Part 3
The palace is a structure of two stories. On the ground floor are the ‘Galeria baja de estatuas’ (lower gallery of statues), one of the rooms in which is the dining-room, the High Court of Halberdiers, the offices of the Lord High Steward, and other dependencies; while the upper floor consists of the ‘Galeria oficial’ (Official Gallery), used for receptions, audiences, and councils of ministers, and the private apartments of their Majesties and Royal Highnesses. The ‘Galeria de estatuas’ is open to any one provided with a permit supplied by the Administration Patrimonial when the Court is absent. The apartments are generally decorated in good style. Most of the furniture is in the Empire style, especially that in the Official Gallery; but there is also some in Louis XIV., Regency, and Louis XV. style.
The collection of pictures, especially of the Flemish and Dutch schools, was very fine, for Queen Isabella Farnese acquired in Rome for this palace in 1735, through the Venetian painter G. B. Pittoni, and on the recommendation of the Abbé Juvara, a considerable number of very notable pictures of these schools. On the creation of the Royal Prado Museum in 1829, the best were taken there by order of Ferdinand VII., and there are at present in its catalogue three hundred and fifty-one pictures which came from this palace, among them three by Correggio, two by Luca Giordano, four by Il Guido, one by Paul Veronese, six by Tintoretto, one by Claudio Coello, sixteen by Murillo, two by Ribera, four by Velazquez, four by Van Dyck, fourteen by Rubens, and twenty-four by Teniers.
Among the pictures of the original collection which exist at the present time, there are none of great merit; but the large number painted by Michel Ange Houasse, of the French school, who was born in Paris in 1675, and died in Spain in 1730, being the chief painter of Philip V., are of no little merit. The marble statues that enrich the Lower Gallery, some of them Greek ones of great merit, like the Castor and Pollux group, form the greater part of the sculptures of the Madrid Museum. They were acquired in Rome through the celebrated Venetian sculptor Camillo Rusconi, and came from the collection made by Queen Christina of Sweden. Their cost, 12,000 doubloons, or 36,000 dollars, was defrayed by Philip V. and Isabella Farnese equally.
The lower gallery of statues were painted _al fresco_ by Bartolomé Ruscha, and with them were placed, under the direction of Don Domingo Sanni, and by order of the royal founders, the statues of the collection formed by Queen Christina of Sweden and acquired by them in Rome. The sculptors Fremin and Thierri, who at the time were doing work for the gardens, restored many of them and added some others by themselves, but the majority of the best statues were removed in 1829 to the sculpture room in the Madrid Museum, where they are still preserved and constitute almost its only statuary wealth. At present there are in these rooms very few marble statues, and nearly all those forming their decoration are copies in plaster of the original ones, and they have therefore lost the great artistic value which the pure Greek sculpture in the collection of Queen Christina of Sweden conferred on them. Among them the most valuable pieces to be seen here are the group of Castor and Pollux; two colossal statues of Julius Cæsar and Augustus in alabaster, with heads, arms, and legs of gilded bronze; a fine urn which it is believed contained the ashes of Caius Caligula; the representations of Day and Night; a very handsome Apollo; a Daphne; a Venus coming out of the bath; a Faun leaning on the trunk of a tree; another Venus with her knee on a tortoise; many handsome busts of deities and Roman emperors; the nine Muses; two superb heads of Antinous and Alexander; the recumbent statue of Ariadne, a replica of the one in the Museum of the Vatican; a copy of the Venus de Medici; an excellent small statue representing Seneca; Leda with the swan; a head of Homer; a colossal head, in bronze, of Queen Christina of Sweden; and Ganymede attacked by the eagle. With this array of sculpture and antiquities, the Palace of Ildefonso may be said to be more like a museum than a home; and in truth, apart from the Royal Chapel which contains the tomb of Philip V. and his queen, Elizabeth Farnese, and boasts some superbly embroidered vestments and mantles of the Virgin, the visitor must seek the beauties of the palace in its church and in its gardens and fountains.
In order to enhance the splendour of the worship that should be conducted in the Palace Chapel, Philip V. obtained from Pope Benedict XIII. a bull, _Dum Infatigabilem_, dated 20th December 1724, making it a collegiate church. Among other provisions in this bull it conceded that the new collegiate church should be the mother-church of all the churches and chapels of the town and its abbey; that it should have a chapter composed of an abbot, four officiating prebendaries, eight canons, six prebendaries, and four chaplain-acolytes; that the abbots should be a royal appointment with exclusive ecclesiastical jurisdiction throughout the district to be marked out by the Pope’s Nuncio, and at liberty to use the pontifical insignia and dress; that the abbot and canons should devote half the masses celebrated to the royal founders during their lifetime, and for their souls after their death, and that the canons should wear the choral dress of those of St. Peter’s in Rome. The same bull contained the king’s promise to endow the new collegiate church with the sum of 8625 gold ducats (276,000 reals of present Spanish money), to be distributed as follows: 5764 ducats for the fabric and its dependents, and the remainder, 2861, for the abbot and prebendaries.
In the reign of Charles III. the collegiate church was renovated at the expense of the royal treasury and under the direction of Marshal Sabatini, the vaults were painted with frescoes by Bayeu and Maella, and the mouldings and reliefs were decorated by Vega. By the decree of Joseph Bonaparte, given in Madrid on May 30, 1810, the collegiate church was suppressed, and it was reduced to a simple private chapel of the Royal Palace, uniting its parish with that of the Cristo Church, and adding the territory of the abbey to the bishopric of Segovia. The church was only closed four years, and on June 24, 1814, Ferdinand VII. restored things to their original condition, this event being celebrated by four days of public rejoicing and fêtes.
The church is in the shape of a Latin cross, the ends of the four arms being occupied by the high altar, choir, and two principal doors.
The ‘platillos’ of the four vaults, surrounded by a moulding, were painted _al fresco_ by Maella, and all the paintings on the cupola are by Bayeu, brother-in-law of Goya. Some of the studies for these paintings were purchased by Queen Isabel II., and are now in the Madrid Museum.
The gardens with which Philip V. surrounded his palace cover an area of three hundred and sixty acres, and are the finest in the kingdom, while even the admirers of Versailles admit that La Granja has the more amazing fountains. From the grand walk one looks out across a panorama of the rocks and forests of New Castile, or gazes down upon the beautiful extravagancies of these literally hand-made gardens. The formal design of the ground-plan, the regularity of its well-ordered box avenues and mazes, the artificiality of its numerous fountains, its marble vases and statuary, and the baths and summer-houses that rise out of the dwarf-like vegetation, are all in striking contrast with the wild grandeur of the distant scenery. Yet, artificial as the aspect undoubtedly is, the gardens are a sheer delight, for beyond the flower-beds are masses of yellow broom and springing ferns, and the grass is a blaze of wild hyacinths, forget-me-nots, cowslips, and periwinkle. Higher up the mountain, to where the sky-line shows, 3000 feet above the palace, are woods of chestnut trees, oaks, elms, and innumerable pines, in which myriad butterflies of every hue disport themselves, and scores of streams trickle down to feed the royal fountains in the gardens below. The statues representing Lucretia, Bacchus, Apollo, Daphne, America, Ceres, and Milo, and many others, are of no great artistic value; while the fountains, to the number of twenty-six, are unique. The Fama, which throws up its waters to a height of 130 feet, is the most renowned; and from another fountain, compact of sculptured flowers and fruits, forty spouts send out their two-score jets 80 feet high. The Cenador is a single vast cascade of gleaming water from the mountain snows. Then there are the Ranas (Frogs), Ocho Calles, Canastillo, Tres Gracias, and the Neptuno, at which, says M. Bourgoin, the Egotist read Virgil and quoted ‘quos ego.’ Last of all, there is the wonderful Baño de Diana, to which reference has already been made.
Here, where Art is truly French, and Nature is truly Spanish, where even Nature conceives in bleak discomfort for eight months in each year to bring forth four months of flowers and faërie, the King of Spain and his English bride retired to surroundings amid which a honeymoon will not be forgotten. Madrid has its magnificent royal palaces; El Pardo boasts its wondrous tapestries; Aranjuez its gardens, and Rio Frio its orchards; El Escorial is the eighth wonder of the world, and Miramar looks over the yellowest of golden sands into the bluest of blue waters; but La Granja, in the Guadarrama Mountains, is that place apart where lovers may find a bower
‘Of coolest foliage, musical with birds’;
and here one may listen to
‘The murmurs of low fountains that gush forth I’ the midst of roses!’
The auxiliary residence to the palace of San Ildefonso, located some fourteen miles from it beyond the city of Segovia, is the royal house of Rio Frio, situated in a picturesque park which is full of game of every description. The small elegant building which stands in the centre of the park was begun by Isabel, the widow of Philip V., and was completed internally by Alfonso XII. It is a two-storied square building, the four sides of which are all exactly alike, and a large square court, paved with granite flags, occupies the centre of the building. A large portico of Tuscan pilasters surrounds the court and supports a covered gallery on the level of the first floor. From this court a noble staircase, consisting of two independent flights, which start from the vestibule in opposite directions, each subdividing into two other parallel ones, on the level of the first landing. The two independent flights end at the first floor at the opposite ends of the room which is used as a guardroom for the halberdiers. The steps are of granite, and the balustrades, which are supported by figures of children in various attitudes, are of a pretty yellow limestone. The sculpturing is also in stone, but it was unfortunately painted white, thus depriving it of its artistic merit, and giving the appearance of plaster. The whole of this work is from the chisel of Bartolomé Seximini. The entire weight of the staircase rests on four large Tuscan columns (monoliths), constructed of granite, and eight semi-columns of the same kind.
The apartments on the first floor, which with the exception of the sacristy and chapel on the ground floor are the only rooms that call for description, are decorated and furnished with a simplicity that would seem to betoken actual poverty. This is accounted for by the fact that the royal family very seldom resides in this palace; and at such times whatever is required is conveyed there from the palace of San Ildefonso. On the other hand, the collection of pictures is superior in number and merit to that of San Ildefonso, for among its six hundred and fifty-eight pictures there are many originals of the great masters of the different schools. There is one each of Van Dyck, Titian, Albert Dürer, and Goya; two by Zurbaran, Navarrete, Guido de Reni, Pantoja de la Cruz, and Correggio; eight by Jordán, three by Teniers, four by Domenichino, and six by Poussin.
III
EL PARDO
At the royal residence of El Pardo Maria Cristina was lodged on the eve of her marriage with Alfonso XII. in 1879. Seven years later in the same palace she wept beside the deathbed of her husband, the father of the unborn king, Alfonso XIII. For a score of years El Pardo was avoided by the queen-mother, until, in 1906, Don Alfonso brought to the suburban palace the English princess who, on the 31st of May of that year, went in state to the church of San Jeronimo to be married to the King of Spain.
From the earliest days of Madrid’s claim to royal favour, over a hundred years before Charles V. transferred the Court from Valladolid to the present capital, the Kings of Spain have had a residence at El Pardo. Henry III., _El Doliente_, when making some additions to the old town of Madrid about 1461, built a pleasure-house on this site. The attraction of the district was undoubtedly the abundance of boar and bear which found ample cover in the forests which surrounded the capital. Generations of improvident inhabitants have destroyed these woods, but the preserves within the stone wall which surrounds the royal residence are well timbered, and the plantations are full of deer and boar and all kinds of small game. Charles V. transformed the building into a winter palace and left the task of completing it to Philip II., who, one imagines, spared but scant leisure from his colossal building operations at the Escorial to superintend the furnishing of a mere shooting-box. At the beginning of the seventeenth century the original structure was destroyed by fire and the present château was built by Philip III. Charles III. altered and added to the palace in which he found refuge after the famous riots against Squillaci, and here in the reign of Charles IV. were hatched the plot and counterplot of Ferdinand and Godoy which culminated in the revolution of Aranjuez, the fall of the much-abused favourite, and the deposition of Charles and his crafty sons.
Philip II. by the prosecution of his religious policy, which was fruitful of ruinous wars, had beggared Spain in money and credit. Philip III. succeeded in 1621 to the crown of a country that the Cortes officially described as ‘completely desolated.’ Agriculture and every form of manufacture was fallen into decay, the land was left desert for want of cultivators, the looms were idle, and the wealth of the Spanish-American possessions was swallowed up by the crowd of avaricious and unscrupulous office-holders and their underlings. But if Philip II. had reduced the nation to these straits by his bigoted zeal and arrogant vainglory, his son aggravated the conditions by his reckless extravagance and riotous splendour. When the country’s resources had been taxed to an extent that made further taxation an impossibility, the king, through the agency of his all-powerful favourite, the luxurious Duke of Lerma, raised funds to gratify his prodigal expenditure by the sale of knighthoods and patents of nobility. When that source failed him, he attempted to wrest from the church its silver plate and ornaments, and being terrified out of this resolve by the threats of the bishops, he made a personal appeal to the people. The king’s officers went from door to door begging in the name of the sovereign for the money required for carrying on the business of the Government.
But Philip III. still claimed to be the richest potentate in Christendom; his subjects still believed themselves the richest people in the world. The king could afford to expel 500,000 of his Moslem subjects to Barbary, after robbing them of all they possessed; he could afford to plunge his country into a foolish war to gratify Spanish pride; and he could still afford to indulge his wildest and most extravagant personal whims, of which the rebuilding of El Pardo was one of the least expensive.
The palace, located in contiguity to the village, which consists of about two hundred houses whose inhabitants are employed on the Royal Patrimony, has a length of 432 feet and a depth of 192 feet. A tower commands each corner, and the entire building is surrounded by a moat, 30 feet wide, which once served the double purpose of irrigation and defence. The principal entrance to the estate is through the ancient and beautiful Puerta de Hierro (Iron Doorway), built about the year 1753 by Ferdinand VI. and distant about five miles from the town of El Pardo. From the doorway a wall of stout masonry, six feet high, runs right and left round the demesne for a distance of sixty-two miles. The property is intersected from north to south by the River Manzanares. The stream enters on the Sierra side beneath a high stone bridge, the piers of which rest on the tall rocks that enclose the narrow pass of Marmota. From this bridge may be obtained a magnificent view of the country bounded and framed by the distant snow-clad Guadarrama Mountains. The rugged and broken ground is prolific in evergreen oaks, cork trees, and extensive areas of the cistus shrub. For purposes of defence the estate is divided into twenty departments, and the fifty warders who guard the royal residence are accommodated in twenty-six spacious and well-built houses.
The impression conveyed by the sombre, granite-built palace is distinctly imposing. Several stone staircases lead to the royal apartments, consisting of sixty commodious rooms, nearly all of which are covered with rich and brilliantly coloured tapestries, manufactured at Madrid from designs of Goya, Bayeu, Castillo, and Teniers. The subjects portrayed are landscapes, hunting and country scenes, and passages in the history of _Don Quixote_. The stucco of the ceilings of most of the saloons is the exquisite work of Roberto Michel, while the many fresco paintings were executed by Patricio Carcéo, Carducho, Bayeu, Maella, Galvez, Ribera, and Zacarias Velazquez. The fine collection of pictures that once adorned the walls was destroyed by the fire of 1604, and of the forty-seven portraits by such famous masters as Titian, A. Moro, and Coello, only a few remain. The magnificent glass chandeliers are a feature of the royal apartments, and in the Retablo of the Oratory there is a copy of Christ bearing the Cross, by Ribalta, the original of which is in Magdalen Chapel, Oxford. The Court officials are lodged in a commodious building having a complement of a hundred rooms.
To the north of the town is the Prince’s Cottage, another creation of that villa-building monarch, Charles IV. It is a delightful example of the three noble arts that vie with one another to give beauty to the villa--the old silks that cover the walls, the carvings that adorn them, and the magnificent chandeliers and rich, varied furniture, which make a valuable museum of this so-styled cottage. There are also other two palaces called _La Zarzuela_ and the _Quinta_. Both are surrounded by fine gardens, and contain sumptuous oratories where Mass is celebrated on special occasions. These two buildings are surviving portions of the old edifice. In _La Zarzuela_ Don Fernando, the brother of Philip IV., was wont to organise those little vaudeville entertainments which were christened _Zarzuelas_. It is no longer used for that purpose, the theatrical performances at El Pardo now taking place in the small but elegant theatre in the palace which Alfonso XIII. had restored when the residence was prepared for the accommodation of Princess Victoria Ena.
To the Royal Patrimony also belongs the parish church and the Capuchin convent of Santo Cristo, situated on the left bank of the river, and hither, on St. Eugene’s day, the people of Madrid journey in crowds. On other feast days, also, the beautifully wooded slopes and shady avenues of El Pardo attract thousands of visitors from the city. It would be difficult to find anywhere in Europe, at the very doors of the capital, such beautiful rustic scenery as that enclosed in this royal estate.
We have said that Charles III. retired to El Pardo after the Squillaci riots, and it is curious to reflect that this best of Spanish kings was sadly out of touch with the character of his own people. He was a man of extraordinary ability, sound experience, and commanding personality. He had the will and the power to carry the government of the State on his own broad shoulders, and to manage the domestic affairs of his subjects into the bargain. He realised the crying need for domestic reforms in his capital, but the Madrileños failed to recognise the necessity, and resented his interference. The king found the city ugly, filthy, and insanitary, and he decreed that it should be made clean and kept so. He was the apostle of order and decency, and not understanding the pride of the Spaniards, he could not comprehend that they were affronted by this imperious resolve to bring them into line with more advanced European nations. Moreover, the decree was published by Squillaci, the king’s Italian minister. Squillaci was a marked man from that day, and the clergy who had been made to recognise that the King would tolerate no clerical interference with his policy, fanned the spirit of revolt which manifested itself among the people. In 1766 Charles, having commenced his crusade by cleansing the city, now turned his attention to the national costume. As a dress-reformer he objected to the long cloaks and wide-brimmed hats affected by the citizens, and in March 1766 he issued another decree forbidding their use. Immediately Madrid was in revolt. The king’s Walloon guards were massacred, the detested Italian, Squillaci, sought safety in flight, and for two days the city was in the hands of the murdering, destroying mob. On the third day the king abolished the Walloon guards and promised to rule without foreign ministers. The revolution was at an end, and Charles retreated to El Pardo to reflect upon the situation. The king was convinced that the priests, and particularly the clever, intriguing members of the Society of Jesus, were at the bottom of all the agitation against his policy of reform, and the result of his reflections was made known in the following year when he decreed that every Jesuit should be forthwith expelled from his dominions. The people could not believe their ears, but Charles was firm as a rock. He cleared Spain of the power which was behind the priesthood, and twelve months later he wrung from Rome the papal decree by which the Society of Jesus was temporarily suppressed. Charles III. was engrossed in business more serious than hunting when he retired from the riot of the capital to take counsel with himself in the woods of El Pardo.