The tower on the right has a clock and a peal5 of bells. Each of the belfries has a platform with a balustrade, and the cupolas have a lantern tower, with several windows, and a lesser6 cupola above, crowned by a spire7. On the top of the spire are a ball, a cross, and a weathercock. These{32} towers are perhaps the most ornamental8 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 Monastery10 and the College. The chief door of the Church is in the centre, and it is only opened to admit members of the reigning11 family of Spain. We enter the main edifice13 by a small door. Upon black marble, in letters of copper14, is a Latin inscription15 setting forth16 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 celebrated17 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 piously19 and solemnly consecrated20 by the nuncio of His Holiness, Camilli Cojot of Alexandria, on August 30th, 1595.’
The Coro Bajo, or Lower Choir21, 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{33} woods were used in the stalls, such as box, cedar22, walnut23, and ebony, and the designs were drawn24 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 decorative25; 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 shrine26 upon the structure, formed by columns, is an effigy27 of the Virgin28. The cross of this structure is of the wood from which Philip’s coffin29 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.
In 1568 Navarrete was invited by Philip to the Escorial, where he executed some work upon the high altar. A few years later the artist was commanded to paint other thirty-two pictures for the king. El Mudo was accused of inde{34}corum in his work by representing angels with beards, and this is shown by the contract with the high clerics of the Escorial, who laid down that: ‘Whenever the figure of a saint is repeated by painting it several times, the face shall be represented in the same manner, and likewise the garments shall be of the same colour, and if any saint has a portrait which is peculiar30 to him, he shall be painted according to such portrait, which shall be sought out with diligence wherever it may be; and in the aforesaid picture the artist shall not introduce any cat or dog or other unbecoming figure, but only saints and such things as incite31 to devotion.’
One of the wall paintings of the Choir represents San Geronimo, or St. Jerome, expounding32 the Scriptures33; another shows him writing, and a third depicts34 the interment of the saint, San Lorenzo, while the Pope is the subject of one of the frescoes35, which were painted by Cincinato. The pictures by Lugato in this part of the church illustrate37 Charity, Hope, Faith, Prudence38, and Justice, while others portray39 San Lorenzo and San Geronimo. During the struggle with France many objects of art were removed from the Choir.
The organs are exceedingly handsome. One{35} of them is said to be the finest in tone in the Peninsula. By the side of the chief choir are the lesser cross, or choirs40, containing a small marble capilla. The statue of San Lorenzo was carved from a Roman effigy, which was headless and without limbs when it came into the possession of Philip II. Giordano’s ceiling is painted with episodes in the life of David. This painter was a follower41 of the powerful Ribera, and his influence upon Spanish art was somewhat detrimental42, for he imposed an alien style, and produced works that example the decline of the Spanish schools.
A hall behind the ante-choir is known as the Library, and here the music books are stored. The books are very beautifully bound, and written by masters of the art of caligraphy. There are three pictures in this apartment: the best is by Navarrete, a scene of the ‘Crucifixion’, with San Juan and the Virgin. The work by Herrera Barnuevo is poor. Van Bosch, or El Bosco as he was styled in Spain, painted the allegorical picture in this hall.
The ‘Panteon de los Reyes’, the royal sepulchre, was finished in 1654. It was intended that it should be severely44 plain; but after the time of Philip II., those who continued the work, in{36}dulged their fancy for gilt45 decoration. A portrait of Father Nicolas is seen as we enter the staircase of the vaults46; and after descending48 about a score of steps, we reach the Panteon de las Infantas and the Panteon de los Infantes, where rest the remains49 of the two sisters of Charles V., Don John of Austria, and other royal persons. This part of the royal vaults is not of especial interest architecturally, and a more adequate place of sepulture is now being constructed.
The doorway50 of the vaults is of marble and bronze, and there is a tablet with the following inscription: ‘To the very good and very great God; sacred spot dedicated51 by the piety52 of the Austrian dynasty to the mortal remains of the Catholic kings, who await the desired day under the high altar consecrated to the Redeemer of the human race. Charles V., most glorious of the emperors, resolved this place to be the last bed of himself and his lineage; Philip II., the wisest of kings, designed it; Philip III., a monarch53 sincerely pious18, continued the work; Philip IV., great for his clemency54, his constancy, and his devotion, augmented55, adorned56, and terminated it in the year of the Lord 1654.’
The figures of Italian bronze near the tablet, symbolise Humanity and Hope. From this{37} point the descent to the tombs is made upon steps of marble, with three landings, until an octagonal chamber57 is reached. A great candelabrum of bronze hangs here, and there are relief figures of the Apostles. The decorations of this vault47 of jasper and marble were executed by Fanelli. The materials used for the altar in this chamber are black marble and bronze. Two lay-brothers of the Escorial made the bronze Entombment of Christ.
In the niches58 rest twenty-six urnas containing the ashes of Spanish sovereigns. The kings are Charles V., Philip II., Philip III., Philip IV., Charles II., Luis I., Charles III., Charles IV., and Ferdinand VII. On the left of the altar are the remains of Isabella, wife of the Emperor Charles, Anne of Austria, Margaret, Isabel of Bourbon, Mary Anne of Austria, Maria of Savoy, Maria of Saxony, and Maria Luisa of Bourbon.
Ferdinand VII. used to attend Mass at midnight in this damp, chilling, and sombre sanctuary59, where rest the bones of so many of his ancestors.
The construction of the church represents a large square, and the pillars form a cross. Four immense square columns support the whole superstructure, and surrounding these are twenty-four large arches. The carved and gilded60 wood{38}work is the work of Flecha, an Italian artist. At the end of the lesser naves61 are domes63, eight in number. The Great Dome has eight windows, with Doric columns, and it is surrounded by a balcony. An ascent64 can be made to the top of the dome, where there are a large lantern, a spire, and a tall weathercock above the cupola. The height from the ground is 330 feet. In the pyramidal spire, Philip II. enclosed a case containing relics65 of St. Paul, St. Peter, and St. Barbara.
The pavement of the church is made of variegated66 marbles. In the reign12 of Charles II., the vaulting67 of the principal dome was pointed68, but before the time of that monarch, it was stuccoed, and spangled with blue stars. Giordano was commissioned with the work of decorating this part of the building with eight frescoes. These pictures are described by O’Shea as ‘hurried, yet faithful, and the colouring very fine, though somewhat tarnished69 by damp.’ Later critics have, however, pointed out the traces of serious degeneration in the work of Giordano. Among the paintings are the ‘Adoration of the Magi,’ the ‘Conception,’ and the ‘Last Judgment70.’
Jordaens was the artist selected to paint the works in the minor71 domes. It has been stated{39} that the frescoes were finished in seven months. We need not describe each one in detail. The dome in the chief nave62 has a ‘Resurrection,’ in which we see the Saviour72 upon a throne of clouds, with the Holy Mother by his side, and from the tombs emerge the frames of the dead, some of which ascend73 to Paradise. In the dome over the Chapel74 of Our Lady there is a painting of the Virgin in a chariot, attended by maidens75; and in another dome the scene is from the Old Testament76, representing Joshua’s defeat of the Amalekites.
The Capilla Mayor is notable for its Doric features, black marble pilasters, bronze figures, and the splendid high altar. The chief chapel is approached by an arch on three pillars, dividing it from the other parts of the edifice, and the altar is of marble and jasper. It was consecrated in 1595 by Philip II., in honour of the Blessed San Lorenzo, and within were placed the relics of San Pedro, San Tomas, San Sebastian, and other holy personages. The fine work on the screen cannot be well seen in the uncertain light; but it merits close inspection77 for its scheme of exemplifying all the orders of pagan architecture in jasper and bronze.
Upon one division of the altar screen are two{40} paintings by Tibaldi, the ‘Birth of Christ,’ and the ‘Adoration of the Magi.’ Tibaldi was a pupil of Michael Angelo; but his productions have little of the spirit of his master, and there is none of his work in the Escorial upon which we can write with great enthusiasm.
The ‘Flagellation,’ by Zuccaro, is seen in the second or Ionic section of the altar screen. This is supposed to be the best work of the painter, who came at the invitation of Philip II. to paint at the Escorial, in the place of Paul Veronese. Zuccaro’s art was so inferior that his royal patron condemned78 most of his pictures; and Tibaldi, a not very excellent substitute, was bidden to repaint several frescoes. Finally, the Venetian painter was asked to leave the Escorial.
Pompeio Leonius, or Leoni, was the designer and caster of the metal statues that ornament9 the splendid screen, though some of the work was intrusted to the artist’s father, Leon Leoni, sometimes called Arezzo. These two natives of Milan were retained by Philip II. to produce statues at the Escorial, and besides this work on the altar they produced the figures of Charles V., Philip, and other members of the Royal House, which stand between the centre columns. These figures are of bronze gilt, about thirteen feet in height.{41} The Emperor kneels before an altar, his head bare, invoking79 the assistance of God. Isabella is by him, and the other statues represent the Empress Maria, and the Princesses Eleonora and Maria. On the other side are the figures of Philip II., Anna, Isabella, Doña Maria of Portugal, and Don John of Austria.
In the Oratories80 there are some paintings by Pantoja de la Cruz, who was a pupil of Coello. Pantoja was a native of Madrid; he was Court portrait painter to Philip II., and afterwards to Philip III. Besides his work at the Escorial, he painted several canvases for the Royal Palace at Madrid.
In one of the chambers81 of the Oratories are the table and chair belonging to Philip II.
The Sanctuary has some frescoes by Tibaldi, depicting82 scenes from the Old Testament; the fresco36 of ‘Elias’ was the artist’s first picture for the Escorial. A handsome tabernacle demands notice, both for its art and the fact that it was destroyed by the French, and afterwards repaired by Ferdinand VII. The work is by Juan de Herrera and Giacomo Trezzo of Milan.
In the Relicario few objects survived the plundering83 of the French; but Carducci’s pictures of saints should be seen, and a metal statue{42} from Messina is of interest. A number of skeletons and precious bones of saints and pious persons are guarded in the Relicario. There are also a part of the gridiron upon which San Lorenzo was martyred; some pieces of the Holy Cross; thorns from the crown of Christ; part of the garment of the Holy Mother; a bone of St. Paul, and many other treasures which cannot be enumerated84.
In the Ante-Sacrista the vaults were painted by Granelo and Fabricio: a reputed Andrea del Sarto is here; a painting by Van der Velde, San Juan by Giordano, and San Geronimo by the vigorous Spanish artist Ribera, the master of Luca Giordano.
The Sacristy contains a number of paintings, including a work by El Greco, the ‘Dream of Philip II.’ This eccentric genius painted for some time at the Escorial; but his gifts were not fully43 appreciated by the royal patron, who seems to have possessed85 a preference for the work of the Italian romancists rather than the bold, truthful86 productions of the stronger Spanish School of painters. In the hall will be seen several pictures by artists of Spain: among others are works by Zurbarán and Ribera, while foreign painters are represented by Tintoretto, Titian, Guido Reni,{43} and Paul Veronese. Tintoretto’s work was painted for a church in Venice, but came into the hands of King Charles I. of England, and was purchased for Philip IV. of Spain after the downfall of Charles. The subject is ‘Washing the Apostles’ Feet.’ Some beautiful needlework is preserved in the Sacristy, designed by Navarrete, and worked by the monks87. The altar of the Sacristy has carvings88 in marble upon the screen, and a painting by Coello, containing portraits of several notable persons, including Charles II. Coello worked for about six years upon this picture, which was first undertaken by Rizzi, who was overtaken by death during his labours.
Surrounding all the altars of the church are paintings of more or less interest, which principally demonstrate the Italian influence. Luis de Carbajal is the painter of several of these pictures. He was the pupil of Juan Villoldo, a very mannered artist, and a follower of Navarrete. Below the Choir will be found a painting of Carbajal, ‘Sixtus and St. Blasius,’ and another of his works is in the Capilla, also representing saints. Navarrete, Coello, and Tibaldi, are among the other painters of the altar-pieces in the various chapels89.{44}
The pulpits of the Capilla Mayor are very ornate. They were made under Ferdinand VII. from various marbles and stone, with decorations of polished metal, and the designs were prepared by Urquiza.
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1
dome
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| n.圆屋顶，拱顶 | |
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considerably
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| adv.极大地；相当大地；在很大程度上 | |
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granite
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| adj.花岗岩，花岗石 | |
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simplicity
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| n.简单，简易；朴素；直率，单纯 | |
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peal
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| n.钟声；v.鸣响 | |
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lesser
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| adj.次要的，较小的；adv.较小地，较少地 | |
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spire
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| n.(教堂)尖顶，尖塔，高点 | |
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ornamental
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| adj.装饰的；作装饰用的；n.装饰品；观赏植物 | |
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ornament
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| v.装饰，美化；n.装饰，装饰物 | |
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monastery
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| n.修道院，僧院，寺院 | |
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reigning
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| adj.统治的，起支配作用的 | |
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reign
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| n.统治时期，统治，支配，盛行；v.占优势 | |
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edifice
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| n.宏伟的建筑物(如宫殿，教室) | |
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copper
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| n.铜；铜币；铜器；adj.铜(制)的；(紫)铜色的 | |
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inscription
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| n.（尤指石块上的）刻印文字，铭文，碑文 | |
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16
forth
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| adv.向前；向外，往外 | |
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celebrated
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| adj.有名的，声誉卓著的 | |
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pious
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| adj.虔诚的；道貌岸然的 | |
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piously
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| adv.虔诚地 | |
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consecrated
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| adj.神圣的，被视为神圣的v.把…奉为神圣，给…祝圣( consecrate的过去式和过去分词 )；奉献 | |
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choir
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| n.唱诗班，唱诗班的席位，合唱团，舞蹈团；v.合唱 | |
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cedar
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| n.雪松，香柏(木) | |
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walnut
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| n.胡桃，胡桃木，胡桃色，茶色 | |
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drawn
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| v.拖，拉，拔出；adj.憔悴的，紧张的 | |
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decorative
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| adj.装饰的，可作装饰的 | |
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shrine
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| n.圣地，神龛，庙；v.将...置于神龛内，把...奉为神圣 | |
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effigy
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| n.肖像 | |
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virgin
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| n.处女，未婚女子；adj.未经使用的；未经开发的 | |
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coffin
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| n.棺材，灵柩 | |
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peculiar
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| adj.古怪的，异常的；特殊的，特有的 | |
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incite
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| v.引起，激动，煽动 | |
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expounding
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| 论述，详细讲解( expound的现在分词 ) | |
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scriptures
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| 经文，圣典( scripture的名词复数 )； 经典 | |
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depicts
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| 描绘，描画( depict的第三人称单数 )； 描述 | |
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frescoes
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| n.壁画( fresco的名词复数 )；温壁画技法，湿壁画 | |
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fresco
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| n.壁画；vt.作壁画于 | |
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illustrate
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| v.举例说明，阐明；图解，加插图 | |
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prudence
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| n.谨慎，精明，节俭 | |
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portray
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| v.描写，描述；画(人物、景象等) | |
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choirs
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| n.教堂的唱诗班( choir的名词复数 )；唱诗队；公开表演的合唱团；（教堂）唱经楼 | |
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follower
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| n.跟随者；随员；门徒；信徒 | |
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42
detrimental
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| adj.损害的，造成伤害的 | |
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fully
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| adv.完全地，全部地，彻底地；充分地 | |
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severely
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| adv.严格地；严厉地；非常恶劣地 | |
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gilt
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| adj.镀金的；n.金边证券 | |
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46
vaults
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| n.拱顶( vault的名词复数 )；地下室；撑物跳高；墓穴 | |
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47
vault
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| n.拱形圆顶，地窖，地下室 | |
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48
descending
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| n. 下行 adj. 下降的 | |
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49
remains
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| n.剩余物，残留物；遗体，遗迹 | |
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doorway
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| n.门口，(喻)入门；门路，途径 | |
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dedicated
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| adj.一心一意的；献身的；热诚的 | |
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piety
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| n.虔诚，虔敬 | |
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53
monarch
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| n.帝王，君主，最高统治者 | |
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clemency
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| n.温和，仁慈，宽厚 | |
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Augmented
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| adj.增音的 动词augment的过去式和过去分词形式 | |
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adorned
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| [计]被修饰的 | |
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chamber
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| n.房间，寝室；会议厅；议院；会所 | |
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niches
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| 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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59
sanctuary
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| n.圣所，圣堂，寺庙；禁猎区，保护区 | |
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gilded
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| a.镀金的，富有的 | |
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61
naves
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| n.教堂正厅( nave的名词复数 )；本堂；中央部；车轮的中心部 | |
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nave
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| n.教堂的中部；本堂 | |
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domes
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| n.圆屋顶( dome的名词复数 )；像圆屋顶一样的东西；圆顶体育场 | |
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ascent
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| n.(声望或地位)提高；上升，升高；登高 | |
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relics
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| [pl.］n.遗物，遗迹，遗产；遗体，尸骸 | |
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variegated
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| adj.斑驳的，杂色的 | |
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vaulting
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| n.（天花板或屋顶的）拱形结构 | |
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pointed
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| adj.尖的，直截了当的 | |
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69
tarnished
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| （通常指金属）（使）失去光泽，（使）变灰暗( tarnish的过去式和过去分词 )； 玷污，败坏 | |
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judgment
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| n.审判；判断力，识别力，看法，意见 | |
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minor
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| adj.较小(少)的，较次要的；n.辅修学科；vi.辅修 | |
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72
saviour
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| n.拯救者，救星 | |
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73
ascend
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| vi.渐渐上升，升高；vt.攀登，登上 | |
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74
chapel
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| n.小教堂，殡仪馆 | |
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75
maidens
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| 处女( maiden的名词复数 )； 少女； 未婚女子； （板球运动）未得分的一轮投球 | |
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76
testament
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| n.遗嘱；证明 | |
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77
inspection
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| n.检查，审查，检阅 | |
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78
condemned
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| adj. 被责难的, 被宣告有罪的 动词condemn的过去式和过去分词 | |
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79
invoking
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| v.援引( invoke的现在分词 )；行使（权利等）；祈求救助；恳求 | |
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80
oratories
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| n.演讲术( oratory的名词复数 )；（用长词或正式词语的）词藻华丽的言辞 | |
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81
chambers
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| n.房间( chamber的名词复数 )；（议会的）议院；卧室；会议厅 | |
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82
depicting
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| 描绘，描画( depict的现在分词 )； 描述 | |
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83
plundering
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| 掠夺，抢劫( plunder的现在分词 ) | |
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84
enumerated
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| v.列举，枚举，数( enumerate的过去式和过去分词 ) | |
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85
possessed
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| adj.疯狂的；拥有的，占有的 | |
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86
truthful
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| adj.真实的，说实话的，诚实的 | |
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87
monks
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| n.修道士，僧侣( monk的名词复数 ) | |
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88
carvings
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| n.雕刻( carving的名词复数 )；雕刻术；雕刻品；雕刻物 | |
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89
chapels
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| n.小教堂， （医院、监狱等的）附属礼拜堂( chapel的名词复数 )；（在小教堂和附属礼拜堂举行的）礼拜仪式 | |
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