San Lorenzo, to whom Philip II. dedicated2 the mighty3 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 ornaments5, the grandeur6, and the majestic7 harmony, that one remarks in{23} this entire edifice8.... 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 mere9 detailing of all parts of the Escorial would be very laborious10 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 conciseness11 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 Portico12 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{24} upon specially13 constructed wains, drawn14 by forty-eight pairs of oxen. The panels on each side of the doorway15 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 carving16 this effigy17, and other 7700 reales for the arms of Spain carved below the statue.
Of the other doors, one leads to the cellars, the lower cloisters18, 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 Patio19 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 granite20 for the bodies and marble for the head and hands, as in the case of the effigy of San Lorenzo, above the main gateway21.{25}
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 ram22 and loaves of bread by his side; while the second has also a ram, and in his hand a large incense23 box. David is appropriately supplied with a harp24 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 circumference25 and 500,000 square feet. This massive pile is everywhere severely26 uniform, though its rigidity27 is relieved by the towers of the Monastery29, the charming gardens of the palace with their fine arches, and by the spires30 and doorways31. 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 celebrated32 staircase, described by Don Antonio{26} 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 arcade33, and it is a noteworthy example of architectural skill. The appearance of the east front is marred34 by the unattractive exterior35 of the Capilla. On the north side is the chief approach to the palace, and here is the small door by which the royal tenants36 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 monks37, who were recovering from illness, took gentle exercise in the open air. There are two corridors, or promenades38, each about 100 feet in length, one above the other, and supported by arches. Some of the decorative39 work here is by Juan de Mora.
The impression conveyed by the Escorial at first sight is that of its colossal40 proportions, while one’s second impression is of austerity and uniformity in design. Henry O’Shea is right in{27} saying, in his Guide to Spain and Portugal, that ‘to understand the Escorial it is necessary to have studied deeply and most impartially41 the character and genius of its founder42; 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, perfectly43 understood by historians.’ Carl Justi, in a somewhat severe criticism of ‘the rigid28 geometrical design’ of the building, says that it ‘looks at us with petrifying44 effect,’ though he admits that the harmony of the pile with its surrounding landscape gives it a peculiar45 beauty.
Some of the older writers upon the Royal Monastery of Philip II. fervently46 praise the majesty47 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 retirement48, ‘the things he took most care to adorn49’ 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{28} astonishing work, in which the most prudent50 monarch51 Philip the Second offered to God a heaven on earth; to the illustrious Spanish martyr4 St. Lawrence a temple of divine magnificence, to his ancestors, a Christian52 mausoleum; to the Hieronymite recluses53 an august habitation; and to the world a structure which it can never sufficiently54 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 Moorish55 potentates56 of Granada and Cordova. In no sense, however, could the Escorial be likened to the buildings of Morisco genius. It was eminently57 Christian in its conception and plan, and in its dedication58 to San Lorenzo, the martyr of the gridiron. The style was late Renaissance59, 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 fortress60, a mournful and gaunt hermitage, or a forbidding prison, it still impresses us as a very remarkable61 work of architecture. One must not look for the richly ornate, the flam{29}boyant, and that prodigality62 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 edifices63. To some observers it has brought a vague sense of depression when viewed upon a grey day amid its bleak64 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 inmates65 who lived within the stern granite walls. Moreover, as a museum, the Escorial is of supreme66 interest. It contains a wealth of wonderful works of art, and a superb library of costly67 books and old manuscripts.
The galleries, courts, and gardens of the building undoubtedly68 soften69 the aspect of the walls and the solemn towers. Flowers adorn the terraces: there are pleasant seats and niches70, with shady walks between high box-hedges and splashing fountains. From the Lonja (the terraces) one looks upon varied71 vistas72 of the plain, the frowning mountains, the quaint73 flower-gardens, the ponds, and the wooded slopes, where{30} there are English elms and beautiful chestnut-trees.
In the surrounding demesne74, 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 boulders75 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 exquisite76 gardens, which were adorned77 with many fountains. The streams and tanks provided fish for the royal table. Another lodge78 was the Campillo, which the king erected79 in a magnificent and lonely situation among the hills. This house was afterwards altered by Philip IV.
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1 fabrics | |
织物( fabric的名词复数 ); 布; 构造; (建筑物的)结构(如墙、地面、屋顶):质地 | |
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2 dedicated | |
adj.一心一意的;献身的;热诚的 | |
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3 mighty | |
adj.强有力的;巨大的 | |
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4 martyr | |
n.烈士,殉难者;vt.杀害,折磨,牺牲 | |
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5 ornaments | |
n.装饰( ornament的名词复数 );点缀;装饰品;首饰v.装饰,点缀,美化( ornament的第三人称单数 ) | |
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6 grandeur | |
n.伟大,崇高,宏伟,庄严,豪华 | |
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7 majestic | |
adj.雄伟的,壮丽的,庄严的,威严的,崇高的 | |
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8 edifice | |
n.宏伟的建筑物(如宫殿,教室) | |
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9 mere | |
adj.纯粹的;仅仅,只不过 | |
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10 laborious | |
adj.吃力的,努力的,不流畅 | |
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11 conciseness | |
n.简洁,简短 | |
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12 portico | |
n.柱廊,门廊 | |
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13 specially | |
adv.特定地;特殊地;明确地 | |
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14 drawn | |
v.拖,拉,拔出;adj.憔悴的,紧张的 | |
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15 doorway | |
n.门口,(喻)入门;门路,途径 | |
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16 carving | |
n.雕刻品,雕花 | |
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17 effigy | |
n.肖像 | |
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18 cloisters | |
n.(学院、修道院、教堂等建筑的)走廊( cloister的名词复数 );回廊;修道院的生活;隐居v.隐退,使与世隔绝( cloister的第三人称单数 ) | |
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19 patio | |
n.庭院,平台 | |
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20 granite | |
adj.花岗岩,花岗石 | |
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21 gateway | |
n.大门口,出入口,途径,方法 | |
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22 ram | |
(random access memory)随机存取存储器 | |
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23 incense | |
v.激怒;n.香,焚香时的烟,香气 | |
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24 harp | |
n.竖琴;天琴座 | |
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25 circumference | |
n.圆周,周长,圆周线 | |
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26 severely | |
adv.严格地;严厉地;非常恶劣地 | |
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27 rigidity | |
adj.钢性,坚硬 | |
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28 rigid | |
adj.严格的,死板的;刚硬的,僵硬的 | |
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29 monastery | |
n.修道院,僧院,寺院 | |
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30 spires | |
n.(教堂的) 塔尖,尖顶( spire的名词复数 ) | |
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31 doorways | |
n.门口,门道( doorway的名词复数 ) | |
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32 celebrated | |
adj.有名的,声誉卓著的 | |
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33 arcade | |
n.拱廊;(一侧或两侧有商店的)通道 | |
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34 marred | |
adj. 被损毁, 污损的 | |
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35 exterior | |
adj.外部的,外在的;表面的 | |
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36 tenants | |
n.房客( tenant的名词复数 );佃户;占用者;占有者 | |
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37 monks | |
n.修道士,僧侣( monk的名词复数 ) | |
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38 promenades | |
n.人行道( promenade的名词复数 );散步场所;闲逛v.兜风( promenade的第三人称单数 ) | |
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39 decorative | |
adj.装饰的,可作装饰的 | |
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40 colossal | |
adj.异常的,庞大的 | |
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41 impartially | |
adv.公平地,无私地 | |
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42 Founder | |
n.创始者,缔造者 | |
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43 perfectly | |
adv.完美地,无可非议地,彻底地 | |
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44 petrifying | |
v.吓呆,使麻木( petrify的现在分词 );使吓呆,使惊呆;僵化 | |
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45 peculiar | |
adj.古怪的,异常的;特殊的,特有的 | |
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46 fervently | |
adv.热烈地,热情地,强烈地 | |
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47 majesty | |
n.雄伟,壮丽,庄严,威严;最高权威,王权 | |
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48 retirement | |
n.退休,退职 | |
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49 adorn | |
vt.使美化,装饰 | |
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50 prudent | |
adj.谨慎的,有远见的,精打细算的 | |
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51 monarch | |
n.帝王,君主,最高统治者 | |
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52 Christian | |
adj.基督教徒的;n.基督教徒 | |
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53 recluses | |
n.隐居者,遁世者,隐士( recluse的名词复数 ) | |
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54 sufficiently | |
adv.足够地,充分地 | |
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55 moorish | |
adj.沼地的,荒野的,生[住]在沼地的 | |
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56 potentates | |
n.君主,统治者( potentate的名词复数 );有权势的人 | |
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57 eminently | |
adv.突出地;显著地;不寻常地 | |
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58 dedication | |
n.奉献,献身,致力,题献,献辞 | |
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59 renaissance | |
n.复活,复兴,文艺复兴 | |
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60 fortress | |
n.堡垒,防御工事 | |
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61 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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62 prodigality | |
n.浪费,挥霍 | |
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63 edifices | |
n.大建筑物( edifice的名词复数 ) | |
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64 bleak | |
adj.(天气)阴冷的;凄凉的;暗淡的 | |
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65 inmates | |
n.囚犯( inmate的名词复数 ) | |
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66 supreme | |
adj.极度的,最重要的;至高的,最高的 | |
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67 costly | |
adj.昂贵的,价值高的,豪华的 | |
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68 undoubtedly | |
adv.确实地,无疑地 | |
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69 soften | |
v.(使)变柔软;(使)变柔和 | |
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70 niches | |
壁龛( niche的名词复数 ); 合适的位置[工作等]; (产品的)商机; 生态位(一个生物所占据的生境的最小单位) | |
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71 varied | |
adj.多样的,多变化的 | |
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72 vistas | |
长条形景色( vista的名词复数 ); 回顾; 展望; (未来可能发生的)一系列情景 | |
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73 quaint | |
adj.古雅的,离奇有趣的,奇怪的 | |
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74 demesne | |
n.领域,私有土地 | |
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75 boulders | |
n.卵石( boulder的名词复数 );巨砾;(受水或天气侵蚀而成的)巨石;漂砾 | |
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76 exquisite | |
adj.精美的;敏锐的;剧烈的,感觉强烈的 | |
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77 adorned | |
[计]被修饰的 | |
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78 lodge | |
v.临时住宿,寄宿,寄存,容纳;n.传达室,小旅馆 | |
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79 ERECTED | |
adj. 直立的,竖立的,笔直的 vt. 使 ... 直立,建立 | |
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