #bj1ijj reales for carving this effigy1 and other #ggjj reales for the arms of ,spain carved below the statue4 ,of the other doors1 one leads to the cellars1 the lower cloisters1 and the kitchens1 and the other to the ,colegio4 ,their character is simple1 and they are constructed of large blocks of stone1 after the plan of the chief entrance4 ,the ,vestibule is about #hj feet wide1 and leads into the ,patio de los ,reyes1 or ,court of the ,kings4 ,to the right of the ,vestibule are the ,libraries1 the ,refectory1 and the ,convent1 and on the left is the ,college4 ,the walls of the ,patio are decorated with pilasters1 and there are many fine windows to the apartments4 ,six statues of the ,reyes de ,judea stand in the ,court1 the work of ,monegro1 who used granite for the bodies and marble for the head and hands1 as in the case of the effigy of ,san ,lorenzo1 above the main gateway4 ,the statues represent ,jehosaphat1 ,hezekiah1 ,david1 ,solomon1 ,josiah1 and ,manasseh1 but they are not works of the highest order4 ,the first king has a chopper1 and there are a ram and loaves of bread by his side2 while the second has also a ram1 and in his hand a large incense box4 ,david is appropriately supplied with a harp and a sword1 and the symbol of ,solomon is a volume4 ,josiah also holds a book1 and ,manasseh a compass and square4 ,these ,kings of ,israel are chosen because they each directed the work of building and beautifying the ,temple4 ,the general plan of the ,escorial is a parallelogram of #cjjj feet in circumference and #ejj1jjj square feet4 ,this massive pile is everywhere severely uniform1 though its rigidity is relieved by the towers of the ,monastery1 the charming gardens of the palace with their fine arches1 and by the spires and doorways4 ,the granite employed in the building is of a light colour1 and is1 for the most part1 highly polished4 ,there are four faades4 ,we have inspected the western or principal frontage1 and we may now pay some attention to the east front1 which bears points of resemblance to that of the south4 ,one curious feature of the eastern faade is the celebrated staircase1 described by ,don ,antonio ,rotondo as one of the most curious pieces of architecture in the whole edifice4 ,the doorway leading to the gardens was originally intended as an arcade1 and it is a noteworthy example of architectural skill4 ,the appearance of the east front is marred by the unattractive exterior of the ,capilla4 ,on the north side is the chief approach to the palace1 and here is the small door by which the royal tenants entered their apartments up to the time of ,charles ,,iv4 ,the finest external aspect of the ,escorial is on the southern side4 ,it is simple and bold1 and from it is gained one of the most interesting views of the pleasure-grounds below4 ,the first stone of the edifice was laid here4 ,a gallery on this side was used for convalescents from the ,infirmary1 being sheltered from the rays of the sun1 and here the monks1 who were recovering from illness1 took gentle exercise in the open air4 ,there are two corridors1 or promenades1 each about #ajj feet in length1 one above the other1 and supported by arches4 ,some of the decorative work here is by ,juan de ,mora4 ,the impression conveyed by the ,escorial at first sight is that of its colossal proportions1 while one's second impression is of austerity and uniformity in design4 ,henry ,o',shea is right in saying1 in his ,guide to ,spain and ,portugal1 that #8to understand the ,escorial it is necessary to have studied deeply and most impartially the character and genius of its founder2 for this is not a monument which is the expression of an age or a people1 but bears the stamp of a man of a special train of thought and feeling4' ,o',shea states that #8the ,monastery of the ,escorial is the key to ,philip's character1 never1 as yet1 perfectly understood by historians4' ,carl ,justi1 in a somewhat severe criticism of #8the rigid geometrical design' of the building1 says that it #8looks at us with petrifying effect1' though he admits that the harmony of the pile with its surrounding landscape gives it a peculiar beauty4 ,some of the older writers upon the ,royal ,monastery of ,philip ,,ii4 fervently praise the majesty of the great monument4 ,the ,countess ,d',aulnoy1 in her ,letters from ,spain1 in #afgi1 wrote that the apartments of the king and queen at the ,escorial were not stately1 and that ,philip1 when he founded the building1 intended it for a house of prayer and retirement1 #8the things he took most care to adorn' being the ,church and the ,library4 ,in the words of ,george ,thompson1 translator of ,frey ,francisco de los ,santos's work upon the ,royal ,palace of the ,escorial1 the edifice is #8an astonishing work1 in which the most prudent monarch ,philip the ,second offered to ,god a heaven on earth2 to the illustrious ,spanish martyr ,st4 ,lawrence a temple of divine magnificence1 to his ancestors1 a ,christian mausoleum2 to the ,hieronymite recluses an august habitation2 and to the world a structure which it can never sufficiently admire4' ,in the eyes of the ,spanish subjects of ,philip1 the ,real ,monasterio1 or ,real ,sitio 7,royal ,residence71 constituted the #8eighth wonder of the world4' ,such a magnificent palace had not been seen in ,spain since the palmy days of the ,moorish potentates of ,granada and ,cordova4 ,in no sense1 however1 could the ,escorial be likened to the buildings of ,morisco genius4 ,it was eminently ,christian in its conception and plan1 and in its dedication to ,san ,lorenzo1 the martyr of the gridiron4 ,the style was late ,renaissance1 uninfluenced by the ancient ,oriental spirit1 and owing its inspiration chiefly to the ,doric designers1 though the ,gothic influence is of ,france4 ,if the exterior of the ,escorial suggests in turn a sombre fortress1 a mournful and gaunt hermitage1 or a forbidding prison1 it still impresses us as a very remarkable work of architecture4 ,one must not look for the richly ornate1 the flamboyant1 and that prodigality of decoration which characterise many of the later public buildings of ,spain4 ,huge1 marked with the personality of the founder1 menacing1 and yet not without the nobility of plainness1 the great creation of ,philip ,,ii4 is beyond doubt one of the world's greatest edifices4 ,to some observers it has brought a vague sense of depression when viewed upon a grey day amid its bleak surroundings2 but the atmosphere of the place is far from unimpressive1 for it is pregnant with memories1 and vivid with dramatic passages in the lives of kings and their queens1 courtiers1 artists1 friars1 and the long train of inmates who lived within the stern granite walls4 ,moreover1 as a museum1 the ,escorial is of supreme interest4 ,it contains a wealth of wonderful works of art1 and a superb library of costly books and old manuscripts4 ,the galleries1 courts1 and gardens of the building undoubtedly soften the aspect of the walls and the solemn towers4 ,flowers adorn the terraces3 there are pleasant seats and niches1 with shady walks between high box-hedges and splashing fountains4 ,from the ,lonja 7the terraces7 one looks upon varied vistas of the plain1 the frowning mountains1 the quaint flower-gardens1 the ponds1 and the wooded slopes1 where there are ,english elms and beautiful chestnut-trees4 ,in the surrounding demesne1 there are several points of interest4 ,one of these is the #8,king's ,chair1' among the rocks1 where ,philip sat to view the building of the monastery4 ,we may also wander to the #8,queen's ,belvedere1' or climb the boulders of ,castejon4 ,not content with the vast accommodation of the ,escorial1 ,philip caused certain small houses1 or places of retreat1 to be built in the vicinity4 ,one of these1 called ,la ,granjilla1 was surrounded by exquisite gardens1 which were adorned with many fountains4 ,the streams and tanks provided fish for the royal table4 ,another lodge was the ,campillo1 which the king erected in a magnificent and lonely situation among the hills4 ,this house was afterwards altered by ,philip ,,iv4 ,,iii ,,the ,,church ,from the point of view of architectural beauty1 the ,church of the ,escorial is the finest of the several buildings within the walls4 ,the eye is at once arrested by the tall towers on either side1 the immense dome1 with its superimposed massive lantern and cross1 and the portals of the vestibule4 ,as for the height of the towers1 it is safe to say that they are considerably over #bjj feet1 though writers variously give the height as #bfj feet and #bgj feet4 ,the structure is of granite throughout1 huge in its plan1 and severe in its ,doric simplicity4 ,the tower on the right has a clock and a peal of bells4 ,each of the belfries has a platform with a balustrade1 and the cupolas have a lantern tower1 with several windows1 and a lesser cupola above1 crowned by a spire4 ,on the top of the spire are a ball1 a cross1 and a weathercock4 ,these towers are perhaps the most ornamental parts of the whole pile4 ,before the ,church1 or ,templo1 is the handsome ,vestibule1 with five arches1 each having a door4 ,the total number of the portals is ten4 ,there is a decorated dome to the ,vestibule1 and doors leading to the ,monastery and the ,college4 ,the chief door of the ,church is in the centre1 and it is only opened to admit members of the reigning family of ,spain4 ,we enter the main edifice by a small door4 ,upon black marble1 in letters of copper1 is a ,latin inscription setting forth that #8,philip1 ,king of all the ,spains1 of the two ,sicilies1 and of ,jerusalem1 laid the first stone of this church on the feast of ,san ,bernardo1 #aefc3 the divine offices were first celebrated on the ,eve of the feast of ,st4 ,lawrence1 #aehf4' ,the right door has the following legend3 #8,philip ,,ii41 ,king of all the ,spains1 of the ,sicilies1 and of ,jerusalem1 had this church piously and solemnly consecrated by the nuncio of ,his ,holiness1 ,camilli ,cojot of ,alexandria1 on ,august #cjth1 #aeie4' ,the ,coro ,bajo1 or ,lower ,choir1 is the first part of the church upon entering from the ,vestibule4 ,it is paved with marble1 and has a gallery1 balconies1 and two rows of stalls4 ,a variety of woods were used in the stalls1 such as box1 cedar1 walnut1 and ebony1 and the designs were drawn by ,herrera1 who directed the work of ,flecha the decorator4 ,under ,flecha four ,spanish carvers assisted in the work of cutting the thistle leaves and the beautiful mountings of the choir stalls4 ,the ,prior's seat is especially decorative2 and one stall1 wider than the others1 was used by ,philip ,,ii4 ,a fine lectern of jasper and marble1 supported by bronze pilasters1 stands in the ,choir4 ,in a small shrine upon the structure1 formed by columns1 is an effigy of the ,virgin4 ,the cross of this structure is of the wood from which ,philip's coffin was made4 ,in height the lectern is sixteen feet4 ,near the ,prior's seat is an altar with a ,crucifix1 and close by we shall find two paintings of ,our ,lady and ,san ,juan1 by ,navarrete1 sometimes called ,el ,mudo4 ,this painter was influenced by the ,venetian tradition1 though it is doubtful whether he worked under ,titian4 ,in #aefh ,navarrete was invited by ,philip to the ,escorial1 where he executed some work upon the high altar4 ,a few years later the artist was commanded to paint other thirty-two pictures for the king4 ,el ,mudo was accused of indecorum in his work by representing angels with beards1 and this is shown by the contract with the high clerics of the ,escorial1 who laid down that3 #8,whenever the figure of a saint is repeated by painting it several times1 the face shall be represented in the same manner1 and likewise the garments shall be of the same colour1 and if any saint has a portrait which is peculiar to him1 he shall be painted according to such portrait1 which shall be sought out with diligence wherever it may be2 and in the aforesaid picture the artist shall not introduce any cat or dog or other unbecoming figure1 but only saints and such things as incite to devotion4' ,one of the wall paintings of the ,choir represents ,san ,geronimo1 or ,st4 ,jerome1 expounding the ,scriptures2 another shows him writing1 and a third depicts the interment of the saint1 ,san ,lorenzo1 while the ,pope is the subject of one of the frescoes1 which were painted by ,cincinato4 ,the pictures by ,lugato in this part of the church illustrate ,charity1 ,hope1 ,faith1 ,prudence1 and ,justice1 while others portray ,san ,lorenzo and ,san ,geronimo4 ,during the struggle with ,france many objects of art were removed from the ,choir4 ,the organs are exceedingly handsome4 ,one of them is said to be the finest in tone in the ,peninsula4 ,by the side of the chief choir are the lesser cross1 or choirs1 containing a small marble capilla4 ,the statue of ,san ,lorenzo was carved from a ,roman effigy1 which was headless and without limbs when it came into the possession of ,philip ,,ii4 ,giordano's ceiling is painted with episodes in the life of ,david4 ,this painter was a follower of the powerful ,ribera1 and his influence upon ,spanish art was somewhat detrimental1 for he imposed an alien style1 and produced works that example the decline of the ,spanish schools4 ,a hall behind the ante-choir is known as the ,library1 and here the music books are stored4 ,the books are very beautifully bound1 and written by masters of the art of caligraphy4 ,there are three pictures in this apartment3 the best is by ,navarrete1 a scene of the #8,crucifixion'1 with ,san ,juan and the ,virgin4 ,the work by ,herrera ,barnuevo is poor4 ,van ,bosch1 or ,el ,bosco as he was styled in ,spain1 painted the allegorical picture in this hall4 ,the #8,panteon de los ,reyes'1 the royal sepulchre1 was finished in #afed4 ,it was intended that it should be severely plain2 but after the time of ,philip ,,ii41 those who continued the work1 indulged their fancy for gilt decoration4 ,a portrait of ,father ,nicolas is seen as we enter the staircase of the vaults2 and after descending about a score of steps1 we reach the ,panteon de las ,infantas and the ,panteon de los ,infantes1 where rest the remains of the two sisters of ,charles ,v41 ,don ,john of ,austria1 and other royal persons4 ,this part of the royal vaults is not of especial interest architecturally1 and a more adequate place of sepulture is now being constructed4 ,the doorway of the vaults is of marble and bronze1 and there is a tablet with the following inscription3 #8,to the very good and very great ,god2 sacred spot dedicated by the piety of the ,austrian dynasty to the mortal remains of the ,catholic kings1 who await the desired day under the high altar consecrated to the ,redeemer of the human race4 ,charles ,v41 most glorious of the emperors1 resolved this place to be the last bed of himself and his lineage2 ,philip ,,ii41 the wisest of kings1 designed it2 ,philip ,,iii41 a monarch sincerely pious1 continued the work2 ,philip ,,iv41 great for his clemency1 his constancy1 and his devotion1 augmented1 adorned1 and terminated it in the year of the ,lord #afed4' ,the figures of ,italian bronze near the tablet1 symbolise ,humanity and ,hope4 ,from this point the descent to the tombs is made upon steps of marble1 with three landings1 until an octagonal chamber is reached4 ,a great candelabrum of bronze hangs here1 and there are relief figures of the ,apostles4 ,the decorations of this vault of jasper and marble were executed by ,fanelli4 ,the materials used for the altar in this chamber are black marble and bronze4 ,two lay-brothers of the ,escorial made the bronze ,entombment of ,christ4 ,in the niches rest twenty-six urnas containing the ashes of ,spanish sovereigns4 ,the kings are ,charles ,v41 ,philip ,,ii41 ,philip ,,iii41 ,philip ,,iv41 ,charles ,,ii41 ,luis ,i41 ,charles ,,iii41 ,charles ,,iv41 and ,ferdinand ,,vii4 ,on the left of the altar are the remains of ,isabella1 wife of the ,emperor ,charles1 ,anne of ,austria1 ,margaret1 ,isabel of ,bourbon1 ,mary ,anne of ,austria1 ,maria of ,savoy1 ,maria of ,saxony1 and ,maria ,luisa of ,bourbon4 ,ferdinand ,,vii4 used to attend ,mass at midnight in this damp1 chilling1 and sombre sanctuary1 where rest the bones of so many of his ancestors4 ,the construction of the church represents a large square1 and the pillars form a cross4 ,four immense square columns support the whole superstructure1 and surrounding these are twenty-four large arches4 ,the carved and gilded woodwork is the work of ,flecha1 an ,italian artist4 ,at the end of the lesser naves are domes1 eight in number4 ,the ,great ,dome has eight windows1 with ,doric columns1 and it is surrounded by a balcony4 ,an ascent can be made to the top of the dome1 where there are a large lantern1 a spire1 and a tall weathercock above the cupola4 ,the height from the ground is #ccj feet4 ,in the pyramidal spire1 ,philip ,,ii4 enclosed a case containing relics of ,st4 ,paul1 ,st4 ,peter1 and ,st4 ,barbara4 ,the pavement of the church is made of variegated marbles4 ,in the reign of ,charles ,,ii41 the vaulting of the principal dome was pointed1 but before the time of that monarch1 it was stuccoed1 and spangled with blue stars4 ,giordano was commissioned with the work of decorating this part of the building with eight frescoes4 ,these pictures are described by ,o',shea as #8hurried1 yet faithful1 and the colouring very fine1 though somewhat tarnished by damp4' ,later critics have1 however1 pointed out the traces of serious degeneration in the work of ,giordano4 ,among the paintings are the #8,adoration of the ,magi1' the #8,conception1' and the #8,last ,judgment4' ,jordaens was the artist selected to paint the works in the minor domes4 ,it has been stated that the frescoes were finished in seven months4 ,we need not describe each one in detail4 ,the dome in the chief nave has a #8,resurrection1' in which we see the ,saviour upon a throne of clouds1 with the ,holy ,mother by his side1 and from the tombs emerge the frames of the dead1 some of which ascend to ,paradise4 ,in the dome over the ,chapel of ,our ,lady there is a painting of the ,virgin in a chariot1 attended by maidens2 and in another dome the scene is from the ,old ,testament1 representing ,joshua's defeat of the ,amalekites4 ,the ,capilla ,mayor is notable for its ,doric features1 black marble pilasters1 bronze figures1 and the splendid high altar4 ,the chief chapel is approached by an arch on three pillars1 dividing it from the other parts of the edifice1 and the altar is of marble and jasper4 ,it was consecrated in #aeie by ,philip ,,ii41 in honour of the ,blessed ,san ,lorenzo1 and within were placed the relics of ,san ,pedro1 ,san ,tomas1 ,san ,sebastian1 and other holy personages4 ,the fine work on the screen cannot be well seen in the uncertain light2 but it merits close inspection for its scheme of exemplifying all the orders of pagan architecture in jasper and bronze4 ,upon one division of the altar screen are two paintings by ,tibaldi1 the #8,birth of ,christ1' and the #8,adoration of the ,magi4' ,tibaldi was a pupil of ,michael ,angelo2 but his productions have little of the spirit of his master1 and there is none of his work in the ,escorial upon which we can write with great enthusiasm4 ,the #8,flagellation1' by ,zuccaro1 is seen in the second or ,ionic section of the altar screen4 ,this is supposed to be the best work of the painter1 who came at the invitation of ,philip ,,ii4 to paint at the ,escorial1 in the place of ,paul ,veronese4 ,zuccaro's art was so inferior that his royal patron condemned most of his pictures2 and ,tibaldi1 a not very excellent substitute1 was bidden to repaint several frescoes4 ,finally1 the ,venetian painter was asked to leave the ,escorial4 ,pompeio ,leonius1 or ,leoni1 was the designer and caster of the metal statues that ornament the splendid screen1 though some of the work was intrusted to the artist's father1 ,leon ,leoni1 sometimes called ,arezzo4 ,these two natives of ,milan were retained by ,philip ,,ii4 to produce statues at the ,escorial1 and besides this work on the altar they produced the figures of ,charles ,v41 ,philip1 and other members of the ,royal ,house1 which stand between the centre columns4 ,these figures are of bronze gilt1 about thirteen feet in height4 ,the ,emperor kneels before an altar1 his head bare1 invoking the assistance of ,god4 ,isabella is by him1 and the other statues represent the ,empress ,maria1 and the ,princesses ,eleonora and ,maria4 ,on the other side are the figures of ,philip ,,ii41 ,anna1 ,isabella1 ,doa ,maria of ,portugal1 and ,don ,john of ,austria4 ,in the ,oratories there are some paintings by ,pantoja de la ,cruz1 who was a pupil of ,coello4 ,pantoja was a native of ,madrid2 he was ,court portrait painter to ,philip ,,ii41 and afterwards to ,philip ,,iii4 ,besides his work at the ,escorial1 he painted several canvases for the ,royal ,palace at ,madrid4 ,in one of the chambers of the ,oratories are the table and chair belonging to ,philip ,,ii4 ,the ,sanctuary has some frescoes by ,tibaldi1 depicting scenes from the ,old ,testament2 the fresco of #8,elias' was the artist's first picture for the ,escorial4 ,a handsome tabernacle demands notice1 both for its art and the fact that it was destroyed by the ,french1 and afterwards repaired by ,ferdinand ,,vii4 ,the work is by ,juan de ,herrera and ,giacomo ,trezzo of ,milan4 ,in the ,relicario few objects survived the plundering of the ,french2 but ,carducci's pictures of saints should be seen1 and a metal statue from ,messina is of interest4 ,a number of skeletons and precious bones of saints and pious persons are guarded in the ,relicario4 ,there are also a part of the gridiron upon which ,san ,lorenzo was martyred2 some pieces of the ,holy ,cross2 thorns from the crown of ,christ2 part of the garment of the ,holy ,mother2 a bone of ,st4 ,paul1 and many other treasures which cannot be enumerated4 ,in the ,ante-,sacrista the vaults were painted by ,granelo and ,fabricio3 a reputed ,andrea del ,sarto is here2 a painting by ,van der ,velde1 ,san ,juan by ,giordano1 and ,san ,geronimo by the vigorous ,spanish artist ,ribera1 the master of ,luca ,giordano4 ,the ,sacristy contains a number of paintings1 including a work by ,el ,greco1 the #8,dream of ,philip ,,ii4' ,this eccentric genius painted for some time at the ,escorial2 but his gifts were not fully appreciated by the royal patron1 who seems to have possessed a preference for the work of the ,italian romancists rather than the bold1 truthful productions of the stronger ,spanish ,school of painters4 ,in the hall will be seen several pictures by artists of ,spain3 among others are works by ,zurbarn and ,ribera1 while foreign painters are represented by ,tintoretto1 ,titian1 ,guido ,reni1 and ,paul ,veronese4 ,tintoretto's work was painted for a church in ,venice1 but came into the hands of ,king ,charles ,i4 of ,england1 and was purchased for ,philip ,,iv4 of ,spain after the downfall of ,charles4 ,the subject is #8,washing the ,apostles' ,feet4' ,some beautiful needlework is preserved in the ,sacristy1 designed by ,navarrete1 and worked by the monks4 ,the altar of the ,sacristy has carvings in marble upon the screen1 and a painting by ,coello1 containing portraits of several notable persons1 including ,charles ,,ii4 ,coello worked for about six years upon this picture1 which was first undertaken by ,rizzi1 who was overtaken by death during his labours4 ,surrounding all the altars of the church are paintings of more or less interest1 which principally demonstrate the ,italian influence4 ,luis de ,carbajal is the painter of several of these pictures4 ,he was the pupil of ,juan ,villoldo1 a very mannered artist1 and a follower of ,navarrete4 ,below the ,choir will be found a painting of ,carbajal1 #8,sixtus and ,st4 ,blasius1' and another of his works is in the ,capilla1 also representing saints4 ,navarrete1 ,coello1 and ,tibaldi1 are among the other painters of the altar-pieces in the various chapels4 ,the pulpits of the ,capilla ,mayor are very ornate4 ,they were made under ,ferdinand ,,vii4 from various marbles and stone1 with decorations of polished metal1 and the designs were prepared by ,urquiza4 ,,iv ,,the ,,royal ,,monastery ,on the south side of the church is the ,patio de los ,evangelistas1 the ,court of the ,evangelists1 a square of #aff feet1 with two-storied cloisters in the ,grecian style4 ,the ,hieronymite ,order of ,monks have always regarded the cloisters of their abbeys with the same reverence as the interior of the buildings1 and the galleries of the ,court of the ,evangelists are resorts for quiet meditation and devotion4 ,an ornamented1 vaulted ceiling is supported upon arches and pillars2 there are windows of tinted glass1 and wall pictures1 and a series of niches for altars4 ,in each of the niches or #8stations' the walls are adorned with paintings4 ,monegro's statues of the ,apostles are in the court1 and there are four fountains of marble and beds of flowers4 ,we have read that ,philip ,,ii4 desired his edifice to serve as a monastery for the ,order of ,san ,geronimo1 or ,st4 ,jerome1 who was the father confessor of the great warrior1 ,el ,cid4 ,charles ,v4 had spent the closing years of his life among the monks of ,san ,geronimo at ,yuste1 near ,plasencia1 and his son1 ,philip1 deemed it appropriate that the brothers of that order should inhabit and rule the ,escorial4 ,the first band of monks lived in a temporary monastery while the big religious house was being constructed4 ,one of the most famous of the brothers was ,villacastin1 who placed the last stone of the edifice on ,september #ac1 #aehd1 and saw the first stone laid twenty-two years before the final ceremony of consecration4 ,father ,sigenza was the priest who officiated at the first ,mass in the new church4 ,he died in #afjf1 about three years after the death of the venerable ,villacastin1 who reached the age of ninety4 ,the ,convent of ,san ,lorenzo adjoins the ,court of the ,evangelists4 ,running from the old church to the annexe of the ,sacristy are the ,salas ,capitalares1 comprising two large halls and an ante-chamber4 ,two paintings by ,titian are in the halls3 one of #8,san ,geronimo in the ,wilderness1' and the other #8,devotion in the ,garden4' ,the painted ceiling is by two ,italian artists1 ,granelo and ,fabricio1 and the pictures on the walls are by artists of different nationalities4 ,navarrete executed #8,abraham and the ,angels'2 and ,ribera's #8,birth of ,christ' and #8sop' are here4 ,but more important than these is the work of ,velazquez1 the #8,sons of ,jacob1' the only picture of the great master among the ,escorial collection4 ,this was one of three pictures which ,velazquez painted at ,rome and sent to his father-in-law1 the versatile ,pacheco1 artist1 canon1 and historian4 ,the pictures by ,bassano were probably among those brought from ,italy by ,velazquez when he went on a mission for ,philip4 ,in the ,prior's ,hall there are several examples of the work of the ,italian illuminators1 some of which came from the collection of ,charles ,i4 of ,england4 ,there are an #8,entombment' and #8,christ in the ,house of the ,pharisee' by ,tintoretto4 ,three of ,titian's works adorn the hall3 #8,our ,lady of ,grief1' the #8,last ,supper1' and the #8,prayer in the ,garden4' ,the original church has an altar of marble1 with paintings by ,titian of the #8,adoration of the ,magi' and #8,ecce ,homo4' ,the #8,entombment' is a copy of ,titian's picture in the ,prado ,gallery at ,madrid4 ,many of the paintings have been removed from the old church to the ,prado1 but among the notable canvases remaining are the #8,martyrdom of ,st4 ,james1' an #8,annunciation1' by ,paul ,veronese1 and ,zuccaro's #8,birth of ,christ4' ,the most important is perhaps the picture by ,el ,greco of #8,st4 ,maurice4' ,on the handsome staircase there are more pictures from the brush of the facile ,giordano1 one of the most rapid of painters4 ,one of these frescoes represents the founding of the ,escorial1 and it has a figure of ,philip ,,ii4 inspecting the designs of the architects1 ,juan ,bautista de ,toledo1 ,herrera1 and ,antonio ,villacastin4 ,there is also a portrait of the king's jester1 ,d',antona4 ,san ,lorenzo and the ,virgin are depicted in the centre of the dome1 and there are portraits of ,charles ,v41 ,san ,fernando1 and ,san ,geronimo in the group4 ,the portraits of the ,emperor ,charles1 ,philip ,,ii41 ,charles ,,ii41 and other royal personages are said to be excellent likenesses4 ,the ,upper ,gallery of the ,cloisters is decorated with several paintings by ,barrocci1 ,giordano1 ,carducci1 ,juan de ,gomez1 ,navarrete1 and ,sebastian ,herrera4 ,navarrete's works are of principal interest2 they are #8,san ,geronimo1' the #8,birth of ,christ1' and the #8,appearance of ,christ to ,his ,mother4' ,the ,lecture ,hall contains a #8,resurrection1' painted by ,paul ,veronese1 and some copies of ,titian and ,rubens4 ,navarrete's #8,burial of ,san ,lorenzo' is a fair instance of this artist's manner1 and may be considered the most interesting picture in the room4 ,in an adjoining small apartment there are many treasures1 curiosities1 and objects of art4 ,this collection was despoiled by the ,french soldiery1 but a considerable number of relics have been preserved4 ,among them is a manuscript by ,st4 ,augustine concerning the christening of children1 dating from early in the seventh century4 ,st4 ,teresa of ,avila1 who was a guest at the ,escorial1 wrote the four works which are kept here4 ,one of the volumes is an ,autobiography of the saint1 and another is a work upon ,the ,road to ,perfection4 ,the two other books are codes and regulations concerning the religious houses which ,santa ,teresa founded4 ,the full title of the celebrated ,spanish saint is ,maestra ,serafica ,madre ,santa ,teresa de ,jesus4 ,she was born in #aeae1 and took the veil in her youth4 ,philip ,,ii4 collected and preserved her writings at the ,escorial1 and ,philip ,,iii4 urged the canonisation of the saint in #afbb4 ,at the death of the patroness of ,spain1 the souls of thousands of martyrs appeared at her bedside4 ,santa ,teresa's writing-desk and ink-bottle1 and an autograph of the ,saint are among the most treasured relics preserved in the ,escorial4 ,among the sacred relics are a portion of the gridiron of ,san ,lorenzo1 a piece of his clothing1 and the veil of ,st4 ,agata4 ,the statue of ,san ,juan is by ,nicolas4 ,a jar which was placed here in the time of ,philip ,,ii4 is reputed to be one of the original vessels which held the wine at the marriage feast of ,cana4 ,there are several pictures of the ,french and ,flemish schools in this room1 including #8,san ,geronimo1' by ,holbein4 ,bassano and ,zuccaro are represented1 and there are a few paintings in the ,florentine style1 but none of especial merit4 ,malla1 a ,spanish painter1 who worked between #agci and #ahai1 had some reputation as a fresco designer1 and became a ,court artist under ,charles ,,iv4 at the time when ,goya was producing some of his finest pictures4 ,goya subsequently took the place of ,mariano ,malla as the king's painter4 ,in this room there is an #8,immaculate ,conception' by ,malla4 ,a brother of the ,order of ,san ,geronimo painted the ceiling1 and another monk carved the figure of their patron saint upon the altar screen4 ,portraits of the fathers of the ,monastery are hung in the ,upper ,prior's ,chamber4 ,the paintings are mostly by minor ,spanish artists and ,italians who worked at the ,escorial4 ,sanchez ,coello's portrait of ,padre ,sigenza1 the earliest chronicler of the ,monastery1 has been copied and hangs here4 ,in an ante-chamber are oil-paintings by ,giordano and copies of pictures by ,reni1 ,raphael1 and ,rubens4 ,the #8,conception' is by ,francisco ,bayeu1 a contemporary of ,malla1 who painted frescoes in many of the ,castilian churches4 ,bayeu's daughter1 ,josefa1 was the wife of the brilliant ,goya4 ,the ,prior's ,oratory contains portraits of ,charles ,,iii4 and ,maria of ,saxony and an old ,german picture of saints4 ,there is also a sculpture of the #8,conception4' ,the ,lower ,prior's ,chamber or cell has the one work of ,francisco ,urbino to be seen in the ,escorial1 a fresco of some interest4 ,there is a picture by ,pantoja1 a portrait of the ,emperor ,charles in his youth4 ,the portraits of ,maria ,luisa and of ,charles ,,iv4 are copies from ,goya's works4 ,vicente ,lpez1 who painted the portrait of ,maria1 wife of ,ferdinand ,,vii41 was a painter of some eminence and a contemporary of ,goya4 ,lpez executed one of the best portraits of ,goya4 ,the ,carreo portraits in this apartment are good examples of the work of this artist1 who belonged to the school of ,madrid4 ,carreo de ,miranda was a pupil of ,pedro de los ,cuevas1 and a follower of ,velazquez1 who obtained for him a commission to paint pictures of the ,royal ,palace of ,madrid4 ,carreo was made a ,court painter after the death of the great ,velazquez1 and many of his pictures are to be seen in the churches of ,spain and at the ,escorial4 ,doa ,luisa ,roldan's figure of ,san ,miguel is in the vestry4 ,this is a specimen of the wood carving for which the sculptors of ,spain were famous4 ,the art of carving effigies in wood was revived successfully in ,andalusia by ,martinez ,montaz1 who died in #afdi2 and among his followers were ,pedro ,roldan and ,hernandez1 who produced a large number of carved images for churches and for exhibition in religious processions4 ,doa ,luisa ,roldan1 a daughter of ,pedro1 owed her inspiration to the master of this art1 but her achievements fall short of the perfection which he attained4 ,there is a story concerning this seora's work in the ,escorial4 ,it appears that after a tiff with her husband1 ,luisa ,roldan carved the figure of ,san ,miguel1 and represented her own seraphic countenance in that of the saint1 while the scowling demon at his feet exhibits the features of the irascible husband4 ,the pictures in the vestry are mostly copies of ,titian and ,tintoretto1 but the #8,martyrdom of ,san ,pedro' is said to be an original work of ,caravaggio4 ,in the four ,minor ,cloisters are several pictures4 ,one is an anonymous work1 a landscape1 and the others1 of no great merit1 are portraits of saints4 ,the crucifix to be seen here was the work of an ,indian convert to ,christianity4 ,the spacious ,refectory has dining tables of wood on stone pillars4 ,over the foundation stone is the ,prior's seat1 and there are two pulpits in the hall4 ,the kitchens1 wine cellars1 and other domestic offices are in this part of the monastery4 ,the ,real ,monasterio is the most characteristic portion of the huge pile of the ,escorial1 and its austerity and atmosphere of contemplation and piety testify to the religious and ascetic spirit of the royal recluse who founded it4 ,this is no palace of mere delight and of luxury4 ,it is a temple and a retreat1 a sanctuary from the world of strife and unrest1 and an asylum for the penitent and the devout4 ,it is a monument of the ,catholic faith1 built with the devotion of artists and labourers inspired by a deep zeal for religion1 erected without regard to the immense cost of its construction and furnishing1 and dedicated in the name of the pious ,san ,lorenzo to the worship of ,god and the ,holy ,virgin4 ,truly a strangely interesting memorial4 ,here1 in the odour of piety1 surrounded by friars and monks1 ,philip ,,ii4 lived the life of renunciation and of calm meditation4 ,this tabernacle in the wilderness is a symbol of the mind of ,spain in the days of her power1 the manifestation of her profound faith1 and a tribute to the seriousness and quietism which were the ideals of one of the most remarkable and complex of her rulers4 ,we feel that the very stones of the building reveal the nature of ,philip1 the king who would be saint1 the ambitious patriot who longed for power and vivid life1 and yet realised that the placid existence in the cloister is more excellent than the fevered life of courts4 ,v ,,the ,,library ,the impress of the intellect of ,philip ,,ii4 is no less manifest in the great storehouse of books in the ,escorial than in the ,church and in the ,monastery4 ,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 philosophy1 for1 like ,solomon1 ,philip esteemed wisdom as highly as the supremacy of rulership and the possession of great riches4 ,his ambition as a student and an art collector was as keen as his craving for sovereignty and might4 ,we have seen how he had applied himself in his youth to the study of literature and of languages1 and the respect which he yielded to the sciences1 arts1 and letters4 ,the civilised world was searched2 the libraries of all nations were overhauled to stock the ,library of the ,escorial with great books and precious manuscripts4 ,greece1 ,arabia1 and ,palestine contributed to the ,bibliotheca of the kingly scholar1 and the collection of volumes was at one time the finest in ,europe4 ,philip himself took the greatest interest in the ,library4 ,he worked at the catalogue and annotated the list of volumes4 ,the original collection was greatly augmented from time to time by the purchases made on the king's behalf by agents1 who travelled in various countries1 by the seizure of volumes belonging to heretics1 and by works presented by loyal and wealthy subjects4 ,castillo was one of ,philip's book-hunters2 the catalogue of ,arabic books and documents was prepared by the learned ,father ,sigenza4 ,a suitable repository for the books was erected at the ,escorial under the supervision of ,philip4 ,the vaulted ceiling was painted by ,vicente ,carducci1 an ,italian artist of great distinction1 who may be ranked as the chief of the ,italian designers employed to embellish the ,escorial4 ,carducci's mural paintings in the ,library are perhaps the finest of all the fresco works in the building4 ,he was assisted by ,tibaldi of ,bologna1 an artist of meagre talent1 who represented ,philosophy1 ,grammar1 ,arithmetic1 ,astronomy1 and other sciences and certain of the arts1 upon his portion of the ceiling4 ,the ,library is well lighted by windows4 ,even the shelves display the taste of the founder1 for they are beautifully carved by ,flecha4 ,the tables are of marble and jasper1 and the floor is paved with marble4 ,between the rows of shelves are some portraits of ,spanish sovereigns1 and among them is ,carreo's picture of ,charles ,,ii4 at the age of fourteen4 ,pantoja painted the ,emperor ,charles ,v4 and the portraits of ,philip ,,ii4 and ,philip ,,iii4 ,the pictures represent the subjects in life-size4 ,juan de ,herrera1 the famous architect of the ,escorial1 is presented on one of the canvases by an anonymous artist4 ,isabella of ,portugal1 wife of ,charles ,v41 is portrayed here1 together with another portrait of ,charles ,v4 in boyhood1 which hangs in the same room4 ,the bust of ,cicero in the ,library was said to have been unearthed at ,herculaneum4 ,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 collection4 ,there have been1 however1 many losses4 ,the ,french plundered the ,library1 which1 long before the invasion1 was devastated by the fire of #afga1 and from time to time the hand of the pilferer has been laid upon many of the volumes4 ,from a nucleus of four thousand volumes1 collected by ,philip ,,ii4 and placed in the ,escorial1 the ,library grew in the number of its books1 and in the costly manuscripts in ,arabic and other ,eastern tongues4 ,at one period this was the most notable and valuable collection of ,arab works in the whole of ,europe4 ,the gift of ,don ,diego de ,mendoza's private library further enriched the collection4 ,mendoza was ,philip's ambassador to ,italy1 and a man of wide culture and with a love of books4 ,when the king inherited this splendid library1 he satisfied all his ambassador's creditors4 ,mendoza's volumes were presented in #aegf4 ,they were bound in an unusual manner1 one cover being red and the other black1 and sometimes the leaf edges are decorated in two colours4 ,among other donors to the ,library were ,augustin1 ,archbishop of ,tarragona1 an eminent writer1 ,ponce de ,lon1 and ,geronimo de ,zurita1 a historian4 ,the ,balearic ,islands contributed about three hundred volumes1 some of them being the writings of the remarkable ,raymond ,lully4 ,from the ,inquisition the ,library received about one hundred and forty books4 ,authors of repute frequently presented their manuscripts to the great collection at the ,escorial4 ,in #aehc a ,moorish interpreter1 in the employment of ,philip1 was commissioned to buy all the ,arab books that he could discover in ,granada and ,cordova4 ,this bibliographer1 ,alonso de ,castillo1 appears to have devoted great labour to the extension of the ,library and catalogue-making4 ,about seventy manuscripts in ,greek1 ,hebrew1 and ,arabic1 were presented by ,father ,montano1 who seems to have acted as librarian1 though the first to hold that office was ,father ,juan de ,san ,geronimo4 ,philip ,,iii4 increased the ,library by the addition of confiscated books seized from ,don ,ramuz del ,prado2 and in the reign of the same monarch1 the collection of three thousand volumes belonging to the ,emperor of ,morocco was acquired4 ,anticipating the rule of our biggest public library1 the ,british ,museum1 it was decreed that a copy of every book issued in ,spain should be presented to the ,escorial4 ,besides volumes of philosophy1 history1 theology1 science1 and poetry1 there was a collection of church music in the ,library1 some of which was composed by the monks1 del ,valle1 ,torrijos1 and ,cordova4 ,many of the compositions of the renowned choir-master1 ,antonio ,soler1 are in the ,library4 ,among the many valuable manuscripts in the ,escorial collection are the ,gospels1 illuminated in gold on vellum4 ,the ,missal is bound in red leather and wood1 with silver clasps4 ,bound up with these manuscripts are the #8,epistles of ,san ,geronimo1' which are still in splendid preservation4 ,philip ,,ii4 and many other collectors presented several breviaries and illuminated manuscripts to the ,library4 ,the relics are mostly well preserved1 and in some cases the bindings are remarkably new in appearance4 ,some of the manuscripts are in ,persian1 others are in the ,chinese and ,arabic languages4 ,several of the ,latin manuscripts are exceedingly interesting1 and date from ,a4,d4 #igf and the eleventh century4 ,the ,bibles1 which number nineteen1 are of the fourteenth century1 and beautifully bound in parchment4 ,one of the choicest treasures of the ,library is the ,apocalypse of ,st4 ,john1 richly illustrated4 ,the ,greek manuscripts contain several works of the early ,fathers1 which have never been printed4 ,another valuable object is the ancient copy of the ,koran1 most exquisitely written and ornamented4 ,the great #8,chronicle' of ,alfonso is to be seen here1 as well as the king's treatises on #8,hunting1' #8,chess1' and #8,draughts1' which contain illustrations and diagrams4 ,a number of old ,castilian ,bibles1 dating from the early part of the fifteenth century1 are of especial interest4 #8,the ,census of ,spain1' contributed by ,philip ,,ii41 is also preserved in sundry volumes4 ,among the sketches are works by ,el ,mudo1 ,tibaldi1 and ,urbini4 ,a large number of fine engravings and drawings by ,michael ,angelo1 ,titian1 ,raphael1 and ,albert ,drer form part of the collection of prints in the ,library4 ,the ,reading-,room contains over fifty pictures1 mostly portraits of little value in the artistic sense4 ,an inkstand which belonged to ,father ,sigenza is shown here4 ,the most notable treasure is a portrait by the vigorous ,zurbarn1 perhaps the most distinctively ,spanish painter of the realistic school4 ,according to ,lord ,leighton1 ,francisco de ,zurbarn represented #8all ,spain' in his art4 ,among the portraits of illustrious persons are those of ,quevedo1 ,father ,sigenza1 ,torquemada1 ,francisco ,ximenes1 ,luis de ,gongora1 and ,cardinal ,mendoza4 ,,vi ,,the ,,university ,an important part of the great building of the ,escorial was the ,colegio1 designed by ,philip as an institution for the instruction of monks and preachers4 ,we have seen how from his earliest manhood the king valued culture and esteemed the arts1 and the ,university of the ,escorial was his tribute to learning1 just as the ,monastery and the ,church bore testimony of his zeal for the ,faith of ,rome4 ,the ,colegio is approached from the ,king's ,court by steps through a vestibule4 ,beneath the tower is an apartment known as the ,hall of ,secrets1 on account of its construction permitting whispers to be heard from one side of the chamber to the other4 ,there is a spacious ,refectory to the ,college1 containing a pulpit4 ,the arched cloister or promenade was used for dramatic displays1 and it has an upper gallery with balconies and railings4 ,upon the ceiling are paintings by ,francisco ,llamas1 a minor artist4 ,in the ,chapel of the ,college1 a building over #fj feet in length and about #cj in width1 there is a handsome altar by ,lorenzo ,berni1 carved and gilded with considerable taste4 ,in front of the altar is a carved seat of pine and walnut1 and there are seats for the students along the walls4 ,the ,seminary is attached to the ,university1 and resembles the ,colegio in its structure4 ,it was used by an ,order of the devout who practised severe restraints1 and applied themselves to diligent study4 ,evidence of their austerity is shown in the absence of windows4 ,this part of the ,escorial contains an infirmary1 an oratory1 a refectory1 and cells4 ,passing along the ,invalids' ,gallery we reach the ,compana1 in which there are various offices and a marble bath4 ,the ,dispensary was formerly in this part of the ,escorial4 ,there is a viaduct from the court of the ,compana1 beneath which runs another road4 ,around the smaller patios in this portion of the pile are the bakeries1 storehouses1 stables1 and various workshops4 ,to supply the ,escorial with water for its seventy-six fountains1 its baths1 and taps1 several ingenious conduits were constructed before the first stone of the edifice was laid4 ,this water supply is excellent1 and there is scarcely an apartment in the ,escorial which is without pure water from the mountain springs4 ,,vii ,,the ,,palace ,the apartments occupied by ,philip ,,ii4 were in the north-east corner of the edifice1 and they are entered by the north faade4 ,this was the retreat of the moody monarch1 and it accords with his love of seclusion and the simplicity of his desires1 though the additions of succeeding sovereigns have rendered the ,palace more luxurious and richer in decoration and art treasures4 ,philip's own apartment1 where he died1 is more like the cell of a hermit than the chamber of a king4 ,there is a tiled floor to the room1 an absence of ornamentation1 and an atmosphere of severe gloom4 ,here are some relics of the king--his bookcase1 writing-table1 a few chairs1 and the stools upon which he laid his foot when attacked by the gout4 ,from this chamber ,philip could peep into the ,church during the celebration of services and hear the voices of the friars at their devotions4 ,by opening a panel1 the king was able to look upon the ,high ,altar and to catch the odour of the incense4 ,the fine staircase of the ,palace was the work of ,ventura ,rodriguez1 and it was built in the reign of ,carlos ,,iv4 ,in the ,lower ,gallery there are pictures of historical interest1 some of them being the original works painted for the founder of the ,escorial4 ,they are chiefly battlepieces2 and one is a copy of the fresco in the ,hall of ,battles4 ,among the pictures are the #8,siege of ,grave1' the #8,siege of ,calais1' the #8,christian ,fleet attacking the ,turks1' #8,battle at ,amiens1' and the #8,fleet entering the ,port of ,messina4' ,the most important tapestries of the ,escorial are in the ,palace4 ,they were designed by the gifted ,goya and by ,malla1 one of the lesser painters of the eighteenth century4 ,goya's designs are typically ,spanish1 and deserve the closest attention4 ,the tapestries were mostly made in ,madrid1 though those from designs by ,teniers were woven in ,holland1 and a few are of ,french and ,italian manufacture4 ,the tapestry works are of exceptional design and are scarcely excelled by any in ,europe4 ,goya's success as a designer of tapestry cartoons gained him election to the ,acadmia de ,san ,fernando1 and ,charles ,,iv4 appointed him pintor de cmara del ,rey1 or ,court artist4 ,in the ,apartments of the ,prince there are some noteworthy pictures of the ,italian ,school1 and an old ,dutch tapestry adorns the wall of one room4 ,but finer paintings are in the ,apartments of the ,princess1 where ,alonso ,cano's genius is shown in the ,virgin and the ,infant ,christ4 ,pantoja's portrait of ,philip ,,ii41 painted on wood1 is here4 ,the ,head of ,christ by ,guido ,reni is in the bedroom2 and another sleeping apartment is decorated with a tapestry from the designs of a ,flemish artist4 ,the drawing-room contains a tapestry of ,spanish design1 and there are tapestries in the nurse-room and play-room4 ,the chief picture in the workroom is one of ,san ,antonio by the powerful ,ribera4 ,three portraits by ,mengs hang here3 one of ,charles ,,iii4 in mail1 and the others of ,maria ,josephine1 daughter of ,charles1 and ,maria ,luisa1 wife of ,leopold of ,austria1 the ,archduke4 ,in the ,reception ,hall there is a portrait of the ,duque de ,olivares1 said to be by ,velazquez1 but the authenticity is dubious4 ,the picture of ,pope ,innocent ,x4 is a copy of ,velazquez's portrait4 ,among the other portraits in this hall are ,isabel1 wife of ,philip ,,ii4 ,there are a few landscape paintings1 and one or two works of minor painters of the ,italian school4 ,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 faith4 ,this is an almost square apartment1 designed in the ,doric style4 ,there are two fountains in marble1 with figures of ,caryatides pouring water into the basins4 ,the ,hall of ,battles is adorned with a number of fresco-paintings representing various combats4 ,the battle of ,higueruela1 which was fought against the ,moors by ,don ,john in #adca1 was painted by two ,italians1 ,granelo and ,fabricio1 from an old battlepiece which was found at ,segovia4 ,philip ,,ii4 was much interested in this picture1 and he ordered the two artists to reproduce it in a huge mural painting4 ,the work was divided into eight sections1 depicting various scenes in the great encounter with the infidels1 and the king was well satisfied with the fresco4 ,there are two pictures of ,philip's battleships in action at either end of the #8,battle of ,higueruela4' ,other martial subjects are treated4 ,they are3 #8,a ,review by ,philip ,,ii41' the #8,battle of ,lisbon under the ,duke of ,alba1' the #8,capture of ,noyon1' the #8,firing of a ,city1' the #8,departure from ,st4 ,quintin1' the #8,capture of a ,fort1' the #8,attack on ,st4 ,quintin1' the #8,spanish ,troops under ,philibert1' #8,a ,battle1' and #8,before the ,siege of ,st4 ,quintin4' ,the ceiling of the ,hall of ,battles is adorned with quaint pictures4 ,the ,apartments of the ,queen are daintily decorated with tapestries1 some by ,spanish and others by ,dutch designers1 while the hangings are of amber silk4 ,in the ,oratory of the ,queen there is an altar with a painting of the #8,virgin and the ,infant ,jesus4' ,the painter was ,juan de ,juanes1 sometimes called ,vicente ,joanes1 or ,juan ,macip4 ,according to ,c4 ,gasquoine ,hartley1 in ,a ,record of ,spanish ,painting1 this artist was #8the first great exponent' of the art of the ,valencian ,school4 #8,he is one of the national painters of ,spain4 ,to some extent his painting was imbued with the ,italian ideal1 and it is possible that he received his artistic training in ,italy2 but the ,spanish personality of his work is rarely obscured4 ,the intense religious solemnity1 the decorous purity1 the vigorous handling1 the careful painting of details1 the luminous warmth of colour1 the lack of creative imagination1 the disregard of beauty1 the tendency to exaggeration1 all the virtue and all the limitation of the painters of ,spain are outlined in his work4' ,little is known of the life of ,juanes4 ,he was a ,valencian by birth1 and he painted several pictures in the churches of his ,province4 ,juanes was a devoutly religious man1 and his work shows a strong bias for mysticism and warm piety4 ,he was an industrious painter2 his work ranges from portraits to large subject pictures1 and there are many of his paintings in ,valencia4 ,juanes died in #aegi1 and his style is seen in the pictures produced by his pupils1 who are1 however1 unimbued with his genius4 #8,with ,juanes1' writes ,c4 ,gasquoine ,hartley1 #8we close the record of the early ,hispano-,italian painters4' ,in the ,bedroom of the ,queen there is a tapestry and a ceiling by ,lpez1 who also designed the ceiling of the dressing-room4 ,we have already noted the tapestries in the ,apartments of the ,princess4 ,the ,carved ,rooms demand inspection1 for they contain examples of rare decoration in woods4 ,the carvings and the inlaid work of these rooms cost a very large sum4 ,woods of the rarest and finest were employed for the adornment of the apartments1 and gilt and gold were lavished upon the walls4 ,the pictures painted on copper are by ,montalbo1 and the ceiling painting was intrusted to ,malla4 ,blue upholstery decks the seats4 ,there are four of these sumptuously decorated chambers4 ,the third of them has a ceiling-painting by ,galvez4 ,in the fourth room1 ,malla painted the ceiling1 and the walls are adorned in green and gold4 ,there are a few pictures here1 but none of striking worth4 ,the ,oratory contains a tapestry of ,spanish design4 ,on the altar there is a picture by ,giordano representing ,santa ,anna1 ,st4 ,joachim1 and the ,holy ,mother4 ,the ,reception ,room of this portion of the ,palace is decorated with tapestry1 and the ceiling is painted by ,lpez4 ,in the ,antechamber1 ,billiard ,room1 and the offices adjacent1 there are more tapestries4 ,we have made our survey of this remarkable pile1 which contains a treasure house of works of art1 an institution of learning1 a convent1 a palace1 and a church4 ,surely such a composite building is not to be seen in any other quarter of the world4 ,nor is there any other edifice of such importance and grandeur amid surroundings so savage and primitive4 ,the ,royal ,monastery of the ,escorial is indeed an unique structure1 historically instructive1 and of deep interest for the architect1 the art student1 and the philosopher4 ,it is a reflection and a symbol of ,spain and of ,philip ,,ii42 the building1 in its sombre setting of grey crags and shadowy woods1 has an indefinable atmosphere1 a potent fascination4 ,,viii ,,appendix ,i ,,the ,,first ,,chronicler ,,of ,,the ,,escorial ,we have it on the authority of ,padre ,fray ,jos de ,sigenza1 the librarian of the ,monasterio1 and the first historian of ,philip ,,ii41 that the king desired the building at the ,escorial to excel the majesty of ,solomon's ,temple1 and to astonish the whole world4 ,when we consider that the edifice was erected and adorned with very little aid from machinery1 we cannot but marvel at the expedition in carrying out the architects' and designers' plans4 ,a great army of sawyers1 carpenters1 quarrymen1 stonemasons1 and craft-workers found employment upon this great pile4 ,it is recorded that the labourers complained of the cold1 searching winds in winter1 and that they suffered from the scorching heat in summer4 ,the rules applying to the workmen were stringent4 ,the labourers appear to have suffered from a scarcity of wine1 which they desired in the hot weather4 ,no doubt the rigour of the climate in winter increased the difficulties attending upon the undertaking4 ,cranes and levers were employed for lifting the huge blocks of stone quarried from the surrounding mountains4 ,even the rough work was allotted only to workmen of approved ability and reputed industry1 while the task of decoration was given to masters of the arts of painting1 illuminating1 and carving in wood1 metal1 and ivory4 ,upon this bleak highland a busy colony of toilers from many parts of ,europe sprang up in a few months4 ,forges1 workshops1 and saw-pits were set up or constructed amongst the scori or shale of the mountains1 and the desert rang with the beating of hammers on metal1 the clicking of the mason's chisel1 and the grating of the saws4 ,an immense number of carts and horses were employed1 besides pannier-mules and asses1 to bring the stone from the quarries and the metal from distant furnaces4 ,only a part of the work was performed at the ,escorial4 ,the bronze was compounded in ,zaragoza2 the white marble came from the ,sierras de ,filabres1 and the green1 black1 and variegated marbles were brought from the mountains of ,andalusia1 while ,cuenca and ,segovia furnished part of the pine wood4 ,many of the figures of bronze for the altars were designed and made in ,florence and ,milan4 ,toledo supplied lamps1 candlesticks1 crosses1 and incense-burners4 ,holland provided heavy bronze candle-holders4 ,spain1 ,italy1 and ,flanders were searched for precious stones and metals to beautify the building1 and artists and craftsmen were imported from many countries4 ,juan ,bautista de ,toledo1 and his pupil ,juan de ,herrera1 expended great care and pains in the designs4 ,models of the various parts of the ,escorial were made in wood1 and the designs were altered and improved by both architects from time to time4 ,under the direction of ,juan de ,herrera every detail of the building was submitted to him for his approval before it was finished4 ,even the designs of ,peregrino and ,flecha1 the ,italian masters1 were submitted to the inspection of the master-architect4 ,juan de ,herrera was succeeded by ,francisco de ,mora as chief architect4 ,the construction of the ,principal ,choir was a part of the work upon which much forethought was expended4 ,father ,sigenza describes the ,corinthian style of the choir as the most beautiful feature of the ,church4 ,he mentions one hundred and twenty-eight as the number of the seats4 ,the ,retablo was a costly piece of work1 as a large quantity of jasper and precious metal was used in its embellishment1 and much gilt employed4 ,the columns are of the ,doric order1 and the bases are formed of gilded bronze4 ,father ,sigenza does not stint his praise for the #8judicious architects and singular painters' employed by ,philip ,,ii4 at the ,escorial1 and his book is characterised by a high enthusiasm for the king1 and admiration for the great work1 #8this sumptuous fabric1' in which the worthy padre spent so many years of his life as ,director of the ,royal ,library4 ,coello painted the strong features of ,father ,sigenza upon a canvas that may be seen in the ,prior's ,chamber of the ,monastery4 ,,appendix ,,ii ,,list ,,of ,,the ,,principal ,,painters ,,whose ,,works ,,are ,,in ,,the ,,escorial ,,artist4 ,,subject4 ,,situation4 ,cano4 ,virgin and ,infant ,christ4 ,apartments of ,princess4 ,carducci4 ,portraits of ,saints4 ,relicario of ,church4 ,arts and ,sciences 7fresco74 ,library4 ,coello4 ,altarpieces4 ,in ,chapels4 ,father ,sigenza4 ,upper ,prior's ,chamber4 ,el ,greco4 ,st4 ,maurice4 ,the ,old ,church4 ,giordano4 ,life of ,david4 ,ceiling of ,choir of ,church4 ,eight ,frescoes4 ,dome of ,church4 ,san ,juan4 ,ante-,sacristy4 ,frescoes4 ,staircase of ,monastery4 ,goya4 ,frescoes of ,spanish ,customs4 ,palace4 ,holbein4 ,san ,geronimo4 ,lecture ,hall4 ,juanes4 ,virgin and ,infant4 ,apartments of the ,queen4 ,navarrete ,our ,lady and ,san ,juan4 ,in ,church near ,prior's ,seat4 7,el ,mudo74 ,crucifixion4 ,library of ,church4 ,abraham and ,angels4 ,salas de los ,capitulos4 ,san ,geronimo4 8 ,birth of ,christ4 ,upper ,gallery of ,cloisters4 ,appearance of ,jesus4 8 ,burial of ,san ,lorenzo4 ,lecture ,hall4 ,pantoja4 ,various4 ,oratories of ,church4 ,carlos ,v4 ,lower ,prior's ,chamber4 ,philip ,,ii4 ,library4 ,philip ,,iii4 ,apartments of ,princess4 ,reni4 ,scriptural4 ,sacristy of ,church4 ,ribera4 ,san ,geronimo4 ,ante-,sacristy of ,church4 ,birth of ,christ4 ,salas de los ,capitulos4 ,philip ,,ii4 ,apartments of the ,prince4 ,san ,antonio4 ,workroom of ,palace4 ,teniers4 ,various ,frescoes4 ,palace4 ,tibaldi4 ,birth of ,christ4 ,adoration of the ,magi4 ,altar ,screen of ,church4 ,elias4 ,old ,testament ,scenes4 ,in ,chapels4 ,altarpieces4 8 ,frescoes of ,sciences4 ,library4 ,tintoretto4 ,entombment4 ,prior's ,hall4 ,washing the ,apostles' ,feet4 ,sacristy of ,church4 ,titian4 ,san ,geronimo4 ,agony in the ,garden4 ,salas de los ,capitulos4 ,last ,supper4 8 ,prayer in the ,garden4 8 ,our ,lady of ,sorrows4 8 ,adoration of the ,magi4 8 ,ecce ,homo4 8 ,velazquez4 ,sons of ,jacob4 ,sacristy of ,church4 ,zuccaro4 ,the ,flagellation4 ,altar ,screen of ,church4 ,birth of ,christ4 ,old ,church4 ,zurbarn4 ,sons of ,jacob4 ,sacristy of ,church4 ,a ,portrait4 ,reading-,room4 ,illustration3 ,,plate #a4 ,,plan ,,of ,,the ,,monastery4 ,illustration3 ,,plate #b4 ,,view ,,of ,,the ,,monastery4 ,illustration3 ,,plate #c4 ,,view ,,of ,,the ,,monastery ,,from ,,the ,,orchard4 ,illustration3 ,,plate #d4 ,,view ,,of ,,the ,,monastery ,,from ,,the ,,entrance ,,of ,,the #8,,real ,,sitio4' ,illustration3 ,,plate #e4 ,,view ,,of ,,the ,,monastery ,,from ,,the ,,romeral4 ,illustration3 ,,plate #f4 ,,view ,,of ,,the ,,monastery 7,,east ,,side74 ,illustration3 ,,plate #g4 ,,principal ,,fa,,ade ,,of ,,the ,,court ,,of ,,the ,,kings4 ,illustration3 ,,plate #h4 ,,view ,,of ,,the ,,court ,,of ,,the ,,kings4 ,illustration3 ,,plate #i4 ,,balcony ,,in ,,the ,,court ,,of #8,,la ,,compa,a4' ,illustration3 ,,plate #aj4 ,,view ,,of ,,the #8,,casa ,,del ,,principe1' ,,or ,,lower ,,lodge4 ,illustration3 ,,plate #aa4 ,,ascent ,,to ,,the ,,silla ,,del ,,rey1 ,,the ,,chair ,,of ,,philip ,,ii4 ,illustration3 ,,plate #ab4 ,,the ,,silla ,,del ,,rey1 ,,the ,,chair ,,of ,,philip ,,ii4 ,illustration3 ,,plate #ac4 ,,the ,,horca ,,cross1 ,,near ,,the ,,escorial4 ,illustration3 ,,plate #ad4 ,,garden ,,of ,,the ,,casita ,,de ,,abajo4 7,,escorial47 ,illustration3 ,,plate #ae4 ,,source ,,of ,,the ,,seminario4 ,illustration3 ,,plate #af4 ,,source ,,of ,,the ,,seminario4 7,,escorial47 ,illustration3 ,,plate #ag4 ,,the ,,colonnade ,,of ,,the ,,monastery4 ,illustration3 ,,plate #ah4 ,,view ,,of ,,the ,,upper ,,cloister ,,of ,,the ,,monastery4 ,illustration3 ,,plate #ai4 ,,view ,,of ,,the ,,upper ,,cloister ,,of ,,the ,,monastery4 ,illustration3 ,,plate #bj4 ,,lower ,,cloister ,,of ,,the ,,monastery4 ,illustration3 ,,plate #ba4 ,,view ,,of ,,the ,,lower ,,cloister ,,of ,,the ,,monastery4 ,illustration3 ,,plate #bb4 ,,snow-,,pit ,,and ,,pond ,,of #8,,convalescents4' ,illustration3 ,,plate #bc4 #8,,convalescents' ,,gallery4 ,illustration3 ,,plate #bd4 ,,the ,,monks' ,,walk ,,and #8,,convalescents' ,,gallery4 7,,escorial47 ,illustration3 ,,plate #be4 #8,,convalescents' ,,gallery4 ,illustration3 ,,plate #bf4 ,,the ,,evangelists' ,,court4 ,illustration3 ,,plate #bg4 ,,court ,,with ,,the ,,springs ,,of ,,the ,,evangelists4 ,illustration3 ,,plate #bh4 ,,shield ,,of ,,the ,,emperor ,,charles ,v4 ,illustration3 ,,plate #bi4 ,,court ,,of ,,the ,,evangelists4 ,illustration3 ,,plate #cj4 ,,interior ,,of ,,the ,,church4 ,illustration3 ,,plate #ca4 ,,door-,,knocker ,,of ,,the ,,church ,,at ,,the ,,escorial4 ,illustration3 ,,plate #cb4 ,,choir ,,stalls4 7,,basilica ,,of ,,the ,,monastery47 ,illustration3 ,,plate #cc4 ,,interior ,,view ,,from ,,the ,,choir4 7,,basilica ,,of ,,the ,,monastery47 ,illustration3 ,,plate #cd4 ,,interior ,,view4 7,,basilica ,,of ,,the ,,monastery47 ,illustration3 ,,plate #ce4 ,,retablo ,,at ,,the ,,high ,,altar4 7,,basilica ,,of ,,the ,,monastery47 ,illustration3 ,,plate #cf4 ,,interior ,,view ,,from ,,the ,,high ,,altar4 7,,basilica ,,of ,,the ,,monastery47 ,illustration3 ,,plate #cg4 ,,altar-,,piece ,,at ,,the ,,high ,,altar4 ,illustration3 ,,plate #ch4 ,,st4 ,,hieronymus ,,and ,,st4 ,,augustine4 7,,statues ,,of ,,the ,,altar-,,piece47 ,illustration3 ,,plate #ci4 ,,st4 ,,matthew ,,and ,,st4 ,,mark4 7,,statues ,,of ,,the ,,altar-,,piece47 ,illustration3 ,,plate #dj4 ,,st4 ,,paul4 7,,statue ,,of ,,the ,,altar-,,piece47 ,illustration3 ,,plate #da4 ,,st4 ,,gregory ,,and ,,st4 ,,ambrose4 7,,statues ,,of ,,the ,,altar-,,piece47 ,illustration3 ,,plate #db4 ,,st4 ,,peter4 7,,statue ,,of ,,the ,,altar-,,piece47 ,illustration3 ,,plate #dc4 ,,st4 ,,john ,,and ,,st4 ,,luke4 7,,statues ,,of ,,the ,,altar-,,piece47 ,illustration3 ,,plate #dd4 ,,left ,,side ,,of ,,the ,,high ,,altar3 ,,interment ,,of ,,the ,,emperor ,,charles ,v4 ,illustration3 ,,plate #de4 ,,marble ,,statue ,,of ,,st4 ,,laurent ,,at ,,the ,,entrance ,,of ,,the ,,choir4 ,illustration3 ,,plate #df4 ,,interior ,,view ,,of ,,the ,,chapel4 ,illustration3 ,,plate #dg4 ,,the ,,tabernacle4 7,,escorial47 ,illustration3 ,,plate #dh4 ,,panteon ,,of ,,the ,,kings4 7,,entrance ,,gate47 ,illustration3 ,,plate #di4 ,,beautiful ,,rock ,,crystal ,,candelabrum ,,in ,,the ,,choir ,,of ,,the ,,escorial4 ,illustration3 ,,plate #ej4 ,,casket ,,in ,,malachite ,,and ,,lapis-,,lazuli1 ,,ornamented ,,with ,,beautiful ,,engraved ,,rock ,,crystal4 7,,reliquary ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ea4 ,,view ,,of ,,the ,,panteon ,,of ,,the ,,kings4 ,,escorial4 ,illustration3 ,,plate #eb4 ,,panteon ,,of ,,the ,,infantes 7,,interior74 ,illustration3 ,,plate #ec4 ,,panteon ,,of ,,the ,,infantes 7,,interior74 ,illustration3 ,,plate #ed4 ,,tomb ,,of ,,charlotte ,,of ,,bourbon4 7,,panteon ,,of ,,the ,,infantes47 ,illustration3 ,,plate #ee4 ,,tomb ,,of ,,don ,,john ,,of ,,austria4 7,,panteon ,,of ,,the ,,infantes47 ,illustration3 ,,plate #ef4 ,,view ,,of ,,the ,,principal ,,staircase ,,of ,,the ,,monastery4 ,illustration3 ,,plate #eg4 ,,library ,,of ,,the ,,monastery4 ,illustration3 ,,plate #eh4 ,,library ,,of ,,the ,,monastery4 ,illustration3 ,,plate #ei4 ,,library ,,of ,,the ,,monastery4 ,illustration3 ,,plate #fj4 ,,library ,,of ,,the ,,monastery4 ,illustration3 ,,plate #fa4 ,,golden ,,ms4 7#aj,,th ,,century74 7,,library ,,of ,,the ,,monastery47 ,illustration3 ,,plate #fb4 ,,prayer-,,book ,,of ,,isabella ,,the ,,catholic4 7,,library ,,of ,,the ,,monastery47 ,illustration3 ,,plate #fc4 ,,songs ,,of ,,st4 ,,mary4 ,,ms4 ,,belonging ,,to ,,alfonso ,,the ,,wise 7#ac,,th ,,century74 7,,library ,,of ,,the ,,monastery47 ,illustration3 ,,plate #fd4 ,,latin ,,prayer-,,book ,,of ,,ferdinand ,,the ,,catholic4 7,,library ,,of ,,the ,,monastery47 ,illustration3 ,,plate #fe4 ,,mass-,,book ,,of ,,philip ,,ii4 7,,library ,,of ,,the ,,monastery47 ,illustration3 ,,plate #ff4 ,,breviary ,,of ,,charles ,v4 7,,library ,,of ,,the ,,monastery47 ,illustration3 ,,plate #fg4 ,,psalter ,,of ,,the ,,emperor ,,charles ,v4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #fh4 ,,natural ,,history ,,of ,,pliny ,,the ,,younger4 ,,italian ,,ms4 ,,of ,,the #af,,th ,,century4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #fi4 ,,page #bch ,,of ,,the ,,mass-,,book ,,of ,,isabella ,,the ,,catholic3 ,,ms4 ,,of ,,the #ae,,th ,,century1 ,,the ,,vignette ,,of ,,which ,,contains ,,the ,,name ,,of ,,the ,,queen4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #gj4 ,,first ,,page ,,of ,a ,,hebrew ,,bible3 ,,precious ,,mss4 ,,of ,,the ,,end ,,of ,,the #ad,,th ,,century4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ga4 ,,persian ,,ms41 ,,the ,,work ,,of ,,muhammed ,,scham ,,el ,,din ,,hapheth1 ,,poet ,,of ,,the #ad,,th ,,century4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #gb4 ,,manuscript ,,of ,,the ,,year #ajej4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #gc4 ,,virgil',s ,,poems3 ,,ms4 ,,of ,,the #ae,,th ,,century1 ,,written ,,in ,,spain4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #gd4 ,,virgil3 ,,manuscript ,,of ,,the ,,year #iff4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ge4 ,,virgil3 ,,manuscript ,,of ,,the ,,year #iff4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #gf4 ,,the ,,apocalypse ,,of ,,st4 ,,john3 ,,manuscript ,,of ,,the #ae,,th ,,century4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #gg4 ,,two ,,pages ,,of ,,the ,,koran ,,of ,,muley ,,zidan1 ,,emperor ,,of ,,morocco ,,in #aeid4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #gh4 ,,the ,,tree ,,of ,,love1 ,,written ,,in #abhh4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #gi4 ,,persian ,,manuscript1 ,,the ,,work ,,of ,,muhammed ,,scham ,,el ,,din ,,hapheth1 ,,poet ,,of ,,the #ad,,th ,,century4 7,,library ,,of ,,the ,,monastery47 ,illustration3 ,,plate #hj4 ,,mass-,,book ,,of ,,isabel ,,the ,,catholic1 ,,manuscript ,,of ,,the #ae,,th ,,century4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ha4 ,,frontispiece ,,of ,,the ,,koran ,,of ,,muley ,,zidan1 ,,emperor ,,of ,,morocco ,,in #aeid4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #hb4 ,,mass-,,book ,,of ,,the ,,empress ,,isabel1 ,,mother ,,of ,,philip ,,ii4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #hc4 ,,mass-,,book ,,of ,,philip ,,iii4 ,,and ,,queen ,,margarita4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #hd4 ,,greek ,,manuscript ,,of ,,the ,,end ,,of ,,the #ad,,th ,,century4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #he4 ,,breviary ,,of ,,philip ,,ii4 7#af,,th ,,century74 7,,library ,,of ,,the ,,monastery47 ,illustration3 ,,plate #hf4 ,,mass-,,book ,,and ,,holy ,,office ,,of ,,philip ,,ii4 7,,library ,,of ,,the ,,monastery47 ,illustration3 ,,plate #hg4 ,,latin ,,prayer-,,book ,,of ,,ferdinand ,,the ,,catholic4 7,,library ,,of ,,the ,,monastery47 ,illustration3 ,,plate #hh4 ,,arabian ,,manuscript 7,,natural ,,history74 7,,library ,,of ,,the ,,monastery47 ,illustration3 ,,plate #hi4 ,,reading ,,desk ,,in ,,the ,,choir4 7,,escorial47 ,illustration3 ,,plate #ij4 ,,sacristy 7,,monastery74 ,illustration3 ,,plate #ia4 ,,paranymph ,,of ,,the ,,college 7,,monastery74 ,illustration3 ,,plate #ib4 ,,our ,,lord ,,crucified1 ,,sculptured ,,in ,,marble 7,,monastery74 ,illustration3 ,,plate #ic4 ,,interment ,,of ,,philip ,,ii4 7,,monastery74 ,illustration3 ,,plate #id4 ,,chapter ,,room 7,,monastery74 ,illustration3 ,,plate #ie4 ,,chapter ,,room 7,,monastery74 ,illustration3 ,,plate #if4 ,,chapter ,,hall 7,,monastery74 ,illustration3 ,,plate #ig4 ,,presentation ,,of ,,the ,,virgin ,,at ,,the ,,temple1br _/,,attributed ,,to ,,van ,,eyck 7,,monastery74 ,illustration3 ,,plate #ih4 ,,altar-,,piece ,,of ,,the ,,santa ,,forma1 ,,painted ,,by ,,claudio ,,coello4 7,,sacristy ,,of ,,the ,,monastery47 ,illustration3 ,,plate #ii4 ,,embroidered ,,altar-,,cloths4 7,,from ,,the ,,sacristy47 ,illustration3 ,,plate #ajj4 ,,embroidered ,,copes4 7,,sacristy ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aja4 ,,casket ,,of ,,malachite ,,and ,,lapis-,,lazuli1 ,,ornamented ,,with ,,engraved ,,rock ,,crystal4 7,,relicario ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ajb4 ,,christ ,,on ,,the ,,cross1 ,,in ,,wrought ,,copper4 7,,relicario ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ajc4 ,,bronze ,,lectern ,,representing ,,an ,,eagle1 ,,made ,,at ,,antwerp ,,in #aega4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ajd4 ,,bronze ,,lectern ,,representing ,,an ,,angel1 ,,made ,,at ,,antwerp ,,in #aega1 ,,by ,,jean ,,simon4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aje4 ,,st4 ,,michael ,,overcoming ,,the ,,devil1 ,,by ,,pedro ,,roldan1 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ajf4 ,,christ1 ,,with ,,the ,,virgin ,,and ,,st4 ,,john3 ,,statues ,,in ,,marble4 7,,the ,,escorial47 ,illustration3 ,,plate #ajg4 ,,gate ,,of ,,the ,,santa ,,forma4 7,,sacristy ,,of ,,the ,,monastery47 ,illustration3 ,,plate #ajh4 ,,mirror ,,in ,,rock ,,crystal4 7,,sacristy ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aji4 ,,altar-,,piece ,,of ,,charles ,v41 ,,in ,,wrought ,,copper4 7,,from ,,the ,,camarin ,,of ,,st4 ,,theresa ,,at ,,the ,,escorial47 ,illustration3 ,,plate #aaj4 ,,alabaster ,,statue ,,of ,,st4 ,,john ,,baptist4 7,,from ,,the ,,camarin ,,of ,,st4 ,,theresa ,,at ,,the ,,escorial47 ,illustration3 ,,plate #aaa4 ,,inside ,,cover ,,of ,a ,,reliquary ,,which ,,belonged ,,to ,,pius ,v4 #aeff-aegb4 7,,from ,,the ,,camarin ,,of ,,st4 ,,theresa47 ,illustration3 ,,plate #aab4 ,,reliquary ,,of ,,rock ,,crystal4 7,,from ,,the ,,camarin ,,of ,,st4 ,,theresa47 ,illustration3 ,,plate #aac4 ,,bone ,,reliquary ,,of ,,the ,,end ,,of ,,the #ab,,th ,,century4 7,,camarin ,,of ,,st4 ,,theresa47 ,illustration3 ,,plate #aad4 ,,reliquary ,,of ,,wrought ,,iron1 ,,inlaid4 7,,relicario ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aae4 ,,reliquary ,,of ,,wrought ,,iron1 ,,inlaid4 7,,relicario ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aaf4 ,,reception ,,hall4 7,,palace47 ,illustration3 ,,plate #aag4 ,,reception ,,hall4 7,,palace47 ,illustration3 ,,plate #aah4 ,,view ,,of ,,the ,,dining ,,hall4 7,,palace47 ,illustration3 ,,plate #aai4 ,,view ,,of ,,the ,,dining ,,hall4 7,,palace47 ,illustration3 ,,plate #abj4 ,,ante-,,room4 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #aba4 ,,hall ,,of ,,ambassadors4 7,,palace47 ,illustration3 ,,plate #abb4 ,a ,,room ,,of ,,philip ,,ii4 7,,palace47 ,illustration3 ,,plate #abc4 ,,memorial ,,of ,,king ,,philip ,,ii4 7,,escorial47 ,illustration3 ,,plate #abd4 ,,chairs ,,of ,,philip ,,iv4 7,,palace47 ,illustration3 ,,plate #abe4 ,,escutcheon ,,of ,,king ,,philip ,,ii4 7,,the ,,escorial47 ,illustration3 ,,plate #abf4 ,,buen ,,retiro ,,porcelain1 ,,imitations ,,of ,,wedgwood4 7,,the ,,hall ,,of ,,china ,,of ,,the ,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #abg4 ,,buen ,,retiro ,,porcelain1 ,,imitations ,,of ,,wedgwood ,,panels4 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #abh4 ,,view ,,of ,,the ,,dining ,,hall4 7,casa del ,principe47 ,illustration3 ,,plate #abi4 ,,the ,,judgment ,,of ,,solomon 7,,ivory74 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #acj4 ,,the ,,fisherman ,,caught ,,in ,,the ,,nets 7,,ivory74 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #aca4 ,,sculpture ,,in ,,ivory ,,called #8,,princesa ,,de ,,san ,,severo4' 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #acb4 ,,the ,,adoration ,,of ,,the ,,shepherds 7,,ivory74 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #acc4 ,,round ,,table ,,with ,a ,,tray ,,of ,s,,vres ,,porcelain4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #acd4 ,,table1 ,,chair1 ,,and ,,porcelain ,,from ,,the ,,royal ,,works ,,at ,,buen ,,retiro4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #ace4 ,,mary ,,magdalene3 ,,from ,,the ,,royal ,,works ,,at ,,buen ,,retiro4 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #acf4 ,,buen ,,retiro ,,porcelain3 ,,imitation ,,of ,,wedgwood4 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #acg4 ,,top ,,of ,a ,,round ,,table ,,in ,s,,vres ,,porcelain4 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #ach4 ,,the ,,descent ,,from ,,the ,,cross3 ,,sculpture ,,in ,,ivory4 7,,palace47 ,illustration3 ,,plate #aci4 ,,ante-,,room ,,of ,,choice ,,woods4 7,,palace47 ,illustration3 ,,plate #adj4 ,,chair ,,of ,,the ,,emperor ,,charles ,v4 7,,palace47 ,illustration3 ,,plate #ada4 ,,the ,,emperor ,,charles ,v41 ,,the ,,empress ,,isabel1 ,,his ,,daughter ,,maria1 ,,his ,,sisters ,,eleonora1 ,,queen ,,of ,,france1 ,,and ,,maria1 ,,queen ,,of ,,hungary4 7,,escorial47 ,illustration3 ,,plate #adb4 ,,pompeian ,,hall4 7,,palace47 ,illustration3 ,,plate #adc4 ,,oratory ,,of ,,choice ,,woods ,,in ,,the ,,ante-,,chamber4 7,,palace47 ,illustration3 ,,plate #add4 ,,expedition ,,to ,,the ,,azores4 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #ade4 ,,battle ,,of ,,higueruela1 #adca 7#a,,st ,,section ,,of ,,the ,,series ,,of ,,drawings74 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #adf4 ,,battle ,,of ,,higueruela1 #adca 7#b,,nd ,,section ,,of ,,the ,,series ,,of ,,drawings74 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #adg4 ,,battle ,,of ,,higueruela1 #adca 7#c,,rd ,,section ,,of ,,the ,,series ,,of ,,drawings74 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #adh4 ,,battle ,,of ,,higueruela1 #adca 7#d,,th ,,section ,,of ,,the ,,series ,,of ,,drawings74 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #adi4 ,,battle ,,of ,,higueruela1 #adca 7#e,,th ,,section ,,of ,,the ,,series ,,of ,,drawings74 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #aej4 ,,battle ,,of ,,higueruela1 #adca 7#f,,th ,,section ,,of ,,the ,,series ,,of ,,drawings74 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #aea4 ,,battle ,,of ,,higueruela1 #adca 7#g,,th ,,section ,,of ,,the ,,series ,,of ,,drawings74 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #aeb4 ,,battle ,,of ,,higueruela1 #adca 7#h,,th ,,section ,,of ,,the ,,series ,,of ,,drawings74 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #aec4 ,,battle ,,of ,,higueruela1 #adca 7#i,,th ,,section ,,of ,,the ,,series ,,of ,,drawings74 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #aed4 ,,battle ,,of ,,higueruela1 #adca 7#aj,,th ,,section ,,of ,,the ,,series ,,of ,,drawings74 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #aee4 ,,fragment ,,of ,,the ,,battle ,,of ,,higueruela1 #adca1 ,,by ,,granelo ,,and ,,fabricio4 7,,hall ,,of ,,battles ,,in ,,the ,,escorial47 ,illustration3 ,,plate #aef4 ,,fragment ,,of ,,the ,,battle ,,of ,,higueruela1 #adca1 ,,by ,,granelo ,,and ,,fabricio4 7,,hall ,,of ,,battles ,,in ,,the ,,escorial47 ,illustration3 ,,plate #aeg4 ,,fragment ,,of ,,the ,,battle ,,of ,,higueruela1 #adca1 ,,by ,,granelo ,,and ,,fabricio4 7,,hall ,,of ,,battles ,,in ,,the ,,escorial47 ,illustration3 ,,plate #aeh4 ,,surrender ,,of ,,the ,,chatelet ,,fort4 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #aei4 ,,the ,,siege ,,of ,,han ,,and ,,surrender ,,of ,,its ,,castle4 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #afj4 ,,battle ,,of ,,gravelinas4 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #afa4 ,,preparations ,,for ,,the ,,battle ,,of ,,gravelinas4 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #afb4 ,,taking ,,of ,,st4 ,,quintin ,,by ,,the ,,spanish ,,infantry ,,regiments4 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #afc4 ,,battle ,,before ,,st4 ,,quintin4 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #afd4 ,,preparations ,,for ,,the ,,siege ,,of ,,st4 ,,quintin4 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #afe4 ,,departure ,,of ,,the ,,spanish ,,army ,,from ,,the ,,fortified ,,place ,,of ,,st4 ,,quintin4 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #aff4 ,,the ,,duke ,,of ,,alba ,,reviewing ,,his ,,troops ,,at ,,cantillana4 7,,hall ,,of ,,battles47 ,illustration3 ,,plate #afg4 ,,effigies ,,of ,,all ,,the ,,kings ,,of ,,spain1 ,,from ,,the ,,time ,,of ,,the ,,goths1 ,,until ,,philip ,v41 ,,taken ,,from ,,charts1 ,,medals1 ,,and ,,paintings4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #afh4 ,,pluto ,,and ,,proserpina1 ,,by ,l4 ,,giordano4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #afi4 ,,allegory ,,of ,,africa1 ,,by ,l4 ,,giordano4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #agj4 ,,phaeton ,,struck ,,by ,,jupiter',s ,,thunderbolt4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #aga4 ,,the ,,battle ,,of ,,lepanto1 ,,by ,l4 ,,giordano4 7,,reproduced ,,from ,,the ,,fresco ,,in ,,the ,,escorial47 ,illustration3 ,,plate #agb4 ,,expedition ,,to ,,the ,,terceire ,,isle 7,,azores74 7,,fragment ,,of ,a ,,fresco ,,painting ,,in ,,the ,,hall ,,of ,,battles47 ,illustration3 ,,plate #agc4 ,,apollo ,,and ,,mercury1 ,,by ,,peregrino ,,tibaldi4 7,,fresco ,,on ,,the ,,arch ,,of ,,the ,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #agd4 ,a ,,sweet ,,singer1 ,,by ,,watteau4 7,,museum ,,of ,,the ,,escorial47 ,illustration3 ,,plate #age4 ,a ,,love ,,scene1 ,,by ,,watteau4 7,,museum ,,of ,,the ,,escorial47 ,illustration3 ,,plate #agf4 ,,philip ,,ii4 ,,receiving ,a ,,deputation ,,from ,,the ,,low ,,countries ,,in ,,the ,,escorial1 ,,by ,,sant ,,arcos4 ,illustration3 ,,plate #agg4 ,,portrait ,,of ,,philip ,,ii4 ,,at ,,the ,,age ,,of #ga1 ,,by ,,antonio ,,moro4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #agh4 ,,second ,,set ,,of ,,effigies ,,of ,,all ,,the ,,kings ,,of ,,spain1 ,,from ,,the ,,time ,,of ,,the ,,goths1 ,,until ,,philip ,v41 ,,taken ,,from ,,charts1 ,,medals1 ,,and ,,paintings4 7,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #agi4 ,,st4 ,,isidore1 ,,by ,,corrado4 7,,in ,,the ,,museum ,,at ,,the ,,escorial47 ,illustration3 ,,plate #ahj4 ,,pan ,,and ,,misenus1 ,,by ,,peregrino ,,tibaldi4 7,,fresco ,,of ,,the ,,arch ,,in ,,the ,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aha4 ,,homer ,,and ,,virgil1 ,,by ,,peregrino ,,tibaldi4 7,,fresco ,,of ,,the ,,arch ,,in ,,the ,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ahb4 ,,solomon ,,and ,,the ,,queen ,,of ,,sheba1 ,,by ,v4 ,,carducci4 7,,fresco ,,of ,,the ,,arch ,,in ,,the ,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ahc4 ,,pindar ,,and ,,horace1 ,,by ,,peregrino ,,tibaldi4 7,,fresco ,,of ,,the ,,arch ,,in ,,the ,,library ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ahd4 ,,the ,,visitation1 ,,by ,,peregrino ,,tibaldi4 7,,fresco ,,in ,,the ,,cloister ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ahe4 ,,the ,,marriage ,,of ,,the ,,virgin1 ,,by ,,peregrino ,,tibaldi4 7,,fresco ,,in ,,the ,,cloister ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ahf4 ,,the ,,annunciation1 ,,by ,,lucas ,,cangiagi4 7,,fresco ,,in ,,the ,,cloister ,,of ,,the ,,escorial47 ,illustration3 ,,plate #ahg4 ,,triptych1 ,,with ,,paintings ,,on ,,vellum4 7,,camarin ,,of ,,st4 ,,theresa47 ,illustration3 ,,plate #ahh4 ,,the ,,seven ,,capital ,,sins1 ,,by ,,jerome ,,bosch1 ,,on ,,wood4 7,in the ,room of ,philip ,,ii4 at the ,escorial47 ,illustration3 ,,plate #ahi4 ,,the ,,story ,,of ,,the ,,passion3 ,,diptych1 ,,in ,,ivory1 ,,of ,,the #ac,,th ,,century4 7,,from ,,the ,,camarin ,,of ,,st4 ,,theresa47 ,illustration3 ,,plate #aij4 ,,frieze ,,of ,,the ,,staircase ,,in ,,the ,,monastery1 ,,representing ,,the ,,battle1 ,,siege1 ,,and ,,capture ,,of ,,st4 ,,quintin1 ,,and ,,the ,,foundation ,,of ,,the ,,monastery1 ,,by ,l4 ,,giordano4 ,illustration3 ,,plate #aia4 #8,,la ,,santa ,,forma4' ,,the ,,masterpiece ,,of ,,claude ,,coello4 7,,sacristy ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aib4 ,,the ,,resurrection1 ,,by ,,peregrino ,,tibaldi4 7,,the ,,cloister ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aic4 ,,the ,,interment ,,of ,,christ1 ,,by ,,tintoretto4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aid4 ,,jesus ,,at ,,the ,,pharisee',s ,,house1 ,,by ,,tintoretto4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aie4 ,,the ,,resurrection ,,of ,,our ,,lord3 ,,florentine ,,school1 ,,grey ,,painting4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aif4 ,,the ,,birth ,,of ,,our ,,lord1 ,,by ,,tintoretto4 7,,chapter ,,room ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aig4 ,,the ,,annunciation1 ,,by ,,paul ,,veronese4 7,,chapter ,,room ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aih4 ,,porus ,,brought ,,before ,,alexander ,,the ,,great1 ,,by ,,carlos ,,van ,,loo4 7,,monastery ,,of ,,the ,,escorial47 ,illustration3 ,,plate #aii4 ,,the ,,crown ,,of ,,thorns1 ,,by ,,jerome ,,bosch1 ,,on ,,wood4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bjj4 ,,triptych1 ,,by ,,jerome ,,bosch4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bja4 ,,triptych1 ,,representing ,,the ,,terrestrial ,,delights1 ,,and ,,the ,,punishment ,,of ,,sin ,,in ,,hell1 ,,by ,,jerome ,,bosch4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bjb4 ,,portrait ,,of ,,charles ,v4 ,,at ,,the ,,age ,,of #dg1 ,,by ,,juan ,,pantoja4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bjc4 ,,christ ,,bringing ,,forth ,,the ,,souls ,,of ,,the ,,saints3 ,,florentine ,,school4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bjd4 ,,the ,,washing ,,of ,,feet1 ,,by ,,tintoretto4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bje4 ,,the ,,nativity1 ,,by ,,josef ,,ribera4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bjf4 ,,the ,,last ,,supper1 ,,by ,,titian4 7,,the ,,escorial47 ,illustration3 ,,plate #bjg4 ,,st4 ,,christopher 7,,on ,,wood71 ,,by ,j4 ,,patenier4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bjh4 ,,jacob ,,receiving ,,joseph',s ,,coat1 ,,by ,,velazquez4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bji4 ,,the ,,penitent ,,magdalene1 ,,by ,l4 ,,giordano4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #baj4 ,,mummy ,,of ,,charles ,v41 ,,by ,v4 ,,palmaroli4 7,,the ,,escorial47 ,illustration3 ,,plate #baa4 ,,jacob ,,guarding ,,the ,,flocks ,,of ,,laban1 ,,by ,j4 ,,ribera4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bab4 ,,the ,,satyr ,,marsyas ,,flayed ,,alive ,,by ,,apollo1 ,,by ,l4 ,,giordano4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bac4 ,,lot ,,and ,,his ,,family1 ,,by ,a4 ,,vaccaro4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bad4 ,,the ,,adoration ,,of ,,the ,,magi1 ,,by ,,veronese4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bae4 ,,the ,,chastisement ,,of ,,arachne1 ,,by ,l4 ,,giordano4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #baf4 ,,alexander ,,conquering ,,darius1 ,,by ,f4 ,,solimena4 7,,monastery47 ,illustration3 ,,plate #bag4 ,,st4 ,,maurice ,,and ,,other ,,martyrs1 ,,by ,,el ,,greco4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bah4 ,,queen ,,esther1 ,,by ,,tintoretto4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bai4 ,,the ,,annunciation1 ,,and ,,the ,,birth ,,of ,,christ4 ,,by ,,coxcis4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bbj4 ,,the ,,holy ,,trinity1 ,,by ,j4 ,,ribera4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bba4 ,,vision ,,of ,,jesus ,,to ,,his ,,mother1 ,,by ,p4 ,,veron,,se4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bbb4 ,,the ,,carnation ,,gardener1 ,,by ,f4 ,,bayeu4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bbc4 ,,the ,,water-,,seller1 ,,by ,f4 ,,bayeu4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bbd4 ,,the ,,young ,,bull ,,at ,,carabanchel ,,de ,,abajo1 ,,by ,f4 ,,bayeu 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bbe4 ,,promenade ,,of ,,las ,,delicias1 ,,by ,f4 ,,bayeu4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bbf4 ,,the ,,pork ,,merchant1 ,,by ,f4 ,,bayeu4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bbg4 ,,departure ,,for ,,the ,,hunt1 ,,after ,p4 ,,wouwerman1 ,,by ,,gines ,,de ,,aguirre4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bbh4 ,,descent ,,from ,,the ,,cross 7,r4 ,,van ,,der ,,weyden74 ,illustration3 ,,plate #bbi4 ,,child ,,riding ,a ,,sheep1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bcj4 ,a ,,lady ,,and ,,her ,,cavalier1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bca4 ,,country ,,dance1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,dining ,,hall ,,of ,,the ,,palace47 ,illustration3 ,,plate #bcb4 ,,casting ,,of ,,bullets ,,in ,a ,,forest1 ,,by ,,goya4 7,,casa ,,del ,,principe1 ,,escorial47 ,illustration3 ,,plate #bcc4 ,,the ,,kite1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,escorial ,,palace47 ,illustration3 ,,plate #bcd4 ,,the ,,washerwomen1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bce4 ,,young ,,man ,,with ,a ,,bird1 ,,and ,a ,,bagpiper1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bcf4 ,a ,,promenade ,,in ,,andalusia1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bcg4 ,,the ,,china ,,merchant1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bch4 ,,dogs ,,in ,a ,,leash1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bci4 ,,the ,,little ,,giants1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bdj4 ,,the ,,grape-,,sellers1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bda4 ,,the ,,card-,,players1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bdb4 ,,the ,,wood-,,cutters1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,dining ,,hall ,,of ,,the ,,palace47 ,illustration3 ,,plate #bdc4 ,,children ,,picking ,,fruit1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bdd4 ,,children ,,climbing ,a ,,tree1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bde4 ,,the ,,see-,,saw1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bdf4 ,,the ,,reapers1 ,,by ,f4 ,,goya4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bdg4 ,,tapestry ,,after ,,the ,,pompeian ,,style4 7,,in ,,the ,,palace47 ,illustration3 ,,plate #bdh4 ,,story ,,of ,,telemachus3 ,,the ,,dance ,,of ,,the ,,nymphs4 7,,gobelin ,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bdi4 ,,story ,,of ,,telemachus3 ,,neptune ,,wrecking ,,ulysses' ,,vessel4 7,,gobelin ,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bej4 ,,story ,,of ,,telemachus3 ,,calypso4 7,,gobelin ,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bea4 ,,story ,,of ,,telemachus3 ,,young ,,telemachus4 7,,gobelin ,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #beb4 ,,children ,,playing ,,at ,,bull-,,fighting1 ,,by ,f4 ,,bayeu4 7,,tapestry ,,in ,,the ,,escorial ,,palace47 ,illustration3 ,,plate #bec4 ,,the ,,gardens ,,of ,,buen ,,retiro4 7,,tapestry ,,in ,,the ,,palace47 ,illustration3 ,,plate #bed4 ,,st4 ,,joseph ,,and ,,the ,,child ,,jesus4 7,,casa ,,del ,,principe1 ,,escorial47 ,illustration3 ,,plate #bee4 ,,the ,,judgment ,,of ,,solomon1 ,,by ,f4 ,,de ,,urbina4 7,,ceiling ,,in ,,the ,,prior',s ,,cell ,,in ,,the ,,monastery47 ,illustration3 ,,plate #bef4 ,,the ,,virgin1 ,,by ,,corrado4 7,,casa ,,del ,,principe1 ,,escorial47 ,illustration3 ,,plate #beg4 ,,woman ,,reading ,a ,,letter1 ,,by ,d4 ,,teniers4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #beh4 ,,the ,,conversion ,,of ,,st4 ,,paul1 ,,by ,l4 ,,giordano4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #bei4 ,,apollo ,,grieving ,,over ,,the ,,death ,,of ,,his ,,son ,,phaeton3 ,,buen-,,retiro ,,china4 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #bfj4 ,,the ,,fall ,,and ,,death ,,of ,,julian ,,the ,,apostate1 ,,by ,l4 ,,giordano4 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #bfa4 ,,the ,,bagpiper1 ,,by ,d4 ,,teniers4 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #bfb4 ,,st4 ,,john ,,the ,,baptist1 ,,by ,,annibale ,,caracci4 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #bfc4 ,a ,,smoker1 ,,by ,d4 ,,teniers4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #bfd4 ,,the ,,heliades1 ,,daughters ,,of ,,the ,,sun1 ,,changed ,,into ,,poplars1 ,,after ,,the ,,death ,,of ,,their ,,brother ,,phaeton3 ,,buen-,,retiro ,,china4 7,,casa ,,del ,,principe47 ,illustration3 ,,plate #bfe4 ,,the ,,conception ,,of ,,the ,,virgin1 ,,by ,,an ,,unknown ,,artist4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #bff4 ,,the ,,holy ,,family1 ,,by ,,raphael4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #bfg4 ,,semiramis ,,fighting ,,the ,,enemy4 ,,by ,l4 ,,giordano4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #bfh4 ,,the ,,rape ,,of ,,the ,,sabines1 ,,by ,l4 ,,giordano4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #bfi4 ,,allegory ,,of ,,america1 ,,by ,l4 ,,giordano4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #bgj4 ,,allegory ,,of ,,asia1 ,,by ,l4 ,,giordano4 7,,casa ,,del ,,principe ,,at ,,the ,,escorial47 ,illustration3 ,,plate #bga4 ,,the ,,dream ,,of ,,philip ,,ii41 ,,by ,,el ,,greco4 7,,chapter ,,hall ,,of ,,the ,,escorial47 ,illustration3 ,,plate #bgb4 ,,effigies ,,of ,,the ,,different ,,kings ,,of ,,spain4 ,illustration3 ,,plate #bgc4 ,,effigies ,,of ,,the ,,different ,,kings ,,of ,,spain4 ,illustration3 ,,plate #bgd4 ,,effigies ,,of ,,the ,,different ,,kings ,,of ,,spain4 ,illustration3 ,,plate #bge4 ,,the ,,prince',s ,,room4 7,,escorial47 ,illustration3 ,,plate #bgf4 ,,pompeian ,,room4 7,,escorial47 ,illustration3 ,,plate #bgg4 ,,tower ,,room 7,,casita ,,de ,,abajo7 7,,escorial47 ,illustration3 ,,plate #bgh4 ,,the ,,royal ,,palace ,,and ,,monastery3 ,,plan ,,and ,,section4 99 99 99 99 99 ,,the ,,spanish ,,series ,edited by ,,albert ,f4 ,,calvert ,a new and important series of volumes1 dealing with ,spain in its various aspects1 its history1 its cities and monuments4 ,each volume will be complete in itself in an uniform binding1 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 issued1 some volumes having over #cjj pages of reproductions of pictures1 etc4 ,crown #hvo4 ,price #c_/f net ,,murillo4 ,a ,biography and ,appreciation4 ,illustrated by over #afe reproductions from photographs of his most celebrated pictures4 ,,spanish ,,arms ,,and ,,armour4 ,a ,historical and ,descriptive ,account of the ,royal ,armoury at ,madrid4 ,illustrated with #chf reproductions from photographs4 ,,the ,,escorial4 ,a ,historical and ,descriptive ,account of the ,spanish ,royal ,palace1 ,monastery and ,mausoleum4 ,illustrated with plans and #bgh reproductions from pictures and photographs4 ,,cordova4 ,a ,historical and ,descriptive ,account of the ,ancient ,city which the ,carthaginians styled the 8,gem of the ,south40 ,with over #aee ,illustrations4 ,,seville4 ,a ,historical and ,descriptive ,account4 ,with #cjj ,illustrations4 ,,the ,,prado4 ,a ,guide and ,handbook to the ,royal ,picture ,gallery of ,madrid4 ,illustrated with #bba reproductions from photographs of ,old ,masters4 ,,in ,,preparation ,,goya ,,granada ,,velazquez ,,toledo ,,royal ,,palaces ,,madrid ,,leon1 ,,burgos1 ,c4 ,,valladolid1 ,,segovia1 ,c4 99 99 99 99 99 ,,uniform ,,with ,,this ,,volume ,,murillo ,a ,,biography ,,and ,,appreciation4 ,,illustrated ,,by ,,over #afe ,,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-painters1 the great ,court-,painter to ,philip ,,iv4 has ever received the lion's share of public attention4 ,many learned and critical works have been written about ,murillo1 but whereas ,velazquez has been familiarised to the general reader by the aid of small1 popular biographies1 the niche is still empty which it is hoped that this book will fill4 ,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 lived1 and his own feeling towards his art4 ,murillo was the product of his religious era1 and of his native province1 ,andalusia4 ,to ,europe in his lifetime he signified little or nothing4 ,he painted to the order of the religious houses of his immediate vicinity2 his works were immured in local monasteries and cathedrals1 and1 passing immediately out of circulation1 were forgotten or never known4 ,,uniform ,,with ,,this ,,volume ,,spanish ,,arms ,,and ,,armour ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the ,,royal ,,armoury ,,at ,,madrid4 ,,illustrated ,,with #chf ,,reproductions ,,from ,,photographs ,although several valuable and voluminous catalogues of the ,spanish ,royal ,armoury have1 from time to time1 been compiled1 this 8finest collection of armour in the world0 has been subjected so often to the disturbing influences of fire1 removal1 and re-arrangement1 that no hand catalogue of the ,museum is available1 and this book has been designed to serve both as a historical souvenir of the institution and a record of its treasures4 ,the various exhibits with which the writer illustrates his narrative are reproduced to the number of over #cjj on art paper1 and the selection of weapons and armour has been made with a view not only to render the series interesting to the general reader1 but to present a useful text book of ,european armoury for the guidance of artists1 sculptors1 antiquaries1 costumiers1 and all who have practical interest in historical accuracy4 ,,uniform ,,with ,,this ,,volume ,,the ,,escorial ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the ,,spanish ,,royal ,,palace1 ,,monastery ,,and ,,mausoleum4 ,,illustrated ,,with ,,plans ,,and #bgh ,,reproductions ,,from ,,pictures ,,and ,,photographs ,the ,royal ,palace1 ,monastery1 and ,mausoleum of ,el ,escorial1 which rears its gaunt1 grey walls in one of the bleakest but most imposing districts in the whole of ,spain1 was erected to commemorate a victory over the ,french in #aeeg4 ,it was occupied and pillaged by the ,french two and a-half centuries later1 and twice it has been greatly diminished by fire2 but it remains to-day1 not only the incarnate expression of the fanatic religious character and political genius of ,philip ,,ii41 but the greatest mass of wrought granite which exists on earth1 the leviathan of architecture1 the eighth wonder of the world4 ,in the text of this book the author has endeavoured to reconstitute the glories and tragedies of the living past of the ,escorial1 and to represent the wonders of the stupendous edifice by reproductions of over two hundred and seventy of the finest photographs and pictures obtainable4 ,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 history1 the architecture1 and the art of ,spain4 ,,uniform ,,with ,,this ,,volume ,,cordova ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the ,,ancient ,,city ,,which ,,the ,,carthaginians ,,styled ,,the 8,,gem ,,of ,,the ,,south10 ,,with ,,over #aee ,,illustrations ,gay-looking1 vivacious in its beauty1 silent1 ill-provided1 depopulated1 ,cordova was once the pearl of the ,west1 the city of cities1 ,cordova of the thirty suburbs and three thousand mosques2 to-day she is no more than an overgrown village1 but she still remains the most ,oriental town in ,spain4 ,cordova1 once the centre of ,european civilisation1 under the ,moors the ,athens of the ,west1 the successful rival of ,baghdad and ,damascus1 the seat of learning and the repository of the arts1 is now no more than a third-rate provincial town2 but the artist1 the antiquary and the lover of the beautiful1 will still find in its streets and squares and patios a mysterious spell that cannot be resisted4 ,,uniform ,,with ,,this ,,volume ,,seville ,a ,,historical ,,and ,,descriptive ,,account1 ,,with #cjj ,,illustrations ,seville1 which has its place in mythology as the creation of ,hercules1 and was more probably founded by the ,phnicians1 which became magnificent under the ,roman rule1 was made the capital of the ,goths1 was the centre of ,moslem power and splendour1 and fell before the military prowess of ,st4 ,ferdinand1 is still the ,queen of ,andalusia1 the ,spanish ,athens1 the foster-mother of ,velazquez and ,murillo1 the city of poets and pageantry and love4 ,seville is always gay1 and responsive and fascinating to the receptive visitor1 and all sorts of people go there with all sorts of motives4 ,the artist repairs to the ,andalusian city to fill his portfolio2 the lover of art makes the pilgrimage to study ,murillo in all his glory4 ,the seasons of the ,church attract thousands from reasons of devotion or curiosity4 ,and of all these myriad visitors1 who go with their minds full of preconceived notions1 not one has yet confessed to being disappointed with ,seville4 ,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 roses1 where the people pursue pleasure as the serious business of life in an atmosphere of exhilarating enjoyment4 ,,uniform ,,with ,,this ,,volume ,,the ,,prado ,a ,,guide ,,and ,,handbook ,,to ,,the ,,royal ,,picture ,,gallery ,,of ,,madrid4 ,,illustrated ,,with #bba ,,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 world4 ,it has been said that the day one enters the ,prado for the first time is an important event like marriage1 the birth of a child1 or the coming into an inheritance2 an experience of which one feels the effects to the day of one's death4 ,the excellence of the ,madrid gallery is the excellence of exclusion2 it is a collection of magnificent gems4 ,here one becomes conscious of a fresh power in ,murillo1 and is amazed anew by the astonishing apparition of ,velazquez2 here is1 in truth1 a rivalry of miracles of art4 ,the task of selecting pictures for reproduction from what is perhaps the most splendid gallery of old masters in existence1 was one of no little difficulty1 it is believed that the collection is representative1 and that the letterpress will form a serviceable companion to the visitor to ,the ,prado4 ,,uniform ,,with ,,this ,,volume ,,toledo ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the 8,,city ,,of ,,generations10 ,,with ,,over #dhj ,,illustrations ,the origin of ,imperial ,toledo1 8the crown of ,spain1 the light of the world1 free from the time of the mighty ,goths10 is lost in the impenetrable mists of antiquity4 ,mighty1 unchangeable1 invincible1 the city has been described by ,wrmann as 8a gigantic open-air museum of the architectural history of early ,spain1 arranged upon a lofty and conspicuous table of rock40 ,but while some writers have declared that ,toledo is a theatre with the actors gone and only the scenery left1 the author does not share the opinion4 ,he believes that the power and virility upon which ,spain built up her greatness is reasserting itself4 ,the machinery of the theatre of ,toledo is rusty1 the pulleys are jammed from long disuse1 but the curtain is rising steadily if slowly1 and already can be heard the tuning-up of fiddles in its ancient orchestra4 ,in this belief the author of this volume has not only set forth the story of ,toledo's former greatness1 but has endeavoured to place before his readers a panorama of the city as it appears to-day1 and to show cause for his faith in the greatness of the ,toledo of the future4 ,,uniform ,,with ,,this ,,volume ,,granada ,,and ,,the ,,alhambra ,a ,,brief ,,history ,,of ,,the ,,moslem ,,rule ,,in ,,spain1 ,,together ,,with ,a ,,particular ,,account ,,of ,,the ,,construction1 ,,the ,,architecture1 ,,and ,,the ,,decoration ,,of ,,the ,,moorish ,,palace1 ,,with ,,over #dej ,,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 ,alhambra1 and by his disappointment in the discovery that no such thing as an even moderately adequate illustrated souvenir of 8this glorious sanctuary of ,spain0 was obtainable4 ,keenly conscious of the want himself1 he essayed to supply it1 and the result is a volume that has been acclaimed with enthusiasm alike by critics1 artists1 architects1 and archologists4 ,in his preface to the first edition1 ,mr4 ,calvert wrote3 8,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 influence4 ,but as the witchery of an inspired score can be recalled by the sound of an air whistled in the street1 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 epitome40 ,,uniform ,,with ,,this ,,volume ,,velazquez ,a ,,biography ,,and ,,appreciation4 ,,illustrated ,,with #adb ,,reproductions ,,from ,,photographs ,,of ,,his ,,most ,,celebrated ,,pictures ,diego ,rodriguez de ,silva y ,velazquez--8our ,velasquez10 as ,palomino proudly styles him--has been made the subject of innumerable books in every ,european language1 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 literature4 ,the great ,velazquez1 the eagle in art--subtle1 simple1 incomparable--the supreme painter1 is still a guiding magnet of the art of to-day4 ,this greatest of ,spanish artists1 a master not only in portrait painting1 but in character and animal studies1 in landscapes and historical subjects1 impressed the grandeur of his superb personality upon all his work4 ,spain1 it has been said1 the country whose art was largely borrowed1 produced ,velazquez1 and through him ,spanish art became the light of a new artistic life4 ,the author cannot boast that he has new data to offer1 but he has put forward his conclusions with modesty2 he has reproduced a great deal that is most representative of the artist's work2 and he has endeavoured to keep always in view his object to present a concise1 accurate1 and readable life of ,velazquez4 ,,uniform ,,with ,,this ,,volume ,,madrid ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the ,,spanish ,,capital1 ,,with ,,over #cjj ,,illustrations ,madrid is at once one of the most interesting and most maligned cities in ,europe4 ,it stands at an elevation of #b1ejj feet above the sea level1 in the centre of an arid1 treeless1 waterless1 and wind-blown plain2 but whatever may be thought of the wisdom of selecting a capital in such a situation1 one cannot but admire the uniqueness of its position1 and the magnificence of its buildings1 and one is forced to admit that1 having fairly entered the path of progress1 ,madrid bids fair to become one of the handsomest and most prosperous of ,european cities4 ,the splendid promenades1 the handsome buildings1 and the spacious theatres combine to make ,madrid one of the first cities of the world1 and the author has endeavoured with the aid of the camera1 to place every feature and aspect of the ,spanish metropolis before the reader4 ,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 ,marriage1 but the greater number were either taken by the author1 or are the work of photographers specially employed to obtain new views for the purpose of this volume4 ,,uniform ,,with ,,this ,,volume ,,goya ,a ,,biography ,,and ,,an ,,appreciation4 ,,illustrated ,,by ,,reproductions ,,of #fjj ,,of ,,his ,,pictures ,the last of the old masters and the first of the moderns1 as he has been called1 ,francisco ,jos de ,goya y ,lucientes is not so familiarised to ,english readers as his genius deserves4 ,he was born at a time when the tradition of ,velazquez was fading1 and the condition of ,spanish painting was debased almost beyond hope of salvation2 he broke through the academic tradition of imitation2 8he1 next to ,velazquez1 is to be accounted as the man whom the ,impressionists of our time have to thank for their most definite stimulus1 their most immediate inspiration40 ,the genius of ,goya was a robust1 imperious1 and fulminating genius2 his iron temperament was passionate1 dramatic1 and revolutionary2 he painted a picture as he would have fought a battle4 ,he was an athletic1 warlike1 and indefatigable painter2 a naturalist like ,velazquez2 fantastic like ,hogarth2 eccentric like ,rembrandt2 the last flame-coloured flash of ,spanish genius4 ,it is impossible to reproduce his colouring2 but in the reproductions of his works the author has endeavoured to convey to the reader some idea of ,goya's boldness of style1 his mastery of frightful shadows and mysterious lights1 and his genius for expressing all terrible emotions4 ,,uniform ,,with ,,this ,,volume ,,leon1 ,,burgos ,,and ,,salamanca ,a ,,historical ,,and ,,descriptive ,,account1 ,,with ,,over #cej ,,illustrations ,in ,leon1 once the capital of the second kingdom in ,spain2 in ,burgos1 which boasts one of the most magnificent cathedrals in ,spain1 and the custodianship of the bones of the ,cid2 and in ,salamanca1 with its university1 which was one of the oldest in ,europe1 the author has selected three of the most interesting relics of ancient grandeur in this country of departed greatness4 ,leon to-day is nothing but a large agricultural village1 torpid1 silent1 dilapidated2 ,burgos1 which still retains traces of the ,gotho-,castilian character1 is a gloomy and depleting capital2 and ,salamanca is a city of magnificent buildings1 a broken hulk1 spent by the storms that from time to time have devastated her4 ,yet apart from the historical interest possessed by these cities1 they still make an irresistible appeal to the artist and the antiquary4 ,they are content with their stories of old-time greatness and their cathedrals1 and these ancient architectural splendours1 undisturbed by the touch of a modernising and renovating spirit1 continue to attract the visitor4 ,,uniform ,,with ,,this ,,volume ,,valladolid1 ,,oviedo1 ,,segovia1 ,,zamora1 ,,avila ,,and ,,zaragoza ,a ,,historical ,,and ,,descriptive ,,account1 ,,with ,,over #cbe ,,illustrations ,the glory of ,valladolid has departed1 but the skeleton remains1 and attached to its ancient stones are the memories that ,philip ,,ii4 was born here1 that here ,cervantes lived1 and ,christopher ,columbus died4 ,in this one-time capital of ,spain1 in the ,plaza ,mayor1 the fires of the ,great ,inquisition were first lighted1 and here ,charles ,v4 laid the foundation of the ,royal ,armoury1 which was afterwards transferred to ,madrid4 ,more than seven hundred years have passed since ,oviedo was the proud capital of the ,kingdoms of ,las ,asturias1 ,leon1 and ,castile4 ,segovia1 though no longer great1 has still all the appurtenances of greatness1 and with her granite massiveness and austerity1 she remains an aristocrat even among the aristocracy of ,spanish cities4 ,zamora1 which has a history dating from time almost without date1 was the key of ,leon and the centre of the endless wars between the ,moors and the ,christians1 which raged round it from the eighth to the eleventh centuries4 ,in this volume the author has striven to re-create the ancient greatness of these four cities1 and has preserved their memories in a wealth of excellent and interesting illustrations4 ,,uniform ,,with ,,this ,,volume ,,royal ,,palaces ,,of ,,spain ,a ,,historical ,,and ,,descriptive ,,account ,,of ,,the ,,seven ,,principal ,,palaces ,,of ,,the ,,spanish ,,kings4 ,,profusely ,,illustrated ,spain is beyond question the richest country in the world in the number of its ,royal ,residences1 and while few are without artistic importance1 all are rich in historical memories4 ,thus1 from the ,alcazar at ,seville1 which is principally associated with ,pedro the ,cruel1 to the ,retiro1 built to divert the attention of ,philip ,,iv4 from his country's decay2 from the ,escorial1 in which the gloomy mind of ,philip ,,ii4 is perpetuated in stone1 to ,la ,granja1 which speaks of the anguish and humiliation of ,christina before ,sergeant ,garcia and his rude soldiery2 from ,aranjuz to ,rio ,fri1 and from ,el ,pardo1 darkened by the agony of a good king1 to ,miramar1 to which a widowed ,queen retired to mourn3 all the history of ,spain1 from the splendid days of ,charles ,v4 to the present time1 is crystallised in the ,palaces that constitute the patrimony of the ,crown4 ,the ,royal ,palaces of ,spain are open to visitors at stated times1 and it is hoped that this volume1 with its wealth of illustrations1 will serve the visitor both as a guide and a souvenir4 99 99 99 99 99 ,,by ,,albert ,f4 ,,calvert ,,the ,,alhambra ,,of ,,granada1 ,,being ,a ,,brief ,,history ,,of ,,the ,,moslem ,,rule ,,in ,,spain ,,from ,,the ,,reign ,,of ,,mohammed ,,the ,,first ,,to ,,the ,,final ,,expulsion ,,of ,,the ,,moors1 ,,together ,,with ,a ,,particular ,,account ,,of ,,the ,,construction1 ,,the ,,architecture ,,and ,,the ,,decoration ,,of ,,the ,,moorish ,,palace1 ,,with #hj ,,coloured ,,plates ,,and ,,nearly #cjj ,,black ,,and ,,white ,,illustrations 7,,new ,,edition7 ,size #aj x #g ,price #b #bs4 net ,,press ,,notices 8,it is hardly too much to say that this is one of the most magnificent books ever issued from the ,english ,press40 ,building ,world4 8,one is really puzzled where to begin and when to stop in praising the illustrations40 ,bookseller4 8,the most complete record of this wonder of architecture which has ever been contemplated1 much less attempted40 ,british ,architect4 8,a treasure to the student of decorative art40 ,morning ,advertiser4 8,mr4 ,,calvert has given us a ,book ,beautiful40 ,western ,daily ,press4 8,it is the last word on the subject1 no praise is too high40 ,nottingham ,express4 8,may be counted among the more important art books which have been published during recent years40 ,the ,globe4 8,has a pride of place that is all its own among the books of the month40 ,review of ,reviews4 8,has in many respects surpassed any books on the ,alhambra which up to the present have appeared in our own country or abroad40 ,el ,graduador1 ,spain4 8,it is one of the most beautiful books of modern times40 ,ely ,gazette4 8,one of the most artistic productions of the year40 ,publishers' ,circular4 8,the most beautiful book on the ,alhambra issued in ,england40 ,sphere4 8,the standard work on a splendid subject40 ,daily ,telegraph4 8,a remarkable masterpiece of book production40 ,eastern ,daily ,press4 8,a perfect treasure of beauty and delight40 ,keighley ,news4 8,a magnificent work40 ,melbourne ,age1 ,australia4 8,immense collection of fine plates40 ,the ,times4 8,a standard work1 the compilation of which would credit a life's labour40 ,hull ,daily ,mail4 99 99 99 99 99 ,,moorish ,,remains ,,in ,,spain ,,being ,a ,,brief ,,record ,,of ,,the ,,arabian ,,conquest ,,and ,,occupation ,,of ,,the ,,peninsula1 ,,with ,a ,,particular ,,account ,,of ,,the ,,mohammedan ,,architecture ,,and ,,decoration ,,in ,,the ,,cities ,,of ,,cordova1 ,,seville ,,and ,,toledo1 ,,with ,,many ,,coloured ,,plates1 ,,and ,,over #djj ,,black ,,and ,,white ,,illustrations1 ,,diagrams1 ,,etc41 ,,dedicated ,,by ,,permission ,,to ,h4,m4 ,,king ,,alfonso ,,xiii4 ,crown #dto4 7#g x #aj ins47 ,price #b #bs4 net ,,press ,,notices 8,the making of this book must surely have been a veritable labour of love2 and love's labour has certainly not been lost40 ,pall ,mall ,gazette4 8,the best age of ,moorish architecture in ,spain is shown with remarkable vividness and vitality40 ,the ,scotsman4 8,a most gorgeous book4444 ,we cheerfully admit ,mr4 ,,calvert into the ranks of those whom posterity will applaud for delightful yet unprofitable work40 ,outlook4 8,a large and sumptuous volume40 ,tribune4 8,the illustrations are simply marvels of reproduction40 ,dundee ,advertiser4 8,one of the books to which a simple literary review cannot pretend to do justice40 ,spectator4 8,a special feature of a work of peculiar interest and value are the illustrations40 ,newcastle ,chronicle4 8,the illustrations are given with a minuteness and faithfulness of detail1 and colour1 which will be particularly appreciated and acknowledged by those who are most acquainted with the subject themselves40 ,liverpool ,post4 8,it is impossible to praise too highly the care with which the illustrations have been prepared40 ,birmingham ,daily ,post4 8,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 ,seville2 and this is probably the highest compliment we could pay to the book or its author40 ,academy4 8,it is certainly one of the most interesting books of the year40 ,crown4 8,the occasional delicacy of design and harmony of colour can scarcely be surpassed 444 a valuable and profusely illustrated volume40 ,guardian4 8,an excellent piece of work40 ,the ,times4 8,mr4 ,,calvert has performed a useful work40 ,daily ,telegraph4 8,a truly sumptuous volume40 ,the ,speaker4 8,mr4 ,,calvert has given a very complete account of the evolution of ,moresco art40 ,the ,connoisseur4 99 99 99 99 99 ,,life ,,of ,,cervantes ,a ,,new ,,life ,,of ,,the ,,great ,,spanish ,,author ,,to ,,commemorate ,,the ,,tercentenary ,,of ,,the ,,publication ,,of 8,,don ,,quixote10 ,,with ,,numerous ,,portraits ,,and ,,reproductions ,,from ,,early ,,editions ,,of 8,,don ,,quixote0 ,size ,crown #hvo4 #aej pp4 ,price #c_/f net ,,press ,,notices 8,a popular and accessible account of the career of ,cervantes40 ,daily ,chronicle4 8,a very readable and pleasant account of one of the great writers of all time40 ,morning ,leader4 8,we recommend the book to all those to whom ,cervantes is more than a mere name40 ,westminster ,gazette4 8,nothing could be more useful than this careful and authoritative book40 ,vanity ,fair4 8,it is made trebly interesting by the very complete set of ,cervantes' portraits it contains1 and by the inclusion of a valuable bibliography40 ,black and ,white4 8,nothing better could be desired40 ,literary ,world4 8,a capital and most interesting little book40 ,the ,queen4 8,excellent little volume40 ,the ,graphic4 8,a book full of information and of convenient compass40 ,onlooker4 8,a handy1 compendious life1 with good ,quixotic pictures40 ,rapid ,review4 8,can be heartily recommended to all who want to know something of the life of ,cervantes40 ,nottingham ,express4 8,mr4 ,,calvert is entitled to the gratitude of book-lovers for his industrious devotion at one of our greatest literary shrines40 ,birmingham ,post4 8,should be greatly appreciated by all lovers of the chivalrous ,knight40 ,dublin ,express4 8,a most interesting rsum of all facts up to the present time known40 ,el ,nervion de ,bilbao1 ,spain4 8,the most notable work dedicated to the immortal author of ,don ,quixote that has been published in ,england40 ,el ,graduador1 ,spain4 8,although the book is written in ,english no ,spaniard could have written it with more conscientiousness and enthusiasm40 ,el ,defensor de ,granada1 ,spain4