ILLUSTRATIONS
| ESCORIAL |
|---|
| SUBJECT | PLATE |
| [View of the Palace,] | [1] |
| [View of the Palace,] | [2] |
| [View of the Palace (east side),] | [3] |
| [North-west angle of the Palace,] | [4] |
| [Principal Façade and Angle of the Palace,] | [5] |
| [View of the Principal Staircase of the Palace,] | [6] |
| [Hall of Ambassadors,] | [7] |
| [Reception Hall,] | [8] |
| [View of the Dining Hall,] | [9] |
| [Pompeian Hall,] | [10] |
| [Library,] | [11] |
| [Chapter Room,] | [12] |
| [The Holy Family, by Raphael,] | [13] |
| [The Last Supper, by Titian,] | [14] |
| [A Smoker, by Teniers,] | [15] |
| [Country Dance, by Goya. Tapestry,] | [16] |
| [Children Picking Fruit, by Goya. Tapestry,] | [17] |
| [The Grape-sellers, by Goya. Tapestry,] | [18] |
| [The China Merchant, by Goya. Tapestry,] | [19] |
| [Diptych, in Ivory, of the 13th Century,] | [20] |
| SAN ILDEFONSO, LA GRANJA |
|---|
| [View of the Palace,] | [21] |
| [View of the Palace and the Cascade,] | [22] |
| [View of the Palace,] | [23] |
| [View of the Palace and Fountain of the Fama,] | [24] |
| [View of the Palace from the Fountain of the Fama,] | [25] |
| [View of the Palace,] | [26] |
| [The Palace in perspective,] | [27] |
| [Entrance to the Palace,] | [28] |
| [View of the Collegiate Church and the Palace,] | [29] |
| [Palace of Rio Frio,] | [30] |
| [Cascade,] | [31] |
| [Palace and Fountain of Fama,] | [32] |
| [Fountain of Fama,] | [33] |
| [Fountain of Fama,] | [34] |
| [Fountain of the Courser,] | [35] |
| [Fountain of the Three Graces,] | [36] |
| [Fountain of the Three Graces,] | [37] |
| [Fountain of Neptune,] | [38] |
| [Fountain of Neptune,] | [39] |
| [Part of the Fountain of Neptune,] | [40] |
| [Fountain of Neptune,] | [41] |
| [Fountain of the Baths of Diana,] | [42] |
| [Fountain of Dragons,] | [43] |
| [Fountain of Latona,] | [44] |
| [Fountain of Eslo, or of the Winds,] | [45] |
| [Fountain of Andromeda,] | [46] |
| [Fountain of the Canastillo,] | [47] |
| [Fountain of the Cup,] | [48] |
| [Fountain of the Cup,] | [49] |
| [Source of the Arno, underground river,] | [50] |
| [The River,] | [51] |
| [The Reservoir,] | [52] |
| [The Reservoir,] | [53] |
| [Cascade of the Reservoir,] | [54] |
| [The Lake,] | [55] |
| [Group of Vases in the Parterre of Andromeda,] | [56] |
| [Three Vases in the Parterre of Andromeda,] | [57] |
| [Vase in the Parterre de la Fama,] | [58] |
| [Vase in the Parterre de la Fama,] | [59] |
| [Vase in the Parterre de la Fama,] | [60] |
| [Vase of the Baths of Diana,] | [61] |
| [Vase in the Parterre of Andromeda,] | [62] |
| [Vase in the Parterre of Andromeda,] | [63] |
| [Vase in the Parterre of Andromeda,] | [64] |
| EL PARDO |
|---|
| [View of the Palace from the Grounds,] | [65] |
| [The Palace,] | [66] |
| [The Palace,] | [67] |
| [The Palace,] | [68] |
| [The Palace,] | [69] |
| [Hall of Ambassadors,] | [70] |
| [Hall of Ambassadors,] | [71] |
| [Dining Room,] | [72] |
| [Ante-Room,] | [73] |
| [Ante-Room,] | [74] |
| [Private Room,] | [75] |
| [Private Room,] | [76] |
| [Scene of the Royal Theatre,] | [77] |
| [Royal Box in the Theatre,] | [78] |
| [Casa del Principe,] | [79] |
| ARANJUEZ |
|---|
| [Principal Façade of the Palace,] | [80] |
| [Southern Façade of the Palace,] | [81] |
| [Royal Palace from the Parterre,] | [82] |
| [Royal Palace from the Gardens,] | [83] |
| [Royal Palace and Suspension Bridge over the Tajo,] | [84] |
| [The Grand Staircase,] | [85] |
| [Porcelain Room, Japanese style,] | [86] |
| [Detail of Porcelain Room, Japanese style,] | [87] |
| [Detail of Porcelain Room, Japanese style,] | [88] |
| [Detail of the Porcelain Room, Japanese style,] | [89] |
| [Detail of the Porcelain Room, Japanese style,] | [90] |
| [Casa del Labrador,] | [91] |
| [Convent of San Antonio,] | [92] |
| [Entrance to the Gardens of the Island,] | [93] |
| [Fountain in the Plaza de San Antonio,] | [94] |
| [Avenue of the Catholic Sovereigns in the Gardens of the Island,] | [95] |
| [Jupiter, bronze group in the Gardens of the Island,] | [96] |
| [Ceres, bronze group in the Gardens of the Island,] | [97] |
| [Juno, bronze group in the Gardens of the Island,] | [98] |
| [Pavilions of the River, in the Garden of the Prince,] | [99] |
| [Fountain of Apollo, in the Garden of the Prince,] | [100] |
| [Fountain of Ceres, in the Garden of the Prince,] | [101] |
| [Fountain of Narcissus, in the Garden of the Prince,] | [102] |
| [Fountain of the Swan, in the Garden of the Prince,] | [103] |
| [General View of the Tajo and the Parterre,] | [104] |
| [Fountain of Hercules, in the Gardens of the Island,] | [105] |
| [Fountain of Hercules, in the Gardens of the Island,] | [106] |
| [Fountain of Apollo, in the Gardens of the Island,] | [107] |
| MIRAMAR |
|---|
| [Side View of the Palace,] | [108] |
| [Reception Room,] | [109] |
| [Billiard Room,] | [110] |
| SEVILLE |
|---|
| [Façade of the Alcazar,] | [111] |
| [Alcazar, Gates of the Principal Entrance,] | [112] |
| [Interior of the Hall of Ambassadors,] | [113] |
| [Interior of the Hall of Ambassadors,] | [114] |
| [Interior of the Hall of Ambassadors,] | [115] |
| [Hall of Ambassadors,] | [116] |
| [Hall of Ambassadors,] | [117] |
| [Court of the Hundred Virgins,] | [118] |
| [Court of the Dolls,] | [119] |
| [Court of the Dolls, from the Room of the Prince,] | [120] |
| [Court of the Dolls,] | [121] |
| [Court of the Dolls,] | [122] |
| [Court of the Dolls,] | [123] |
| [Upper Part of the Court of the Dolls,] | [124] |
| [Dormitory of the Moorish Kings,] | [125] |
| [Sleeping Saloon of the Moorish Kings,] | [126] |
| [Entrance to the Dormitory of the Moorish Kings,] | [127] |
| [View of the Gallery from the second floor,] | [128] |
| [Hall in which King St. Ferdinand died,] | [129] |
| [Interior of the Hall of St. Ferdinand,] | [130] |
| [Interior of the Hall of St. Ferdinand,] | [131] |
| MADRID |
|---|
| [The Royal Palace,] | [132] |
| [The Royal Palace from the Plaza de Oriente,] | [133] |
| [The Royal Palace,] | [134] |
| [Principal Façade of the Palace,] | [135] |
| [The Royal Palace from the Plaza de Oriente,] | [136] |
| [The Royal Palace,] | [137] |
| [The Royal Palace,] | [138] |
| [Palace from the Plaza de la Armeria,] | [139] |
| [Grand Staircase of the Palace,] | [140] |
| [Principal Staircase of the Palace,] | [141] |
| [Grand Staircase of the Palace,] | [142] |
| [The Grand Staircase,] | [143] |
| [Hall of Columns,] | [144] |
| [General View of the Throne Room,] | [145] |
| [The Throne,] | [146] |
| [The Throne,] | [147] |
| [Detail of Throne Room,] | [148] |
| [Ceiling of the Throne Room, by Tiepolo,] | [149] |
| [Ceiling of the Throne Room, by Tiepolo,] | [150] |
| [Ceiling of the Throne Room, by Tiepolo,] | [151] |
| [The King’s Privy Council Chamber,] | [152] |
| [The Queen’s Room,] | [153] |
| [The Music Room,] | [154] |
| [The Room of Mirrors,] | [155] |
| [Reception Room,] | [156] |
| [Bronze Urn in the Reception Room,] | [157] |
| [Room of Charles III.,] | [158] |
| [Chinese Room, by Gasparini,] | [159] |
| [Chinese Room, by Gasparini,] | [160] |
| [Porcelain Room,] | [161] |
| [Corner in the Porcelain Room,] | [162] |
| [The Porcelain Room,] | [163] |
| [Porcelain Group in the Buen Retiro,] | [164] |
Royal Palaces of Spain
I
THE ESCORIAL
If men may be known by their works, the Escorial will help us to a better understanding of Philip of Spain—of his temperament and his purpose—than can be gained by the study of any other architectural monument for which he was responsible. Philip II. was guilty of craft and duplicity; he inflicted suffering and death upon hosts of his innocent vassals; he has been depicted as a monster of cruelty and bigoted intolerance. But as a monarch inspired with unfaltering belief in the divine right of his kingship, he could not be expected to be tolerant of the stubbornness of others; and as the instrument of God, appointed to enforce religious unity not only among his own subjects, but also upon the rest of Europe, he doubtless felt he was justified in employing any means to accomplish his mission.
The Emperor Charles V. had exhorted Philip to exterminate every trace of heresy from his dominions, and his son never forgot the injunction nor sought to escape the obligation that had been thrust upon him. Throughout his reign, which was inaugurated by an impressive auto-da-fé at Valladolid—in which twelve tortured creatures were sacrificed on the fiery altar of their sovereign’s religious zeal—and closed in an agony of devotion and unshaken faith, he pursued a course which he never doubted was right. A Spaniard of the Spaniards, convinced that Spain was the only centre of true religion, he allowed nothing to stand between him and the attainment of his high purpose. An intense and dangerous individualist, cursed with the religious exaltation of his house, his ecstatic asceticism enabled him to endure suffering and practise rigid mortifications with the same stoicism as that with which he afflicted others. In his zeal for God and Spain he was sincere; he never permitted failure, disaster, or catastrophe to daunt him. His most cherished schemes were frustrated; his beloved country was pauperised and desolated by his policy; he, who devoted all his energies and power to the crushing of Protestantism, lived to see the hated faith enthroned in England, Scotland, Holland, North Germany, and Scandinavia; yet he died after a lingering illness of indescribable physical suffering in the great monastery he had built to the honour of God, convinced to the end of his acceptability as Vicegerent of Jehovah, and conscious that he had exercised his trust to the brighter glory of his Maker.