There is a story concerning this señora’s work in the Escorial. It appears that after a tiff with her husband, Luisa Roldan carved the figure of San Miguel, and represented her own seraphic countenance in that of the saint, while the scowling demon at his feet exhibits the features of the irascible husband. The pictures in the vestry are mostly copies of Titian and Tintoretto, but the ‘Martyrdom of San Pedro’ is said to be an original work of Caravaggio.
In the four Minor Cloisters are several pictures. One is an anonymous work, a landscape, and the others, of no great merit, are portraits of saints. The crucifix to be seen here was the work of an Indian convert to Christianity.
The spacious Refectory has dining tables of wood on stone pillars. Over the foundation stone is the Prior’s seat, and there are two pulpits in the hall. The kitchens, wine cellars, and other domestic offices are in this part of the monastery.
The Real Monasterio is the most characteristic portion of the huge pile of the Escorial, and its austerity and atmosphere of contemplation and piety testify to the religious and ascetic spirit of the royal recluse who founded it. This is no palace of mere delight and of luxury. It is a temple and a retreat, a sanctuary from the world of strife and unrest, and an asylum for the penitent and the devout. It is a monument of the Catholic faith, built with the devotion of artists and labourers inspired by a deep zeal for religion, erected without regard to the immense cost of its construction and furnishing, and dedicated in the name of the pious San Lorenzo to the worship of God and the Holy Virgin. Truly a strangely interesting memorial.
Here, in the odour of piety, surrounded by friars and monks, Philip II. lived the life of renunciation and of calm meditation. This tabernacle in the wilderness is a symbol of the mind of Spain in the days of her power, the manifestation of her profound faith, and a tribute to the seriousness and quietism which were the ideals of one of the most remarkable and complex of her rulers. We feel that the very stones of the building reveal the nature of Philip, the king who would be saint, the ambitious patriot who longed for power and vivid life, and yet realised that the placid existence in the cloister is more excellent than the fevered life of courts.
V
THE LIBRARY
The impress of the intellect of Philip II. is no less manifest in the great storehouse of books in the Escorial than in the Church and in the Monastery. It accords with the character of the founder that he should desire to possess a vast collection of the world’s choicest volumes of theology and philosophy, for, like Solomon, Philip esteemed wisdom as highly as the supremacy of rulership and the possession of great riches. His ambition as a student and an art collector was as keen as his craving for sovereignty and might. We have seen how he had applied himself in his youth to the study of literature and of languages, and the respect which he yielded to the sciences, arts, and letters.
The civilised world was searched; the libraries of all nations were overhauled to stock the Library of the Escorial with great books and precious manuscripts. Greece, Arabia, and Palestine contributed to the Bibliotheca of the kingly scholar, and the collection of volumes was at one time the finest in Europe. Philip himself took the greatest interest in the Library. He worked at the catalogue and annotated the list of volumes. The original collection was greatly augmented from time to time by the purchases made on the king’s behalf by agents, who travelled in various countries, by the seizure of volumes belonging to heretics, and by works presented by loyal and wealthy subjects. Castillo was one of Philip’s book-hunters; the catalogue of Arabic books and documents was prepared by the learned Father Sigüenza.
A suitable repository for the books was erected at the Escorial under the supervision of Philip. The vaulted ceiling was painted by Vicente Carducci, an Italian artist of great distinction, who may be ranked as the chief of the Italian designers employed to embellish the Escorial. Carducci’s mural paintings in the Library are perhaps the finest of all the fresco works in the building. He was assisted by Tibaldi of Bologna, an artist of meagre talent, who represented Philosophy, Grammar, Arithmetic, Astronomy, and other sciences and certain of the arts, upon his portion of the ceiling.
The Library is well lighted by windows. Even the shelves display the taste of the founder, for they are beautifully carved by Flecha. The tables are of marble and jasper, and the floor is paved with marble. Between the rows of shelves are some portraits of Spanish sovereigns, and among them is Carreño’s picture of Charles II. at the age of fourteen. Pantoja painted the Emperor Charles V. and the portraits of Philip II. and Philip III. The pictures represent the subjects in life-size.