THE HIGH ALTAR, ESCORIAL
THE ESCORIAL 261
seven years of labor. The pictures illustrative of the life of our Lord are by Tibaldi and Zuccaro. The gilt bronze tabernacle of Trezzo and Herrera, which has been likened with the doors of the Baptistery of Florence as worthy to figure in the architecture of heaven, no longer exists. It furnished a half hour's amusement to the soldiers of France. On either side of the high altar are the oratories of the royal family, and above them are the kneeling effigies of Charles, with his wife, daughter, and sisters, and Philip with his successive harem of wives. One of the few luxuries this fierce bigot allowed himself was that of a new widowhood every few years. There are forty other altars with pictures good and bad. The best are by the wonderful deaf-mute, Navarrete, of Logroño, and by Sánchez Coello, the favorite of Philip.
To the right of the high altar in the transept you will find, if your tastes, unlike Miss Rider-hood's, run in a bony direction, the most remarkable Reliquary in the world. With the exception perhaps of Cuvier, Philip could see more in a bone than any man who ever lived. In his long life of osseous enthusiasm he collected seven thousand four hundred and twenty-one genuine relics,--
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whole skeletons, odd shins, teeth, toe-nails, and skulls of martyrs,--sometimes by a miracle of special grace getting duplicate skeletons of the same saint. The prime jewels of this royal collection are the grilled bones of San Lorenzo himself, bearing dim traces of his sacred gridiron.
The sacristan will show you also the retable of the miraculous wafer, which bled when trampled on by Protestant heels at Gorcum in 1525. This has always been one of the chief treasures of the Spanish crown. The devil-haunted idiot Charles II. made a sort of idol of it, building it this superb altar, consecrated "in this miracle of earth to the miracle of heaven." When the atheist Frenchmen sacked the Escorial and stripped it of silver and gold, the pious monks thought most of hiding this wonderful wafer, and when the storm passed by, the booby Ferdinand VII. restored it with much burning of candles, swinging of censers, and chiming of bells. Worthless as it is, it has done one good work in the world. It inspired the altar-picture of Claudio Coello, the last best work of the last of the great school of Spanish painters. He finished it just before he died of shame and grief at seeing Giordano, the nimble Neapolitan, emptying his