Part 3

In 1570 Philip married for the fourth time, his bride being Anne of Austria. A year later the queen gave birth to Fernando, who died at Madrid at the age of seven, and was buried in the Escorial. The body of Don John of Austria, natural brother of Philip, was interred beneath the altar of the church in the following year. In 1574 the remains of the illustrious Emperor Charles were transferred to the vaults of the Escorial with much ceremony, and at the same time several other royal coffins were removed to the newly-made royal resting-place. During the solemn service a terrific storm destroyed the dais which had been erected for the ceremony, and the splendid trappings that covered it.

Besides the havoc of hurricanes, the building twice suffered serious injury from fires. The first broke out when the work was almost finished. The cause of the conflagration was a lightning stroke, and the flames raged for several hours, creating consternation among the monks and the other inmates of the edifice. When the fire was subdued, the king had to grieve the destruction of the fine belfry and the loss of a costly peal of bells. Although the fabric was much damaged, no lives were lost, and several sacred relics were recovered uninjured.

The heavy cost of erecting the Escorial increased the amounts paid in taxation, and among the people of Spain there was some discontent with the expenditure. There was also disaffection upon one or two occasions among the mechanics employed upon the building. The cause, or the effect, of this insubordinate feeling was the rumour that Satan in the guise of a hound with wings prowled about the corridors in the dark. A friar hearing certain gruesome sounds during matins, went out to investigate the cause of the disturbance, and discovered a stray dog wandering in the building. The dog was promptly hanged, and his carcass exposed on the exterior of the edifice;--proof positive that the mysterious visits were at an end.

It is interesting to learn that a party of Japanese delegates came to request an audience of Philip in the year 1582. The Jesuits had made several converts in Japan, and it was proposed to ordain some of these as priests. But the papal sanction had to be obtained, and the ruler of Japan sent an embassy to the Pope. Before going to Rome, these representatives came to Spain and paid reverence to Philip, who entertained them cordially.

In 1586 the king was busy with preparations for the ceremony of consecrating the church of the Escorial, which had been completed some time previously. During the erection of the church, services were held in a temporary structure, and in this building there was a celebration of the mass before the procession entered the new church. Philip, the prince, and several great clerics supported the canopy which was carried in the solemn pageant. The temporary church, which stood in the hamlet, was afterwards reconstructed, and placed at the service of the people.

About the year 1582 the king was seized with a distemper of an epidemic character, and was so prostrated that he prepared himself for death, and wrote his will. But his disorder, although dangerous, was not fatal, though the queen, who was also attacked, died in this same year. She was interred among other royal persons in the Escorial. The death of Philip II. occurred in 1598. He was indisposed at Madrid, and desired to be at once removed to his beloved Escorial. So severe was his illness that it was necessary to bear him thither slowly in a litter. Six days were spent in conveying the stricken monarch over the eight leagues from Madrid to the palace among the Guadarrama Mountains.

For fifty days the king lay in suffering. It was his wish to see every part of the building before he died, and he was borne slowly through the palace, the church, the convent, and the college. Philip was patient and resigned in the contemplation of the last hour of his life. He evinced his zeal in piety to the end, and ordered the release of certain prisoners as a final act of mercy. When death approached, the king asked that the prince and Isabella might attend at his bedside, and to them he exhorted holiness, and spoke of the vanity of ambition and the insecurity of power. On September 13 Philip II. partook of the last sacrament, and passed away.

So died the Founder of the Escorial, and the initiator of the great work which the Spanish people claimed as one of the chief wonders of the world. He had lived to see the realisation of his desire. Year by year he had watched the development of his plans, the building of the monastery, the uplifting of the church, and the establishment of a court and a college in this remote Castilian highland. The hours of his retirement had been devoted to the gratification of his taste in the arts, to contemplation, and to penance. Like Solomon, he had surrounded himself with objects of priceless worth, and he passed his days in an atmosphere of beauty. Æsthetic, and at the same time ascetic, Philip seemed possessed of a dual nature in which rival forces constantly contended. If his mind was marked by gloom, it was relieved by his passion for art and by his love of the simple pleasures of a country life. Nor was the king apparently devoid of a capacity for enjoying occasionally the conventional gaieties of life, for among his numerous retinue, he maintained a fool, or royal jester, one Miguel D’Antona, a grotesque dwarf, with an ugly, humorous countenance.

The Escorial was a royal hobby. But for us it is something more, for it illustrates in divers ways the thought, fancy, and idiosyncrasy of an enigmatic personality. And more than this, the building instructs us in the temper of a memorable age, profound in faith, zealous in patriotism, and conspicuous in martial valour. An inspection of the Escorial is as the reading of a long and remarkable chapter in the history of Spain.

In accordance with his father’s wishes, Philip III. began to build the present burial-vaults soon after his accession to the throne. He did not live to see the completion of the work, which was continued during the reign of Philip IV. The construction was, however, delayed through the attitude of the overseer of the works, who objected to the expenditure of so large a sum of money from the national exchequer; but under the monk Nicolas, the _Panteon_ was at length made ready, in 1654, for the reception of the coffins of members of the royal families.

‘No monarchs of the earth,’ writes a chronicler, ‘have a mausoleum comparable to this of the Escorial, which to the glory of Spain was conceived by Charles V., undertaken by Philip II., carried on by Philip III., and completed by Philip IV.’

The second devastating fire at the Escorial broke out in 1671, and was supposed to have been caused by the fall of a rocket during a firework exhibition, following upon a day of rejoicing. The English translator of the works of Francisco de los Santos states that the fire ‘ruined and destroyed’ the edifice, but this is an exaggeration, though the damage was very great. It is said that the flames were not quenched for fifteen days, and that the peal of bells was melted. The queen-regent, Anne of Austria, restored the Escorial in 1676, and provided it with a new set of bells.

Another disaster might have befallen the Monasterio in 1755, when Lisbon was levelled by the great earthquake, but, fortunately, only a shock was perceived by the inmates of the building.

Charles III. made a few additions to the Escorial, and his son proposed the addition of a bull-ring; but the king, upon hearing of this project, forbade the work, and the prince contented himself with erecting a caseta or villa, which was named de Abajo.

It was at the Escorial that Charles IV. unearthed a plot concocted by the queen, Godoy, and Prince Fernando, with the object of betraying Spain to France. The prince was placed in confinement at the Monastery, and his tutor and other members of the royal household were also imprisoned. It is probable that Canon Escoiquiz, one of the Court, was in treaty with Napoleon’s representatives. Fernando was tried and pardoned, though his part in the conspiracy seemed to admit of no doubt.

In 1807 the French troops stormed the Monasterio, which was defended by the priest Ruiz, who lost his life in the assault. The monks were expelled by the French, but allowed to occupy an adjacent building. Terrible pillage succeeded the capture of the Escorial, and much of its treasure was looted and sent to France. After the Peace the brethren returned to the Monastery, and the French restored some of the plundered works of art.

There was a restoration of the building under Ferdinand VII., the completion of the work being celebrated on the day of San Lorenzo. Upon the death of the king many of the pictures were transferred from the Escorial to Madrid.

In 1846 Isabella II. married her cousin, Francisco de Assisi, at the Escorial, and upon the same day her sister was united to the Duc de Montpensier.

During the cholera epidemic at Madrid, in 1856, the inmates of the Escorial were almost free from the disease, proving beyond doubt that the position of the place among the mountains is extremely healthy. In the summer of 1861 the first train from Madrid arrived at the Escorial.

There are several historians of the Real Monasterio. Friar Juan was probably the first writer on the subject, though his _Memoirs_, written in 1596, have not been printed. Father Sigüenza prepared a chronicle of the Escorial in 1605; and in 1698 a work was issued by Jimenez; Santos also wrote in the same year. Ponz was the chronicler in 1788. After a lapse of thirty years, Bermejo wrote upon the building, and since 1843 the historians have been Alvarez, Madoy, Ramajo, and Rotondo. The last writer took extreme pains in collecting an immense amount of information upon the Escorial and its history. His huge volume, which appeared in Madrid about 1863, is a classic upon the subject.

Among the earlier writers, perhaps the most interesting is Franciso de los Santos, whose work was published in Madrid in 1681, under the title, _Descripcion del Real Monasterio de San Lorenzo del Escorial_.

II

THE ESCORIAL FROM WITHOUT

The Real Sitio, or Real Monasterio de San Lorenzo del Escorial, is, as we have seen, a great combination of fabrics, consisting of a convent, a seminary, a palace, a church, and a panteon. It is therefore scarcely correct to speak of the structure as the ‘Palace of the Escorial,’ for the royal apartments form but a part of the building.

San Lorenzo, to whom Philip II. dedicated the mighty monument, was by birth an Aragonese from the town of Huesca. It is not necessary here to relate his history. His cruel martyrdom occurred in the time of Valentianus, A.D. 261, and it was upon the feast day of the saint that Spain gained the great victory over the French at St. Quintin in Picardy.

A chronicler of the period of Philip II. has declared that: ‘It is impossible to properly describe the grace, the ornaments, the grandeur, and the majestic harmony, that one remarks in this entire edifice.... To write a description of it is an impossible task for me, whilst I could never tire of admiring it; for the rest, this is what always happens when one tries to describe architecture and the arts.’

This limitation in adequate expression is one of the penalties of such a task as the present work. The mere detailing of all parts of the Escorial would be very laborious and beyond the limit of present space, and the result might prove quite uninteresting to the non-technical reader, and possibly of no great service to the visitor. There are, however, certain conventional methods of description which can be scarcely avoided in an account which aims at conciseness and accuracy.

Let us then begin by stating that the Western or Principal Frontage is 744 feet long and 72 feet high, and that the towers at either end are 200 feet in height. The chief entrance is in the centre of the façade, and it is known as the Portico Principal del Monasterio. Supporting the cornice are eight Doric columns, and a door, 20 feet high and 12 feet wide, is placed between the central columns. The door is white, with huge copper-gilt studs and knockers. Surrounding the door are the enormous blocks of stone, which were carried here upon specially constructed wains, drawn by forty-eight pairs of oxen. The panels on each side of the doorway are decorated with gridirons in relief, as symbols of the martyrdom of San Lorenzo.

Monegro’s figure of San Lorenzo, huge, and carved in stone, stands above the door. The head and the hands are of Andalusian marble. Monegro is said to have asked the sum of 20,900 reales for carving this effigy, and other 7700 reales for the arms of Spain carved below the statue.

Of the other doors, one leads to the cellars, the lower cloisters, and the kitchens, and the other to the Colegio. Their character is simple, and they are constructed of large blocks of stone, after the plan of the chief entrance.

The Vestibule is about 80 feet wide, and leads into the Patio de los Reyes, or Court of the Kings. To the right of the Vestibule are the Libraries, the Refectory, and the Convent, and on the left is the College. The walls of the Patio are decorated with pilasters, and there are many fine windows to the apartments. Six statues of the Reyes de Judea stand in the Court, the work of Monegro, who used granite for the bodies and marble for the head and hands, as in the case of the effigy of San Lorenzo, above the main gateway.

The statues represent Jehosaphat, Hezekiah, David, Solomon, Josiah, and Manasseh, but they are not works of the highest order. The first king has a chopper, and there are a ram and loaves of bread by his side; while the second has also a ram, and in his hand a large incense box. David is appropriately supplied with a harp and a sword, and the symbol of Solomon is a volume. Josiah also holds a book, and Manasseh a compass and square. These Kings of Israel are chosen because they each directed the work of building and beautifying the Temple.

The general plan of the Escorial is a parallelogram of 3000 feet in circumference and 500,000 square feet. This massive pile is everywhere severely uniform, though its rigidity is relieved by the towers of the Monastery, the charming gardens of the palace with their fine arches, and by the spires and doorways. The granite employed in the building is of a light colour, and is, for the most part, highly polished. There are four façades. We have inspected the western or principal frontage, and we may now pay some attention to the east front, which bears points of resemblance to that of the south.

One curious feature of the eastern façade is the celebrated staircase, described by Don Antonio Rotondo as one of the most curious pieces of architecture in the whole edifice. The doorway leading to the gardens was originally intended as an arcade, and it is a noteworthy example of architectural skill. The appearance of the east front is marred by the unattractive exterior of the Capilla. On the north side is the chief approach to the palace, and here is the small door by which the royal tenants entered their apartments up to the time of Charles IV.

The finest external aspect of the Escorial is on the southern side. It is simple and bold, and from it is gained one of the most interesting views of the pleasure-grounds below. The first stone of the edifice was laid here. A gallery on this side was used for convalescents from the Infirmary, being sheltered from the rays of the sun, and here the monks, who were recovering from illness, took gentle exercise in the open air. There are two corridors, or promenades, each about 100 feet in length, one above the other, and supported by arches. Some of the decorative work here is by Juan de Mora.

The impression conveyed by the Escorial at first sight is that of its colossal proportions, while one’s second impression is of austerity and uniformity in design. Henry O’Shea is right in saying, in his _Guide to Spain and Portugal_, that ‘to understand the Escorial it is necessary to have studied deeply and most impartially the character and genius of its founder; for this is not a monument which is the expression of an age or a people, but bears the stamp of a man of a special train of thought and feeling.’ O’Shea states that ‘the Monastery of the Escorial is the key to Philip’s character, never, as yet, perfectly understood by historians.’ Carl Justi, in a somewhat severe criticism of ‘the rigid geometrical design’ of the building, says that it ‘looks at us with petrifying effect,’ though he admits that the harmony of the pile with its surrounding landscape gives it a peculiar beauty.

Some of the older writers upon the Royal Monastery of Philip II. fervently praise the majesty of the great monument. The Countess D’Aulnoy, in her _Letters from Spain_, in 1679, wrote that the apartments of the king and queen at the Escorial were not stately, and that Philip, when he founded the building, intended it for a house of prayer and retirement, ‘the things he took most care to adorn’ being the Church and the Library. In the words of George Thompson, translator of Frey Francisco de los Santos’s work upon the Royal Palace of the Escorial, the edifice is ‘an astonishing work, in which the most prudent monarch Philip the Second offered to God a heaven on earth; to the illustrious Spanish martyr St. Lawrence a temple of divine magnificence, to his ancestors, a Christian mausoleum; to the Hieronymite recluses an august habitation; and to the world a structure which it can never sufficiently admire.’

In the eyes of the Spanish subjects of Philip, the Real Monasterio, or Real Sitio (Royal Residence), constituted the ‘eighth wonder of the world.’ Such a magnificent palace had not been seen in Spain since the palmy days of the Moorish potentates of Granada and Cordova. In no sense, however, could the Escorial be likened to the buildings of Morisco genius. It was eminently Christian in its conception and plan, and in its dedication to San Lorenzo, the martyr of the gridiron. The style was late Renaissance, uninfluenced by the ancient Oriental spirit, and owing its inspiration chiefly to the Doric designers, though the Gothic influence is of France.

If the exterior of the Escorial suggests in turn a sombre fortress, a mournful and gaunt hermitage, or a forbidding prison, it still impresses us as a very remarkable work of architecture. One must not look for the richly ornate, the flamboyant, and that prodigality of decoration which characterise many of the later public buildings of Spain. Huge, marked with the personality of the founder, menacing, and yet not without the nobility of plainness, the great creation of Philip II. is beyond doubt one of the world’s greatest edifices. To some observers it has brought a vague sense of depression when viewed upon a grey day amid its bleak surroundings; but the atmosphere of the place is far from unimpressive, for it is pregnant with memories, and vivid with dramatic passages in the lives of kings and their queens, courtiers, artists, friars, and the long train of inmates who lived within the stern granite walls. Moreover, as a museum, the Escorial is of supreme interest. It contains a wealth of wonderful works of art, and a superb library of costly books and old manuscripts.

The galleries, courts, and gardens of the building undoubtedly soften the aspect of the walls and the solemn towers. Flowers adorn the terraces: there are pleasant seats and niches, with shady walks between high box-hedges and splashing fountains. From the Lonja (the terraces) one looks upon varied vistas of the plain, the frowning mountains, the quaint flower-gardens, the ponds, and the wooded slopes, where there are English elms and beautiful chestnut-trees.

In the surrounding demesne, there are several points of interest. One of these is the ‘King’s Chair,’ among the rocks, where Philip sat to view the building of the monastery. We may also wander to the ‘Queen’s Belvedere,’ or climb the boulders of Castejon.

Not content with the vast accommodation of the Escorial, Philip caused certain small houses, or places of retreat, to be built in the vicinity. One of these, called La Granjilla, was surrounded by exquisite gardens, which were adorned with many fountains. The streams and tanks provided fish for the royal table. Another lodge was the Campillo, which the king erected in a magnificent and lonely situation among the hills. This house was afterwards altered by Philip IV.

III

THE CHURCH

From the point of view of architectural beauty, the Church of the Escorial is the finest of the several buildings within the walls. The eye is at once arrested by the tall towers on either side, the immense dome, with its superimposed massive lantern and cross, and the portals of the vestibule. As for the height of the towers, it is safe to say that they are considerably over 200 feet, though writers variously give the height as 260 feet and 270 feet. The structure is of granite throughout, huge in its plan, and severe in its Doric simplicity.

The tower on the right has a clock and a peal of bells. Each of the belfries has a platform with a balustrade, and the cupolas have a lantern tower, with several windows, and a lesser cupola above, crowned by a spire. On the top of the spire are a ball, a cross, and a weathercock. These towers are perhaps the most ornamental parts of the whole pile.

Before the Church, or Templo, is the handsome Vestibule, with five arches, each having a door. The total number of the portals is ten. There is a decorated dome to the Vestibule, and doors leading to the Monastery and the College. The chief door of the Church is in the centre, and it is only opened to admit members of the reigning family of Spain. We enter the main edifice by a small door. Upon black marble, in letters of copper, is a Latin inscription setting forth that ‘Philip, King of all the Spains, of the two Sicilies, and of Jerusalem, laid the first stone of this church on the feast of San Bernardo, 1563: the divine offices were first celebrated on the Eve of the feast of St. Lawrence, 1586.’

The right door has the following legend: ‘Philip II., King of all the Spains, of the Sicilies, and of Jerusalem, had this church piously and solemnly consecrated by the nuncio of His Holiness, Camilli Cojot of Alexandria, on August 30th, 1595.’

The Coro Bajo, or Lower Choir, is the first part of the church upon entering from the Vestibule. It is paved with marble, and has a gallery, balconies, and two rows of stalls. A variety of woods were used in the stalls, such as box, cedar, walnut, and ebony, and the designs were drawn by Herrera, who directed the work of Flecha the decorator. Under Flecha four Spanish carvers assisted in the work of cutting the thistle leaves and the beautiful mountings of the choir stalls. The Prior’s seat is especially decorative; and one stall, wider than the others, was used by Philip II.

A fine lectern of jasper and marble, supported by bronze pilasters, stands in the Choir. In a small shrine upon the structure, formed by columns, is an effigy of the Virgin. The cross of this structure is of the wood from which Philip’s coffin was made. In height the lectern is sixteen feet.

Near the Prior’s seat is an altar with a Crucifix, and close by we shall find two paintings of Our Lady and San Juan, by Navarrete, sometimes called El Mudo. This painter was influenced by the Venetian tradition, though it is doubtful whether he worked under Titian.