The Hall of Battles is adorned with a number of fresco-paintings representing various combats. The battle of Higueruela, which was fought against the Moors 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, depicting 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 martial subjects are treated. They are: ‘A Review by Philip II.,’ the ‘Battle of Lisbon under the Duke of Alba,’ the ‘Capture of 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 quaint pictures.
The Apartments of the Queen are daintily decorated with tapestries, some by Spanish and others by Dutch designers, while the hangings are of amber silk. In the Oratory 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 imbued with the Italian ideal, and it is possible that he received his artistic 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 luminous warmth of colour, the lack of creative imagination, the disregard of beauty, the tendency to exaggeration, all the virtue 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 devoutly religious man, and his work shows a strong bias for mysticism and warm piety. He was an industrious 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 noted the tapestries in the Apartments of the Princess. The Carved Rooms demand inspection, for they contain examples of rare decoration in woods. The carvings and the inlaid work of these rooms cost a very large sum. Woods of the rarest and finest were employed for the adornment of the apartments, and gilt and gold were lavished upon the walls. The pictures painted on copper are by Montalbo, and the ceiling painting was intrusted to Maëlla. Blue upholstery decks the seats. There are four of these sumptuously decorated chambers. 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 remarkable 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 grandeur amid surroundings so savage and primitive. The Royal Monastery of the Escorial is indeed an unique structure, historically instructive, and of deep interest for the architect, the art student, and the philosopher. It 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 potent fascination.
VIII
APPENDIX I
THE FIRST CHRONICLER OF THE ESCORIAL
We have it on the authority of Padre Fray 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 majesty of Solomon’s Temple, and to astonish the whole world. When we consider that the edifice was erected and adorned with very little aid from machinery, we cannot but marvel 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 scorching heat in summer.