We have it on the authority of Padre Fray1 José de Sigüenza, the librarian of the Monasterio, and the first historian of Philip II., that the king desired the building at the Escorial to excel the majesty2 of Solomon’s Temple, and to astonish the whole world. When we consider that the edifice3 was erected4 and adorned5 with very little aid from machinery6, we cannot but marvel7 at the expedition in carrying out the architects’ and designers’ plans. A great army of sawyers, carpenters, quarrymen, stonemasons, and craft-workers found employment upon this great pile. It is recorded that the labourers complained of the cold, searching winds in winter, and that they suffered from the scorching8 heat in summer.
The rules applying to the workmen were stringent9. The labourers appear to have suffered from a scarcity10 of wine, which they desired in the hot weather. No doubt the rigour of the climate in winter increased the difficulties attending upon the undertaking11.
Cranes and levers were employed for lifting the huge blocks of stone quarried12 from the surrounding mountains. Even the rough work was allotted13 only to workmen of approved ability and reputed industry, while the{74} task of decoration was given to masters of the arts of painting, illuminating14, and carving15 in wood, metal, and ivory. Upon this bleak16 highland17 a busy colony of toilers from many parts of Europe sprang up in a few months. Forges, workshops, and saw-pits were set up or constructed amongst the scoriæ or shale18 of the mountains, and the desert rang with the beating of hammers on metal, the clicking of the mason’s chisel19, and the grating of the saws.
An immense number of carts and horses were employed, besides pannier-mules and asses20, to bring the stone from the quarries21 and the metal from distant furnaces.
Only a part of the work was performed at the Escorial. The bronze was compounded in Zaragoza; the white marble came from the Sierras de Filabres, and the green, black, and variegated22 marbles were brought from the mountains of Andalusia, while Cuenca and Segovia furnished part of the pine wood. Many of the figures of bronze for the altars were designed and made in Florence and Milan. Toledo supplied lamps, candlesticks, crosses, and incense-burners. Holland provided heavy bronze candle-holders. Spain, Italy, and Flanders were searched for precious stones and metals to beautify the building, and artists and craftsmen23 were imported from many countries.
Juan Bautista de Toledo, and his pupil Juan de Herrera, expended24 great care and pains in the designs. Models of the various parts of the Escorial were made in wood, and the designs were altered and improved by both architects from time to time. Under the direction of Juan de Herrera every detail of the building was submitted to him for his approval before it was finished. Even the designs of Peregrino and Flecha,{75} the Italian masters, were submitted to the inspection25 of the master-architect. Juan de Herrera was succeeded by Francisco de Mora as chief architect.
The construction of the Principal Choir26 was a part of the work upon which much forethought was expended. Father Sigüenza describes the Corinthian style of the choir as the most beautiful feature of the Church. He mentions one hundred and twenty-eight as the number of the seats.
The Retablo was a costly27 piece of work, as a large quantity of jasper and precious metal was used in its embellishment, and much gilt28 employed. The columns are of the Doric order, and the bases are formed of gilded29 bronze.
Father Sigüenza does not stint30 his praise for the ‘judicious architects and singular painters’ employed by Philip II. at the Escorial, and his book is characterised by a high enthusiasm for the king, and admiration31 for the great work, ‘this sumptuous32 fabric,’ in which the worthy33 padre spent so many years of his life as Director of the Royal Library.
Coello painted the strong features of Father Sigüenza upon a canvas that may be seen in the Prior’s Chamber34 of the Monastery35.
The End
点击收听单词发音
1 fray | |
v.争吵;打斗;磨损,磨破;n.吵架;打斗 | |
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2 majesty | |
n.雄伟,壮丽,庄严,威严;最高权威,王权 | |
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3 edifice | |
n.宏伟的建筑物(如宫殿,教室) | |
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4 ERECTED | |
adj. 直立的,竖立的,笔直的 vt. 使 ... 直立,建立 | |
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5 adorned | |
[计]被修饰的 | |
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6 machinery | |
n.(总称)机械,机器;机构 | |
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7 marvel | |
vi.(at)惊叹vt.感到惊异;n.令人惊异的事 | |
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8 scorching | |
adj. 灼热的 | |
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9 stringent | |
adj.严厉的;令人信服的;银根紧的 | |
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10 scarcity | |
n.缺乏,不足,萧条 | |
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11 undertaking | |
n.保证,许诺,事业 | |
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12 quarried | |
v.从采石场采得( quarry的过去式和过去分词 );从(书本等中)努力发掘(资料等);在采石场采石 | |
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13 allotted | |
分配,拨给,摊派( allot的过去式和过去分词 ) | |
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14 illuminating | |
a.富于启发性的,有助阐明的 | |
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15 carving | |
n.雕刻品,雕花 | |
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16 bleak | |
adj.(天气)阴冷的;凄凉的;暗淡的 | |
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17 highland | |
n.(pl.)高地,山地 | |
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18 shale | |
n.页岩,泥板岩 | |
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19 chisel | |
n.凿子;v.用凿子刻,雕,凿 | |
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20 asses | |
n. 驴,愚蠢的人,臀部 adv. (常用作后置)用于贬损或骂人 | |
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21 quarries | |
n.(采)石场( quarry的名词复数 );猎物(指鸟,兽等);方形石;(格窗等的)方形玻璃v.从采石场采得( quarry的第三人称单数 );从(书本等中)努力发掘(资料等);在采石场采石 | |
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22 variegated | |
adj.斑驳的,杂色的 | |
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23 craftsmen | |
n. 技工 | |
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24 expended | |
v.花费( expend的过去式和过去分词 );使用(钱等)做某事;用光;耗尽 | |
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25 inspection | |
n.检查,审查,检阅 | |
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26 choir | |
n.唱诗班,唱诗班的席位,合唱团,舞蹈团;v.合唱 | |
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27 costly | |
adj.昂贵的,价值高的,豪华的 | |
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28 gilt | |
adj.镀金的;n.金边证券 | |
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29 gilded | |
a.镀金的,富有的 | |
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30 stint | |
v.节省,限制,停止;n.舍不得化,节约,限制;连续不断的一段时间从事某件事 | |
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31 admiration | |
n.钦佩,赞美,羡慕 | |
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32 sumptuous | |
adj.豪华的,奢侈的,华丽的 | |
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33 worthy | |
adj.(of)值得的,配得上的;有价值的 | |
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34 chamber | |
n.房间,寝室;会议厅;议院;会所 | |
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35 monastery | |
n.修道院,僧院,寺院 | |
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