were designed by the gifted Goya and by Maëlla, one of the lesser
painters of the eighteenth century. Goya’s designs are typically
Spanish, and deserve the closest attention. The tapestries were mostly
made in Madrid, though those from designs by Teniers were woven in
Holland, and a few are of French and Italian manufacture. The tapestry
works are of exceptional design and are scarcely excelled by any in
Europe. Goya’s success as a designer of tapestry cartoons gained him
election to the Académia de San Fernando, and Charles IV. appointed him
_pintor de cámara del Rey_, or Court artist.
In the Apartments of the Prince there are some noteworthy pictures of
the Italian School, and an old Dutch tapestry adorns the wall of one
room. But finer paintings are in the Apartments of the Princess, where
Alonso Cano’s genius is shown in the Virgin and the Infant Christ.
Pantoja’s portrait of Philip II., painted on wood, is here. The Head of
Christ by Guido Reni is in the bedroom; and another sleeping apartment
is decorated with a tapestry from the designs of a Flemish artist. The
drawing-room contains a tapestry of Spanish design, and there are
tapestries in the nurse-room and play-room.
The chief picture in the workroom is one of San Antonio by the powerful
Ribera. Three portraits by Mengs hang here: one of Charles III. in mail,
and the others of Maria Josephine, daughter of Charles, and Maria Luisa,
wife of Leopold of Austria, the Archduke.
In the Reception Hall there is a portrait of the Duque de Olivares, said
to be by Velazquez, but the authenticity is dubious.
The picture of Pope Innocent X. is a copy of Velazquez’s portrait. Among
the other portraits in this hall are Isabel, wife of Philip II. There
are a few landscape paintings, and one or two works of minor painters of
the Italian school.
The corridor of the Hall of the Caryatides is supposed to represent the
handle of the gridiron upon which the patron saint of the Escorial was
martyred for his faith. This is an almost square apartment, designed in
the Doric style. There are two fountains in marble, with figures of
Caryatides pouring water into the basins.
The Hall of Battles is adorned with a number of fresco-paintings
representing various combats. The battle of Higueruela, which was fought
against the Moors by Don John in 1431, was painted by two Italians,
Granelo and Fabricio, from an old battlepiece which was found at
Segovia. Philip II. was much interested in this picture, and he ordered
the two artists to reproduce it in a huge mural painting. The work was
divided into eight sections, depicting various scenes in the great
encounter with the infidels, and the king was well satisfied with the
fresco. There are two pictures of Philip’s battleships in action at
either end of the ‘Battle of Higueruela.’ Other martial subjects are
treated. They are: ‘A Review by Philip II.,’ the ‘Battle of Lisbon under
the Duke of Alba,’ the ‘Capture of Noyon,’ the ‘Firing of a City,’ the
‘Departure from St. Quintin,’ the ‘Capture of a Fort,’ the ‘Attack on
St. Quintin,’ the ‘Spanish Troops under Philibert,’ ‘A Battle,’ and
‘Before the Siege of St. Quintin.’
The ceiling of the Hall of Battles is adorned with quaint pictures.
The Apartments of the Queen are daintily decorated with tapestries, some
by Spanish and others by Dutch designers, while the hangings are of
amber silk. In the Oratory of the Queen there is an altar with a
painting of the ‘Virgin and the Infant Jesus.’ The painter was Juan de
Juanes, sometimes called Vicente Joanes, or Juan Macip. According to C.
Gasquoine Hartley, in _A Record of Spanish Painting_, this artist was
‘the first great exponent’ of the art of the Valencian School. ‘He is
one of the national painters of Spain. To some extent his painting was
imbued with the Italian ideal, and it is possible that he received his
artistic training in Italy; but the Spanish personality of his work is
rarely obscured. The intense religious solemnity, the decorous purity,
the vigorous handling, the careful painting of details, the luminous
warmth of colour, the lack of creative imagination, the disregard of
beauty, the tendency to exaggeration, all the virtue and all the
limitation of the painters of Spain are outlined in his work.’
Little is known of the life of Juanes. He was a Valencian by birth, and
he painted several pictures in the churches of his Province. Juanes was
a devoutly religious man, and his work shows a strong bias for mysticism
and warm piety. He was an industrious painter; his work ranges from
portraits to large subject pictures, and there are many of his paintings
in Valencia. Juanes died in 1579, and his style is seen in the pictures
produced by his pupils, who are, however, unimbued with his genius.
‘With Juanes,’ writes C. Gasquoine Hartley, ‘we close the record of the
early Hispano-Italian painters.’
In the Bedroom of the Queen there is a tapestry and a ceiling by López,
who also designed the ceiling of the dressing-room.
We have already noted the tapestries in the Apartments of the Princess.
The Carved Rooms demand inspection, for they contain examples of rare
decoration in woods. The carvings and the inlaid work of these rooms
cost a very large sum. Woods of the rarest and finest were employed for
the adornment of the apartments, and gilt and gold were lavished upon
the walls. The pictures painted on copper are by Montalbo, and the
ceiling painting was intrusted to Maëlla. Blue upholstery decks the
seats. There are four of these sumptuously decorated chambers. The third
of them has a ceiling-painting by Galvez. In the fourth room, Maëlla
painted the ceiling, and the walls are adorned in green and gold. There
are a few pictures here, but none of striking worth. The Oratory
contains a tapestry of Spanish design. On the altar there is a picture
by Giordano representing Santa Anna, St. Joachim, and the Holy Mother.
The Reception Room of this portion of the Palace is decorated with
tapestry, and the ceiling is painted by López. In the Antechamber,
Billiard Room, and the offices adjacent, there are more tapestries.
We have made our survey of this remarkable pile, which contains a
treasure house of works of art, an institution of learning, a convent, a
palace, and a church. Surely such a composite building is not to be seen
in any other quarter of the world. Nor is there any other edifice of
such importance and grandeur amid surroundings so savage and primitive.
The Royal Monastery of the Escorial is indeed an unique structure,
historically instructive, and of deep interest for the architect, the
art student, and the philosopher. It is a reflection and a symbol of
Spain and of Philip II.; the building, in its sombre setting of grey
crags and shadowy woods, has an indefinable atmosphere, a potent
fascination.
VIII
APPENDIX I
THE FIRST CHRONICLER OF THE ESCORIAL
We have it on the authority of Padre Fray José de Sigüenza, the
librarian of the Monasterio, and the first historian of Philip II., that
the king desired the building at the Escorial to excel the majesty of
Solomon’s Temple, and to astonish the whole world. When we consider that
the edifice was erected and adorned with very little aid from machinery,
we cannot but marvel at the expedition in carrying out the architects’
and designers’ plans. A great army of sawyers, carpenters, quarrymen,
stonemasons, and craft-workers found employment upon this great pile. It
is recorded that the labourers complained of the cold, searching winds
in winter, and that they suffered from the scorching heat in summer.
The rules applying to the workmen were stringent. The labourers appear
to have suffered from a scarcity of wine, which they desired in the hot
weather. No doubt the rigour of the climate in winter increased the
difficulties attending upon the undertaking.
Cranes and levers were employed for lifting the huge blocks of stone
quarried from the surrounding mountains. Even the rough work was
allotted only to workmen of approved ability and reputed industry, while
the task of decoration was given to masters of the arts of painting,
illuminating, and carving in wood, metal, and ivory. Upon this bleak
highland a busy colony of toilers from many parts of Europe sprang up in
a few months. Forges, workshops, and saw-pits were set up or constructed
amongst the _scoriæ_ or shale of the mountains, and the desert rang with
the beating of hammers on metal, the clicking of the mason’s chisel, and
the grating of the saws.
An immense number of carts and horses were employed, besides
pannier-mules and asses, to bring the stone from the quarries and the
metal from distant furnaces.
Only a part of the work was performed at the Escorial. The bronze was
compounded in Zaragoza; the white marble came from the Sierras de
Filabres, and the green, black, and variegated marbles were brought from
the mountains of Andalusia, while Cuenca and Segovia furnished part of
the pine wood. Many of the figures of bronze for the altars were
designed and made in Florence and Milan. Toledo supplied lamps,
candlesticks, crosses, and incense-burners. Holland provided heavy
bronze candle-holders. Spain, Italy, and Flanders were searched for
precious stones and metals to beautify the building, and artists and
craftsmen were imported from many countries.
Juan Bautista de Toledo, and his pupil Juan de Herrera, expended great
care and pains in the designs. Models of the various parts of the
Escorial were made in wood, and the designs were altered and improved by
both architects from time to time. Under the direction of Juan de
Herrera every detail of the building was submitted to him for his
approval before it was finished. Even the designs of Peregrino and
Flecha, the Italian masters, were submitted to the inspection of the
master-architect. Juan de Herrera was succeeded by Francisco de Mora as
chief architect.
The construction of the Principal Choir was a part of the work upon
which much forethought was expended. Father Sigüenza describes the
Corinthian style of the choir as the most beautiful feature of the
Church. He mentions one hundred and twenty-eight as the number of the
seats.
The Retablo was a costly piece of work, as a large quantity of jasper
and precious metal was used in its embellishment, and much gilt
employed. The columns are of the Doric order, and the bases are formed
of gilded bronze.
Father Sigüenza does not stint his praise for the ‘judicious architects
and singular painters’ employed by Philip II. at the Escorial, and his
book is characterised by a high enthusiasm for the king, and admiration
for the great work, ‘this sumptuous fabric,’ in which the worthy _padre_
spent so many years of his life as Director of the Royal Library.
Coello painted the strong features of Father Sigüenza upon a canvas that
may be seen in the Prior’s Chamber of the Monastery.
APPENDIX II
LIST OF THE PRINCIPAL PAINTERS WHOSE WORKS ARE IN THE ESCORIAL
ARTIST. SUBJECT. SITUATION.
Cano. Virgin and Infant Christ. Apartments of Princess.
Carducci. Portraits of Saints. Relicario of Church.
Arts and Sciences (fresco). Library.
Coello. Altarpieces. In Chapels.
Father Sigüenza. Upper Prior’s Chamber.
El Greco. St. Maurice. The Old Church.
Giordano. Life of David. Ceiling of Choir of Church.
Eight Frescoes. Dome of Church.
San Juan. Ante-Sacristy.
Frescoes. Staircase of Monastery.
Goya. Frescoes of Spanish Customs. Palace.
Holbein. San Geronimo. Lecture Hall.
Juanes. Virgin and Infant. Apartments of the Queen.
Navarrete Our Lady and San Juan. In Church near Prior’s Seat.
(El Mudo). Crucifixion. Library of Church.
Abraham and Angels. Salas de los Capitulos.
San Geronimo. “
Birth of Christ. Upper Gallery of Cloisters.
Appearance of Jesus. “
Burial of San Lorenzo. Lecture Hall.
Pantoja. Various. Oratories of Church.
Carlos V. Lower Prior’s Chamber.
Philip II. Library.
Philip III. Apartments of Princess.
Reni. Scriptural. Sacristy of Church.
Ribera. San Geronimo. Ante-Sacristy of Church.
Birth of Christ. Salas de los Capitulos.
Philip II. Apartments of the Prince.
San Antonio. Workroom of Palace.
Teniers. Various Frescoes. Palace.
Tibaldi. Birth of Christ.
Adoration of the Magi. Altar Screen of Church.
Elias.
Old Testament Scenes. In Chapels.
Altarpieces. “
Frescoes of Sciences. Library.
Tintoretto. Entombment. Prior’s Hall.
Washing the Apostles’ Feet. Sacristy of Church.
Titian. San Geronimo.
Agony in the Garden. Salas de los Capitulos.
Last Supper. “
Prayer in the Garden. “
Our Lady of Sorrows. “
Adoration of the Magi. “
Ecce Homo. “
Velazquez. Sons of Jacob. Sacristy of Church.
Zuccaro. The Flagellation. Altar Screen of Church.
Birth of Christ. Old Church.
Zurbarán. Sons of Jacob. Sacristy of Church.
A Portrait. Reading-Room.
[Illustration: PLATE 1.
PLAN OF THE MONASTERY.]
[Illustration: PLATE 2.
VIEW OF THE MONASTERY.]
[Illustration: PLATE 3.
VIEW OF THE MONASTERY FROM THE ORCHARD.]
[Illustration: PLATE 4.
VIEW OF THE MONASTERY FROM THE ENTRANCE OF THE ‘REAL SITIO.’]
[Illustration: PLATE 5.
VIEW OF THE MONASTERY FROM THE ROMERAL.]
[Illustration: PLATE 6.
VIEW OF THE MONASTERY (EAST SIDE).]
[Illustration: PLATE 7.
PRINCIPAL FAÇADE OF THE COURT OF THE KINGS.]
[Illustration: PLATE 8.
VIEW OF THE COURT OF THE KINGS.]
[Illustration: PLATE 9.
BALCONY IN THE COURT OF ‘LA COMPAÑA.’]
[Illustration: PLATE 10.
VIEW OF THE ‘CASA DEL PRINCIPE,’ OR LOWER LODGE.]
[Illustration: PLATE 11.
ASCENT TO THE SILLA DEL REY, THE CHAIR OF PHILIP II.]
[Illustration: PLATE 12.
THE SILLA DEL REY, THE CHAIR OF PHILIP II.]
[Illustration: PLATE 13.
THE HORCA CROSS, NEAR THE ESCORIAL.]
[Illustration: PLATE 14.
GARDEN OF THE CASITA DE ABAJO.
(ESCORIAL.)]
[Illustration: PLATE 15.
SOURCE OF THE SEMINARIO.]
[Illustration: PLATE 16.
SOURCE OF THE SEMINARIO.
(ESCORIAL.)]
[Illustration: PLATE 17.
THE COLONNADE OF THE MONASTERY.]
[Illustration: PLATE 18.
VIEW OF THE UPPER CLOISTER OF THE MONASTERY.]
[Illustration: PLATE 19.
VIEW OF THE UPPER CLOISTER OF THE MONASTERY.]
[Illustration: PLATE 20.
LOWER CLOISTER OF THE MONASTERY.]
[Illustration: PLATE 21.
VIEW OF THE LOWER CLOISTER OF THE MONASTERY.]
[Illustration: PLATE 22.
SNOW-PIT AND POND OF ‘CONVALESCENTS.’]
[Illustration: PLATE 23.
‘CONVALESCENTS’ GALLERY.]
[Illustration: PLATE 24.
THE MONKS’ WALK AND ‘CONVALESCENTS’ GALLERY.
(ESCORIAL.)]
[Illustration: PLATE 25.
‘CONVALESCENTS’ GALLERY.]
[Illustration: PLATE 26.
THE EVANGELISTS’ COURT.]
[Illustration: PLATE 27.
COURT WITH THE SPRINGS OF THE EVANGELISTS.]
[Illustration: PLATE 28.
SHIELD OF THE EMPEROR CHARLES V.]
[Illustration: PLATE 29.
COURT OF THE EVANGELISTS.]
[Illustration: PLATE 30.
INTERIOR OF THE CHURCH.]
[Illustration: PLATE 31.
DOOR-KNOCKER OF THE CHURCH AT THE ESCORIAL.]
[Illustration: PLATE 32.
CHOIR STALLS.
(BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 33.
INTERIOR VIEW FROM THE CHOIR.
(BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 34.
INTERIOR VIEW.
(BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 35.
RETABLO AT THE HIGH ALTAR.
(BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 36.
INTERIOR VIEW FROM THE HIGH ALTAR.
(BASILICA OF THE MONASTERY.)]
[Illustration: PLATE 37.
ALTAR-PIECE AT THE HIGH ALTAR.]
[Illustration: PLATE 38.
ST. HIERONYMUS AND ST. AUGUSTINE.
(STATUES OF THE ALTAR-PIECE.)]
[Illustration: PLATE 39.
ST. MATTHEW AND ST. MARK.
(STATUES OF THE ALTAR-PIECE.)]
[Illustration: PLATE 40.
ST. PAUL.
(STATUE OF THE ALTAR-PIECE.)]
[Illustration: PLATE 41.
ST. GREGORY AND ST. AMBROSE.
(STATUES OF THE ALTAR-PIECE.)]
[Illustration: PLATE 42.
ST. PETER.
(STATUE OF THE ALTAR-PIECE.)]
[Illustration: PLATE 43.
ST. JOHN AND ST. LUKE.
(STATUES OF THE ALTAR-PIECE.)]
[Illustration: PLATE 44.
LEFT SIDE OF THE HIGH ALTAR: INTERMENT OF THE EMPEROR CHARLES V.]
[Illustration: PLATE 45.
MARBLE STATUE OF ST. LAURENT AT THE ENTRANCE OF THE CHOIR.]
[Illustration: PLATE 46.
INTERIOR VIEW OF THE CHAPEL.]
[Illustration: PLATE 47.
THE TABERNACLE.
(ESCORIAL.)]
[Illustration: PLATE 48.
PANTEON OF THE KINGS.
(ENTRANCE GATE.)]
[Illustration: PLATE 49.
BEAUTIFUL ROCK CRYSTAL CANDELABRUM IN THE CHOIR OF THE ESCORIAL.]
[Illustration: PLATE 50.
CASKET IN MALACHITE AND LAPIS-LAZULI, ORNAMENTED WITH BEAUTIFUL ENGRAVED
ROCK CRYSTAL.
(RELIQUARY OF THE ESCORIAL.)]
[Illustration: PLATE 51.
VIEW OF THE PANTEON OF THE KINGS.
ESCORIAL.]
[Illustration: PLATE 52.
PANTEON OF THE INFANTES (INTERIOR).]
[Illustration: PLATE 53.
PANTEON OF THE INFANTES (INTERIOR).]
[Illustration: PLATE 54.
TOMB OF CHARLOTTE OF BOURBON.
(PANTEON OF THE INFANTES.)]
[Illustration: PLATE 55.
TOMB OF DON JOHN OF AUSTRIA.
(PANTEON OF THE INFANTES.)]
[Illustration: PLATE 56.
VIEW OF THE PRINCIPAL STAIRCASE OF THE MONASTERY.]
[Illustration: PLATE 57.
LIBRARY OF THE MONASTERY.]
[Illustration: PLATE 58.
LIBRARY OF THE MONASTERY.]
[Illustration: PLATE 59.
LIBRARY OF THE MONASTERY.]
[Illustration: PLATE 60.
LIBRARY OF THE MONASTERY.]
[Illustration: PLATE 61.
GOLDEN MS. (10TH CENTURY).
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 62.
PRAYER-BOOK OF ISABELLA THE CATHOLIC.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 63.
SONGS OF ST. MARY. MS. BELONGING TO ALFONSO THE WISE (13TH CENTURY).
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 64.
LATIN PRAYER-BOOK OF FERDINAND THE CATHOLIC.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 65.
MASS-BOOK OF PHILIP II.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 66.
BREVIARY OF CHARLES V.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 67.
PSALTER OF THE EMPEROR CHARLES V.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 68.
NATURAL HISTORY OF PLINY THE YOUNGER. ITALIAN MS. OF THE 16TH CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 69.
PAGE 238 OF THE MASS-BOOK OF ISABELLA THE CATHOLIC: MS. OF THE 15TH
CENTURY, THE VIGNETTE OF WHICH CONTAINS THE NAME OF THE QUEEN.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 70.
FIRST PAGE OF A HEBREW BIBLE: PRECIOUS MSS. OF THE END OF THE 14TH
CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 71.
PERSIAN MS., THE WORK OF MUHAMMED SCHAM EL DIN HAPHETH, POET OF THE 14TH
CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 72.
MANUSCRIPT OF THE YEAR 1050.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 73.
VIRGIL’S POEMS: MS. OF THE 15TH CENTURY, WRITTEN IN SPAIN.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 74.
VIRGIL: MANUSCRIPT OF THE YEAR 966.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 75.
VIRGIL: MANUSCRIPT OF THE YEAR 966.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 76.
THE APOCALYPSE OF ST. JOHN: MANUSCRIPT OF THE 15TH CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 77.
TWO PAGES OF THE KORAN OF MULEY ZIDAN, EMPEROR OF MOROCCO IN 1594.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 78.
THE TREE OF LOVE, WRITTEN IN 1288.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 79.
PERSIAN MANUSCRIPT, THE WORK OF MUHAMMED SCHAM EL DIN HAPHETH, POET OF
THE 14TH CENTURY.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 80.
MASS-BOOK OF ISABEL THE CATHOLIC, MANUSCRIPT OF THE 15TH CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 81.
FRONTISPIECE OF THE KORAN OF MULEY ZIDAN, EMPEROR OF MOROCCO IN 1594.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 82.
MASS-BOOK OF THE EMPRESS ISABEL, MOTHER OF PHILIP II.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 83.
MASS-BOOK OF PHILIP III. AND QUEEN MARGARITA.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 84.
GREEK MANUSCRIPT OF THE END OF THE 14TH CENTURY.
(LIBRARY OF THE ESCORIAL.)]
[Illustration: PLATE 85.
BREVIARY OF PHILIP II. (16TH CENTURY).
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 86.
MASS-BOOK AND HOLY OFFICE OF PHILIP II.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 87.
LATIN PRAYER-BOOK OF FERDINAND THE CATHOLIC.
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 88.
ARABIAN MANUSCRIPT (NATURAL HISTORY).
(LIBRARY OF THE MONASTERY.)]
[Illustration: PLATE 89.
READING DESK IN THE CHOIR.
(ESCORIAL.)]
[Illustration: PLATE 90.
SACRISTY (MONASTERY).]
[Illustration: PLATE 91.
PARANYMPH OF THE COLLEGE (MONASTERY).]
[Illustration: PLATE 92.
OUR LORD CRUCIFIED, SCULPTURED IN MARBLE (MONASTERY).]
[Illustration: PLATE 93.
INTERMENT OF PHILIP II. (MONASTERY).]
[Illustration: PLATE 94.
CHAPTER ROOM (MONASTERY).]
[Illustration: PLATE 95.
CHAPTER ROOM (MONASTERY).]
[Illustration: PLATE 96.
CHAPTER HALL (MONASTERY).]
[Illustration: PLATE 97.
PRESENTATION OF THE VIRGIN
AT THE TEMPLE,<br />ATTRIBUTED TO VAN EYCK (MONASTERY).]
[Illustration: PLATE 98.
ALTAR-PIECE OF THE SANTA FORMA, PAINTED BY CLAUDIO COELLO.
(SACRISTY OF THE MONASTERY.)]
[Illustration: PLATE 99.
EMBROIDERED ALTAR-CLOTHS.
(FROM THE SACRISTY.)]
[Illustration: PLATE 100.
EMBROIDERED COPES.
(SACRISTY OF THE ESCORIAL.)]
[Illustration: PLATE 101.
CASKET OF MALACHITE AND LAPIS-LAZULI, ORNAMENTED WITH ENGRAVED ROCK
CRYSTAL.
(RELICARIO OF THE ESCORIAL.)]
[Illustration: PLATE 102.
CHRIST ON THE CROSS, IN WROUGHT COPPER.
(RELICARIO OF THE ESCORIAL.)]
[Illustration: PLATE 103.
BRONZE LECTERN REPRESENTING AN EAGLE, MADE AT ANTWERP IN 1571.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 104.
BRONZE LECTERN REPRESENTING AN ANGEL, MADE AT ANTWERP IN 1571, BY JEAN
SIMON.
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 105.
ST. MICHAEL OVERCOMING THE DEVIL, BY PEDRO ROLDAN,
(CHAPTER HALL OF THE ESCORIAL.)]
[Illustration: PLATE 106.
CHRIST, WITH THE VIRGIN AND ST. JOHN: STATUES IN MARBLE.
(THE ESCORIAL.)]
[Illustration: PLATE 107.
GATE OF THE SANTA FORMA.
(SACRISTY OF THE MONASTERY.)]
[Illustration: PLATE 108.
MIRROR IN ROCK CRYSTAL.
(SACRISTY OF THE ESCORIAL.)]
[Illustration: PLATE 109.
ALTAR-PIECE OF CHARLES V., IN WROUGHT COPPER.
(FROM THE CAMARIN OF ST. THERESA AT THE ESCORIAL.)]
[Illustration: PLATE 110.
ALABASTER STATUE OF ST. JOHN BAPTIST.
(FROM THE CAMARIN OF ST. THERESA AT THE ESCORIAL.)]
[Illustration: PLATE 111.
INSIDE COVER OF A RELIQUARY WHICH BELONGED TO PIUS V. 1566-1572.
(FROM THE CAMARIN OF ST. THERESA.)]
[Illustration: PLATE 112.
RELIQUARY OF ROCK CRYSTAL.
(FROM THE CAMARIN OF ST. THERESA.)]
[Illustration: PLATE 113.
BONE RELIQUARY OF THE END OF THE 12TH CENTURY.
(CAMARIN OF ST. THERESA.)]
[Illustration: PLATE 114.
RELIQUARY OF WROUGHT IRON, INLAID.
(RELICARIO OF THE ESCORIAL.)]
[Illustration: PLATE 115.
RELIQUARY OF WROUGHT IRON, INLAID.
(RELICARIO OF THE ESCORIAL.)]
[Illustration: PLATE 116.
RECEPTION HALL.
(PALACE.)]
[Illustration: PLATE 117.
RECEPTION HALL.
(PALACE.)]
[Illustration: PLATE 118.
VIEW OF THE DINING HALL.
(PALACE.)]
[Illustration: PLATE 119.
VIEW OF THE DINING HALL.
(PALACE.)]
[Illustration: PLATE 120.
ANTE-ROOM.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 121.
HALL OF AMBASSADORS.
(PALACE.)]
[Illustration: PLATE 122.
A ROOM OF PHILIP II.
(PALACE.)]
[Illustration: PLATE 123.
MEMORIAL OF KING PHILIP II.
(ESCORIAL.)]
[Illustration: PLATE 124.
CHAIRS OF PHILIP IV.
(PALACE.)]
[Illustration: PLATE 125.
ESCUTCHEON OF KING PHILIP II.
(THE ESCORIAL.)]
[Illustration: PLATE 126.
BUEN RETIRO PORCELAIN, IMITATIONS OF WEDGWOOD.
(THE HALL OF CHINA OF THE CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 127.
BUEN RETIRO PORCELAIN, IMITATIONS OF WEDGWOOD PANELS.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 128.
VIEW OF THE DINING HALL.
(Casa del Principe.)]
[Illustration: PLATE 129.
THE JUDGMENT OF SOLOMON (IVORY).
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 130.
THE FISHERMAN CAUGHT IN THE NETS (IVORY).
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 131.
SCULPTURE IN IVORY CALLED ‘PRINCESA DE SAN SEVERO.’
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 132.
THE ADORATION OF THE SHEPHERDS (IVORY).
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 133.
ROUND TABLE WITH A TRAY OF SÈVRES PORCELAIN.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 134.
TABLE, CHAIR, AND PORCELAIN FROM THE ROYAL WORKS AT BUEN RETIRO.
(CASA DEL PRINCIPE AT THE ESCORIAL.)]
[Illustration: PLATE 135.
MARY MAGDALENE: FROM THE ROYAL WORKS AT BUEN RETIRO.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 136.
BUEN RETIRO PORCELAIN: IMITATION OF WEDGWOOD.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 137.
TOP OF A ROUND TABLE IN SÈVRES PORCELAIN.
(CASA DEL PRINCIPE.)]
[Illustration: PLATE 138.