Here are some relics11 of the king—his bookcase, writing-table, a few chairs, and the stools upon which he laid his foot when attacked by the gout. From this chamber Philip could peep into the Church during the celebration of services and hear the voices of the friars at their devo{66}tions. By opening a panel, the king was able to look upon the High Altar and to catch the odour of the incense12.
The fine staircase of the Palace was the work of Ventura Rodriguez, and it was built in the reign6 of Carlos IV. In the Lower Gallery there are pictures of historical interest, some of them being the original works painted for the founder13 of the Escorial. They are chiefly battlepieces; and one is a copy of the fresco14 in the Hall of Battles. Among the pictures are the ‘Siege of Grave,’ the ‘Siege of Calais,’ the ‘Christian Fleet attacking the Turks,’ ‘Battle at Amiens,’ and the ‘Fleet entering the Port of Messina.’
The most important tapestries15 of the Escorial are in the Palace. They were designed by the gifted Goya and by Maëlla, one of the lesser16 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 tapestry17 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.{67} 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 adorns18 the wall of one room. But finer paintings are in the Apartments of the Princess, where Alonso Cano’s genius is shown in the Virgin19 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 authenticity20 is dubious21.
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{68} are a few landscape paintings, and one or two works of minor22 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 adorned23 with a number of fresco-paintings representing various combats. The battle of Higueruela, which was fought against the Moors24 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, depicting25 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 martial26 subjects are treated. They are: ‘A Review by Philip II.,’ the ‘Battle of Lisbon under the Duke of Alba,’ the ‘Capture of{69} 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 quaint27 pictures.
The Apartments of the Queen are daintily decorated with tapestries, some by Spanish and others by Dutch designers, while the hangings are of amber10 silk. In the Oratory28 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 imbued29 with the Italian ideal, and it is possible that he received his artistic30 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 luminous31 warmth of colour, the lack of creative imagination, the disregard of beauty, the tendency to exaggeration, all the{70} virtue32 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 devoutly33 religious man, and his work shows a strong bias34 for mysticism and warm piety35. He was an industrious36 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 noted37 the tapestries in the Apartments of the Princess. The Carved Rooms demand inspection38, for they contain examples of rare decoration in woods. The carvings39 and the inlaid work of these rooms cost a very large sum. Woods of the rarest and finest were employed for the adornment40 of the apartments, and gilt41 and gold were lavished42 upon the walls. The pictures painted on copper43 are by Montalbo, and the{71} ceiling painting was intrusted to Maëlla. Blue upholstery decks the seats. There are four of these sumptuously44 decorated chambers45. 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 remarkable46 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 grandeur47 amid surroundings so savage48 and primitive49. The Royal Monastery50 of the Escorial is indeed an unique structure, historically instructive, and of deep interest for the architect, the art student, and the philosopher. It{72} 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 potent51 fascination52.
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1 edifice | |
n.宏伟的建筑物(如宫殿,教室) | |
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2 moody | |
adj.心情不稳的,易怒的,喜怒无常的 | |
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3 monarch | |
n.帝王,君主,最高统治者 | |
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4 seclusion | |
n.隐遁,隔离 | |
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5 simplicity | |
n.简单,简易;朴素;直率,单纯 | |
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6 reign | |
n.统治时期,统治,支配,盛行;v.占优势 | |
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7 luxurious | |
adj.精美而昂贵的;豪华的 | |
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8 hermit | |
n.隐士,修道者;隐居 | |
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9 chamber | |
n.房间,寝室;会议厅;议院;会所 | |
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10 amber | |
n.琥珀;琥珀色;adj.琥珀制的 | |
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11 relics | |
[pl.]n.遗物,遗迹,遗产;遗体,尸骸 | |
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12 incense | |
v.激怒;n.香,焚香时的烟,香气 | |
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13 Founder | |
n.创始者,缔造者 | |
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14 fresco | |
n.壁画;vt.作壁画于 | |
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15 tapestries | |
n.挂毯( tapestry的名词复数 );绣帷,织锦v.用挂毯(或绣帷)装饰( tapestry的第三人称单数 ) | |
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16 lesser | |
adj.次要的,较小的;adv.较小地,较少地 | |
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17 tapestry | |
n.挂毯,丰富多采的画面 | |
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18 adorns | |
装饰,佩带( adorn的第三人称单数 ) | |
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19 virgin | |
n.处女,未婚女子;adj.未经使用的;未经开发的 | |
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20 authenticity | |
n.真实性 | |
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21 dubious | |
adj.怀疑的,无把握的;有问题的,靠不住的 | |
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22 minor | |
adj.较小(少)的,较次要的;n.辅修学科;vi.辅修 | |
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23 adorned | |
[计]被修饰的 | |
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24 moors | |
v.停泊,系泊(船只)( moor的第三人称单数 ) | |
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25 depicting | |
描绘,描画( depict的现在分词 ); 描述 | |
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26 martial | |
adj.战争的,军事的,尚武的,威武的 | |
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27 quaint | |
adj.古雅的,离奇有趣的,奇怪的 | |
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28 oratory | |
n.演讲术;词藻华丽的言辞 | |
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29 imbued | |
v.使(某人/某事)充满或激起(感情等)( imbue的过去式和过去分词 );使充满;灌输;激发(强烈感情或品质等) | |
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30 artistic | |
adj.艺术(家)的,美术(家)的;善于艺术创作的 | |
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31 luminous | |
adj.发光的,发亮的;光明的;明白易懂的;有启发的 | |
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32 virtue | |
n.德行,美德;贞操;优点;功效,效力 | |
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33 devoutly | |
adv.虔诚地,虔敬地,衷心地 | |
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34 bias | |
n.偏见,偏心,偏袒;vt.使有偏见 | |
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35 piety | |
n.虔诚,虔敬 | |
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36 industrious | |
adj.勤劳的,刻苦的,奋发的 | |
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37 noted | |
adj.著名的,知名的 | |
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38 inspection | |
n.检查,审查,检阅 | |
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39 carvings | |
n.雕刻( carving的名词复数 );雕刻术;雕刻品;雕刻物 | |
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40 adornment | |
n.装饰;装饰品 | |
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41 gilt | |
adj.镀金的;n.金边证券 | |
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42 lavished | |
v.过分给予,滥施( lavish的过去式和过去分词 ) | |
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43 copper | |
n.铜;铜币;铜器;adj.铜(制)的;(紫)铜色的 | |
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44 sumptuously | |
奢侈地,豪华地 | |
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45 chambers | |
n.房间( chamber的名词复数 );(议会的)议院;卧室;会议厅 | |
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46 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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47 grandeur | |
n.伟大,崇高,宏伟,庄严,豪华 | |
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48 savage | |
adj.野蛮的;凶恶的,残暴的;n.未开化的人 | |
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49 primitive | |
adj.原始的;简单的;n.原(始)人,原始事物 | |
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50 monastery | |
n.修道院,僧院,寺院 | |
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51 potent | |
adj.强有力的,有权势的;有效力的 | |
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52 fascination | |
n.令人着迷的事物,魅力,迷恋 | |
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