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+Project Gutenberg (https://www.gutenberg.org) public repository for
+eBook #63126 (https://www.gutenberg.org/ebooks/63126)
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-The Project Gutenberg EBook of Royal Palaces of Spain, by Albert F. Calvert
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-
-Title: Royal Palaces of Spain
-
-Author: Albert F. Calvert
-
-Release Date: September 5, 2020 [EBook #63126]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK ROYAL PALACES OF SPAIN ***
-
-
-
-
-Produced by Chuck Greif and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images available at The Internet Archive)
-
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-
-
-                          THE SPANISH SERIES
-
-                        ROYAL PALACES OF SPAIN
-
-
-
-
-                          THE SPANISH SERIES
-
-                     _EDITED BY ALBERT F. CALVERT_
-
-
-                      GOYA
-                      TOLEDO
-                      MADRID
-                      SEVILLE
-                      MURILLO
-                      CORDOVA
-                      EL GRECO
-                      VELAZQUEZ
-                      CERVANTES
-                      THE PRADO
-                      THE ESCORIAL
-                      ROYAL PALACES OF SPAIN
-                      SPANISH ARMS AND ARMOUR
-                      GRANADA AND THE ALHAMBRA
-                      LEON, BURGOS, AND SALAMANCA
-                      VALLADOLID, OVIEDO, SEGOVIA, ZAMORA,
-                          AVILA, AND ZARAGOZA
-
-
-                      _In preparation_--
-
-                      GALICIA
-                      SCULPTURE IN SPAIN
-                      CITIES OF ANDALUCIA
-                      MURCIA AND VALENCIA
-                      TAPESTRIES OF THE ROYAL PALACE
-                      CATALONIA AND BALEARIC ISLANDS
-                      SANTANDER, VISCAYA, AND NAVARRE
-
-
-
-
-                             ROYAL PALACES
-                               OF SPAIN
-
-                      A HISTORICAL & DESCRIPTIVE
-                    ACCOUNT OF THE SEVEN PRINCIPAL
-                        PALACES OF THE SPANISH
-                    KINGS, WITH 164 ILLUSTRATIONS.
-                         BY ALBERT F. CALVERT
-
-
-                  LONDON: JOHN LANE, THE BODLEY HEAD
-                   NEW YORK: JOHN LANE COMPANY MCMIX
-
-
-
-
-        Edinburgh: T. and A. CONSTABLE, Printers to His Majesty
-
-
-
-
-PREFACE
-
-
-Since despotism has been replaced by constitutional rule the divinity
-that doth hedge a King has shed something of its significance, but the
-staunchest republican will admit that there is at least a certain
-picturesqueness about royalty; and the interest attaching to a crowned
-head naturally extends to the ancestral homes of majesty. Spain is
-unusually rich in ‘cloud-capped towers and gorgeous palaces,’ many of
-which have been the scenes of stirring and momentous events in her
-history. On the gloomy pile of the Escorial--worthier of an Egyptian
-Pharaoh--Philip II. stamped conspicuously and indelibly his own sombre
-personality; Aranjuez and La Granja reveal to us monarchy in its lighter
-aspect; the Alcazar reminds us of the days when Castilian royalty aped
-the pomp of the Saracen and became itself half-Oriental; the Royal
-Palace of Madrid epitomises the greatest crisis in the nation’s
-history, of the expulsion of its legitimate sovereign, and of the
-usurpation of the eldest Buonaparte. Napoleon himself ascended its grand
-staircase, and looking round at the splendid home of the Spanish
-Bourbons, he was able to say to his brother, ‘I hold at last this Spain
-so much desired!’
-
-These palaces of the haughtiest royal race in Europe are endowed with
-the rarest treasures of art and taste such as only a semi-despotic Power
-could accumulate in bygone days. It is the object of this little book to
-reveal these riches to the curious in such matters by means of
-illustrations, the accompanying text being only to be considered in the
-light of explanatory notes and chronological data.
-
-                                                               A. F. C.
-
-
-
-
-CONTENTS
-
-
-CHAP.                                          PAGE
-
-  I. THE ESCORIAL                                 1
-
- II. LA GRANJA (SAN ILDEFONSO)                   19
-
-III. EL PARDO                                    38
-
- IV. ARANJUEZ                                    49
-
-  V. MIRAMAR                                     64
-
- VI. EL ALCAZAR (SEVILLE)                        74
-
-VII. ROYAL PALACE (MADRID)                       91
-
-
-
-
-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.
-
-As the inheritor of divine rights, Philip could do no wrong, and as the
-greatest king of the greatest kingdom of the world, he always rose
-superior to personal or national calamity. His arms suffered
-overwhelming reverses in the Netherlands; he retaliated with massacre
-and extermination, and was deaf to entreaty. The defeat of his
-‘invincible’ Armada was the death-blow to his hopes of converting
-England to the true faith, but he heard the news of this crowning
-catastrophe of his life without suffering his ‘marble serenity’ to be
-ruffled. Into his dying ears was poured the story of the dire
-devastation of Cadiz by the English fleet, but he only gnawed his rude
-crucifix and resigned himself the more devoutly to the will of God.
-
-This was the man who in the leisure of thirty years of his life stamped
-his individuality upon the Royal Palace and Monastery of the Escorial,
-and fashioned this mighty pile to be a monument to his power and a
-revelation of his mind--a mind diseased with that virus of morbidity
-which turned from the contemplation of mercy, charity, and love to
-ponder on the awful and retributive side of religion. The man explains
-the edifice, and the edifice is the picture of the man. The granite
-towers, resting on deep massive foundations, rise boldly into the
-heavens--lofty, aspiring, severe, like the prayers his stern heart sent
-up to God. The spacious halls and lofty corridors, all leading finally
-to the church and the altar, have been likened to the avenues of his
-mind.
-
-In 1557, two years before Philip first showed himself to his people as
-champion of the purity of the faith, the meeting between the Spanish and
-the French arms at St. Quentin credited Spain with a decisive and sorely
-needed victory. The battle involved the destruction of a church
-dedicated to St. Lawrence, and Philip, who had spent the day invoking
-the aid of the martyred saint, bound himself by an oath to found a
-monastery to his name. He had also been bound under the will of Charles
-V. to provide a royal burial-place for the reception of his father’s
-remains, and Philip was probably actuated by a desire to fulfil both
-these obligations in building the monastery of the Escorial. In the
-‘Carta de Dotacion,’ which appears in Cabrera’s _Vida de Felipe II._,
-the king explains his reasons as follows:--
-
-     ‘In acknowledgment of the many and great blessings which it has
-     pleased God to heap on us, and continue to us daily, and, inasmuch
-     as He has been pleased to direct and guide our deeds and acts to
-     His holy service, and in maintenance and defence of His holy faith
-     and religion, and of justice and peace within our realms;
-     considering likewise what the emperor and king, my lord and father,
-     in a codicil which he lately made, committed to our care, and
-     charged us with, respecting his tomb, the spot and place where his
-     body and that of the empress and queen, my lady and mother, should
-     be placed; it being just and meet that their bodies should be most
-     duly honoured with a befitting burial-ground, and that for their
-     souls be said continually masses, prayers, anniversaries, and other
-     holy records, and because we have, besides, determined that
-     whenever it may please God to take us away to Him, our body should
-     rest in the same place and spot near theirs ... for all these
-     reasons we found and erect the Monastery of San Lorenzo el Real,
-     near the town of El Escorial, in the diocese and archbishopric of
-     Toledo, the which we dedicate in the name of the Blessed St.
-     Lawrence, on account of the special devotion which, as we have
-     said, we pray to this glorious saint, and in memory of the favour
-     and victories which on this day we received from God....
-
-Although located in a desolate waste of rugged mountains and treeless
-plains, amid surroundings which most men would shun, the site of the
-Escorial was selected as the result of much careful thought and personal
-investigation by ‘the holy founder,’ as Philip is called by the monks.
-His sentimental attachment to the spot is explained by its air of
-unrelieved melancholy, but he was also influenced in his choice by the
-fact that the district contained the abundance and quality of stone
-suitable for his purpose. Already he had conceived the form and
-dimensions of his hermitage and sanctuary, the austerity and magnitude
-of which were to be in harmony with its natural surroundings. Before the
-work of clearing the land was begun he had erected upon the newly
-acquired site a rude temporary lodging for his own accommodation. He
-entrusted his ideas for the construction of the building to Juan
-Bautista de Toledo, whose plans, ambitious and eccentric in the first
-place, were severely revised by Philip. On April 23, 1563, the first
-stone was laid, and from that time until September 13, 1584, when the
-pile was completed, the king, assailed by the fear that he might die
-before his scheme was brought to completion, devoted every moment he
-could seize from affairs of State to superintending the work, and
-urging architects, artists, and decorators to greater efforts in the
-accomplishment of their several tasks.
-
-In 1567 Toledo died and was succeeded by Juan de Herrera, who enlarged
-the convent and added a bell-tower to the building. In 1574 the
-temporary _Panteon_, or royal burying-place, situated under the high
-altar of the church, was completed, and to this vault the remains of
-Charles V. were transferred in 1574. The solemn service with which they
-were received was terminated by a terrific storm which broke over the
-monastery and made a wreck of the gorgeous dais that had been erected
-for the ceremony. During another storm which visited the district, when
-the construction of the edifice was almost finished, a lightning stroke
-set fire to the fabric, destroying the fine belfry and its costly peal
-of bells and doing much other damage. In 1582 an epidemic, which carried
-off the queen, attacked the king, and for a while his life was despaired
-of. But Philip survived to see the completion of his initial plans, and
-two years later he took formal possession of his royal home which had
-cost the then enormous sum of £660,000. Here for fourteen years he
-lived, half monarch and half monk, exercising alternately the powers of
-a tyrant and the self-sacrificing humiliations of a saint, and boasting
-that, from the foot of a mountain, he governed both the old and new
-world with two inches of paper.
-
-In the first stages of his fatal illness in 1598, Philip desired to be
-removed from Madrid to his beloved Escorial. The distance is only eight
-leagues, but the king was so weak that six days were consumed by the
-journey. It was his wish to inspect every part of the huge building
-before he died, and during the fifty days in which his tortured body
-held death at bay his last desire was gratified. He died on the same day
-of the same month on which the Escorial was completed. Proudest among
-monarchs and the most devout among monks, his gift to posterity is a
-convent having the proportions of a palace, and a palace revealing the
-austerity of a convent--a structure which is at once the first and
-largest Spanish edifice into which the Græco-Roman element was cast. But
-although Philip had gratified his ambition, had built monastery, church,
-and palace, and had established a court and a college in this Castilian
-highland, had laid out gardens and planted elms brought from England,
-the royal burying-place at his death was nothing more than a plain
-vault. Philip III., in accordance with his father’s wishes, commenced to
-enrich the chamber, and the present gorgeous sepulchre was finished in
-1654 by Philip IV. ‘No monarchs of the earth,’ it has been written,
-‘have a mausoleum comparable to this of the Escorial, which, to the
-glory of Spain, was conceived by Charles V., undertaken by Philip II.,
-carried on by Philip III., and completed by Philip IV.’ Thus it was more
-than a century after the death of the emperor that his remains were laid
-to rest in the sepulchre which he had commanded to be built for the
-princes of his house.
-
-To-day the Eighth Wonder of the World, the _Octava Maravilla_, which it
-is calculated cost from first to last some ten millions, is but a shadow
-of its past glory. It is no longer a royal residence, the number of its
-monks has become few, its revenues have been wrested from them, and the
-spirit of the palace-monastery has departed. A fire which broke out here
-in 1671 was not quenched for fifteen days, and the damage then sustained
-was repaired in 1676 by the queen-regent, Anne of Austria. Charles III.
-effected some further restorations, and his son proposed to make the
-place more habitable by the construction of a bull-ring. Later, this
-prince, when Charles IV. and fast approaching the close of his ignoble
-reign, discovered at the Escorial the plot of the Queen Maria Luisa,
-Prince Fernando, and Godoy to betray Spain to France, and the royal
-monastery became a royal prison.
-
-The French troops pillaged the monastery in 1807, and during the Carlist
-war its treasures were depleted by the removal of about a hundred of the
-choicest paintings to the greater security of Madrid. Other pictures
-were transferred from the Escorial to the capital after the death of
-Ferdinand VII., who had done what he could to repair the ravages of La
-Houssaye’s troopers. But the days of the Escorial’s importance as a
-centre of political or courtly life were already numbered, and by the
-summer of 1861, when the first train arrived at the Escorial station
-from Madrid, the palace had ceased to be a royal residence.
-
-It must be admitted that, at first sight, the Escorial produces a
-feeling of disappointment; the first impression of the clean granite,
-the blue slates, and the leaden roofs is not wholly pleasing. But as one
-approaches this ‘grandest and gloomiest failure of modern times,’ the
-size and simplicity of the ashy-coloured pile takes possession of the
-imagination, its sombreness and its austere magnificence stands out more
-and more clearly from its sombre and magnificent surroundings, and one
-begins to realise something of the spirit of the place and of the
-character of the man that called it into being. The edifice is a
-rectangular parallelogram, having a length of 744 feet from north to
-south, and a depth of 580 feet. It has been said that the architecture
-exhibits a series of solecisms which would have shocked the disciples of
-Vignola and Palladio, but Mr. Fergusson in his _History of the Modern
-Styles of Architecture_ declares that the whole design shows more of
-Gothic character than the masterpieces of Wren and Michael Angelo.
-
-One building, which turns its back on Madrid, faces the Sierra on its
-west or principal side and on the north side, while on the east and
-south the terraces overlook the hanging gardens and fish ponds. The
-building covers an area of 500,000 feet and is 3000 feet in
-circumference. It is not proposed to enter here into a detailed
-description of the huge structure or its contents. Indeed, a building
-which boasts 16 courtyards, 15 cloisters, 40 altars, 88 fountains, 86
-staircases, 1200 doors, 2673 windows, 3000 feet of painted fresco, and
-120 miles of corridor cannot be dealt with in the space at our
-disposal, and an enumeration of the literary and artistic treasures that
-are still left to it would occupy some hundreds of pages of print. But
-only a tithe remains of the myriad treasures which once adorned its
-walls and altars. Before the French invasion its pictures were
-priceless, for Philip II. drained Europe of paintings and painters for
-the adornment of his palace, and the church teemed with priceless
-articles--sacred vessels of gold, a multitude of shrines and
-reliquaries, and a tabernacle of such exquisite workmanship that it was
-declared to be worthy to be one of the ornaments of the celestial altar.
-
-The grand central portal in the western façade, which was formerly
-opened only to admit royalty either alive or dead, leads into the Court
-of the Kings, named from the statues of the Kings of Judah connected
-with the Temple of Jerusalem. The figures possess little artistic merit,
-but they share with the Court and everything connected with the Escorial
-the distinction of immensity. They are 17 feet high, and were each cut
-by Juan Bautista Monegro out of one block of granite. On the right of
-the Court is the Library, with its twenty thousand books and three
-thousand Arabic manuscripts, and on the right are the Halls of
-Philosophy, the Seminary and the Refectories. The Relicario, from which
-one descends to the _Panteon_, is at the extreme right-hand corner of
-the church. Philip II. was a relicomaniac, and here in five hundred and
-fifteen costly shrines he kept his innumerable precious relics. La
-Houssaye scattered the relics to strip the precious metals from the
-shrines that contained them. He also stole upwards of a hundred sacred
-vessels of gold and silver, the gold and jewelled _custodia_, and the
-life-size silver statue of St. Lawrence, which weighed four and a half
-hundredweight. A procession of fourteen carts was engaged to convey the
-treasure to Madrid. The Court of Evangelists and the Palace Court,
-facing the south, are on the right and left of the church, and beyond it
-is the palace.
-
-The secret of the grandeur of the Escorial Church is in the conception
-and proportion, but also from the point of view of architectural beauty
-it is the finest of the several buildings within the walls. The vaulted
-roof is ornamented with the frescoes of Luca Giordano, and the screen,
-which is 93 feet high by 43 wide, monopolised the energies of Giacomo
-Trezzo of Milan for seven years. The high altar and its superb _retablo_
-are flanked on either side by the oratories of marble for the royal
-family, above which are placed bronze-gilt effigies of Charles V. and
-his wife, Philip II. and his fourth wife and their children, inlaid with
-marbles and precious stones. Here, in his epitaph, is Philip of Spain’s
-challenge to future kings to surpass him in greatness and power. In the
-Library are his devotional books, and high up on a pinnacle above the
-chapel is a plate of gold, placed there to show that the building of the
-Escorial had not left ‘the holy founder’ penniless.
-
-Just beyond the precincts of the church, as one enters the palace, is
-the ‘Room of the Founder,’--the name given to the apartment occupied by
-Philip II. whenever he visited the monastery--a simple cell rather than
-a chamber befitting a king. It was in this room that he died on
-September 13, 1598. On the wall is a slab with the following
-inscription:--
-
-    ‘En este estrecho recinto
-     murió Felipe segundo,
-     cuando era pequeño el mundo
-     al hijo de Carlos quinto.’
-
-There still remain the bedroom he had built next to the royal oratory;
-the study, some of the chairs he used, and two chairs without arms on
-which he used to repose the leg in which he had gout. The ceiling is
-smooth and without ornaments; the walls are whitewashed, and the floor
-is of brick. From this bedroom the high altar can be seen through two
-doors that lead to the galleries.
-
-The palace contains a series of small rooms, the most remarkable of
-which are a set of four. The other apartments are covered with beautiful
-tapestry made from designs by Rubens, Teniers, and Goya, but the walls
-of these particular rooms are covered with the finest inlaid woodwork.
-The hinges, locks, and handles of the doors are in gilt-bronze and
-steel, and the ceilings are painted by Maella. The entire work is said
-to have cost £280,000.
-
-The Battle Room derives its name from the battle-scenes painted on the
-walls; these frescoes are by the celebrated Italian artists Granelio and
-Fabricio. This gallery is 198 feet long by 28 wide, and 25 high to the
-keystone of the vault. The principal fresco, which is very large,
-represents the battle of Higueruela and the victory obtained over the
-Arabs by John II. on the Vega at Granada. The other frescoes refer to
-the battle gained on the day of St. Lawrence, 1557, by Duke Filiberto,
-commander of the Spanish army; the capture of the French general, the
-Constable de Montmorency, and the siege and capture of San Quentin.
-There are also representations of two expeditions to the Azores in the
-time of Philip II. The vault contains a variety of figures and caprices
-all designed fantastically and ingeniously, with taste and consummate
-skill.
-
-Of the three hundred and thirty-eight rich tapestries in the palace, one
-hundred and fifty-two of them were manufactured in the old Royal Factory
-of Madrid; one hundred and sixty-three in Flanders, from designs for the
-most part by David Teniers; twenty in France and five in Italy. Nearly
-all represent country scenes, landscapes, Spanish customs, views of
-Madrid, and hunting scenes.
-
-The Casa del Principe was built in 1772 by order of Charles IV., when
-Prince of the Asturias. When the War of Independence broke out the
-treasures that adorned it were taken to Madrid and many of them
-disappeared. It was redecorated and embellished in 1824, and carefully
-restored some years later. It is entirely built of stone and is called
-‘Casita de Abajo,’ to distinguish it from another called ‘Casita de
-Arriba,’ built by the Infante Gabriel. The curiosities and works of art
-in this pleasant edifice are innumerable. Of the ceilings twenty are of
-great merit, painted by Duque, Gómez, Gerroni, Maella, Briles, Pérez,
-Japeti, and López. In the nineteen rooms, of which the two floors of the
-edifice consist, there are over two hundred oil-paintings and prints,
-the subjects for the most part religious, some of them of real merit.
-There is also a fine collection of ivory reliefs consisting of
-thirty-seven pictures, representing mythological and sacred and profane
-scenes, and a beautiful collection of two hundred and twenty-six pieces
-of porcelain made at the Buen Retiro factory. In the time of Ferdinand
-VII. the house was valued at thirty-seven million pesetas, and it is at
-present a veritable museum of curiosities.
-
-The Royal School of Alfonso XII., which occupies the north-east end of
-the edifice, is entered from the principal façade. Among its many and
-notable apartments is the spacious and magnificent _paraninfo_, the
-ceiling of which is formed by a painting of extraordinary size, which is
-believed to have been painted by the pupils of Jordán. Two smaller
-paintings represent symbolical figures of different sciences, and are
-signed by Llamas. Near the _paraninfo_ are the fine Physics and Natural
-History rooms, the _lucerna_ or light court, and the children’s
-dining-rooms, adorned with a collection of pictures representing
-incidents in the life of Alexander. These were painted for the palace of
-San Ildefonso by order of Philip V., and they are all signed by eminent
-Italian artists. Over the _paraninfo_ is another fine room, the centre
-of which is occupied by a beautiful statue of St. Augustine, carved in
-wood, conceived and executed by the lay-friar S. Cuñado to commemorate
-the fifteenth centenary of the conversion of St. Augustine.
-
-In 1878, by the direction of Alfonso XII., the studies at this Royal
-College were reorganised with great success. Later (in 1885) the
-teaching being entrusted to the Augustinians, its credit was so enhanced
-that now, owing to the unsurpassed position of the place, the
-installation of electric light, the perfection and abundance of teaching
-material, and still more the competence and zeal with which the learned
-corporation carries out its delicate task of the moral, physical, and
-scientific education of a large number of youths, the Royal College at
-the Escorial well fulfils the high aims of its royal restorer, and is
-one of the most important centres of instruction in Spain.
-
-
-
-
-II
-
-LA GRANJA
-
-(SAN ILDEFONSO)
-
-
-George Borrow loved Spain well, but he loved not the solitude in which
-Philip V. found respite from the cares of State and from the dominating
-personality of Elizabeth Farnese. ‘So great is the solitude of La
-Granja,’ he writes, ‘that wild boars from the neighbouring forests, and
-especially from the beautiful pine-covered mountain which rises like a
-cone directly behind the palace, frequently find their way into the
-streets and squares, and whet their tusks against the pillars of the
-porticos.’ But at the time this was written the country was overrun with
-Carlists. Candido lurked in the undergrowth, Garcia and his
-fellow-conspirators had driven Queen Cristina from the palace, and
-nine-tenths of the inhabitants of the town had fled. Even in the season
-La Granja may be described as solitary, but it is not desolate, to quote
-another word that Borrow employed to describe it. Situated at an
-altitude of nearly four thousand feet above the sea, it has been styled,
-with much truth, a ‘castle in the air.’ Surrounded as it is by lovely
-woods, which extend for leagues in every direction, by gardens, lakes,
-and streams, the Palace of San Ildefonso, in the month of flowers, is a
-paradise and a miracle combined. For the site, although not exactly hit
-upon at random, was selected with a royal inconsequence of the
-difficulty and expense involved in the labour of transforming a monkish
-farmhouse into a palace rivalling the glittering creations of
-Versailles.
-
-The Bourbon Philip V., like his Austrian predecessor Philip II.,
-conceived a craving for solitude, and while hunting at Valsain in 1720
-he observed La Granja (the Grange, or farmhouse) of the Segovian monks
-of El Parral, and coveted it for a place of retirement. Philip’s nature
-had undergone a great change since he entered Spain, a handsome,
-resolute soldier, in 1701. His first wife, Marie Louise of Savoy, had
-been at his side during the troublous, early days of his reign, and in
-1714, when Spain was at peace for the first time since he assumed the
-crown, his wife died. Under the stress of warlike excitement and the
-gentle, sustaining sympathy and influence of Marie Louise, Philip had
-proved himself a prince of high spirit, determination, and resource, but
-under the domination of the ambitious, intriguing, masterful Elizabeth
-he lost all initiative and sunk into a moody inaction, which
-subsequently developed into lethargic insanity. It has been said that,
-personally, Philip did little good for Spain, and it must be admitted
-that, when it was most incumbent on him to play the man, he weakly
-involved the country in prolonged wars at the bidding of his wife. If
-the national revenue increased enormously during his reign, the
-expenditure was more than proportionately increased in the construction
-of the three palaces he left to Spain and in the extravagant collection
-of works of art with which he furnished them. From Versailles he had
-brought the love of letters which prompted him to found the Royal
-Spanish Academy, the National Library, the Royal Academy of History, and
-the School of Nobles. His training at the Court of Louis XIV. was also
-evident in the change in the social customs of the country. The nobles
-adopted French fashions in costumes and cookery, they affected French
-furniture and French books. The king, who had thus stamped his personal
-tastes upon the Court, saw his opportunity of further gratifying his
-French sympathies by creating a ‘Spanish Versailles’ and a ‘Spanish
-Fontainebleau.’
-
-It was on the rocky eminence of La Granja, overlooking Segovia’s brown
-towers and the distant Roman aqueduct, that Philip V. gave orders for an
-estate to be laid out that should be reminiscent of his beloved
-Versailles. The fact that no suitable level existed on the sharp
-mountain slope for the erection of a palace mattered nothing. The level
-must be made. Tens of thousands of tons of rock were blasted away; tens
-of thousands of tons of soil were brought up from the sunny plain below;
-and on the astonishing ledge thus torn out of the sides of the mountain,
-the Royal Palace arose in a garden of the most beautiful flowers and
-adorned with the choicest fountains in all Spain.
-
-The building itself, which cannot compare with the Palace of Versailles,
-is a severe-looking structure of two stories, and is the antithesis of
-the proud, gloomy Escorial on which it turns its back. The façade facing
-the gardens is white and cheerful, but the multitude of windows gives it
-the air of a monster conservatory. The place, which is so essentially
-French, appears incongruous amid surroundings which are so
-characteristically Spanish; but the Castilian people find no fault with
-it on that account. It is, they say, a worthy château of the King of
-Spain. As he is the first and loftiest of all earthly sovereigns, so his
-abode soars nearest to Heaven. The argument is Spanish and unanswerable!
-
-The cost of building the palace and laying out the gardens, and of
-acquiring the pictures and sculptures to adorn the saloons, reached the
-enormous total of forty-five million pesetas, the precise sum in which
-Philip V. died indebted. In this luxurious retreat in the mountains of
-Segovia he surrendered himself to the morbid mysticism of that form of
-devotion which exaggerates the vanity of all earthly things. Sunk at
-length into a condition of religious melancholy, in January 1724, at La
-Granja, he swore to renounce his crown for ever and abdicate in favour
-of his son Louis. Seven months later the boy-king died at the age of
-seventeen, and Philip, reluctantly acceding to the urgent requests of
-his wife, who had already tired of the domestic retirement of La Granja,
-resumed the burden of sovereignty.
-
-Many strange historical events have taken place in the Palace of San
-Ildefonso since Philip V. declared before the Baño de Diana that it had
-cost him three million pesetas and had amused him for three minutes. It
-was here, in 1783, that the great king, Charles III., received the
-Count d’Artois when he started upon his fruitless mission to wrest
-Gibraltar from the English. Here, in 1796, Godoy, the notorious
-favourite of Charles IV. and the paramour of his wife--who in the
-previous year had earned the title of Prince of the Peace by negotiating
-the shameful surrender by which the war between Spain and France was
-concluded--signed the famous and fatal treaty by which Spain was dragged
-at the tail of France until such time as the French Emperor chose to
-annex it.
-
-In 1830, when Ferdinand VII. lay ill at La Granja, and his heir and
-brother, Don Carlos, was holding himself in readiness to assume the
-responsibility of sovereignty, Queen Cristina, anxious for her
-three-year-old daughter’s interest, induced the king to abolish the
-Salic law and declare his daughter Isabel to be his successor. Three
-years afterwards, Ferdinand died, and three years later the king’s
-abrogation of the constitution was revoked by a mob of common soldiers,
-led by Sergeant Garcia, who compelled the queen to renounce her royal
-rights and proclaim the Cadiz constitution of 1812. George Borrow, who
-was in Madrid at the time these events were taking place, had the story
-of the revolution of La Granja from eye-witnesses, and it is related
-here in his words. ‘Early one morning,’ he writes--‘it was the morning
-of 12th August 1836--a party of these soldiers, headed by a certain
-Sergeant Garcia, entered her apartment, and proposed that she should
-subscribe her hand to this constitution, and swear solemnly to abide by
-it. Cristina, however, who was a woman of considerable spirit, refused
-to comply with this proposal, and ordered them to withdraw. A scene of
-violence and tumult ensued, but the Regent still continuing firm, the
-soldiers at length led her down to one of the courts of the palace,
-where stood her well-known paramour, Muñoz, bound and blindfolded.
-“Swear to the constitution, you she-rogue,” shouted the swarthy
-sergeant. “Never!” said the spirited daughter of the Neapolitan
-Bourbons. “Then your _cortejo_ (lover)--he was in reality her
-husband--shall die!” replied the sergeant. “Ho! ho! my lads; get ready
-your arms and send four bullets through the fellow’s brain.” Muñoz was
-forthwith led to the wall and compelled to kneel down, the soldiers
-levelled their muskets, and another moment would have consigned the
-unfortunate wight to eternity, when Cristina, forgetting everything but
-the feelings of her woman’s heart, suddenly started forward with a
-shriek, exclaiming, “Hold! hold! I sign! I sign!”’
-
-Still more recently, it will be remembered, Alfonso XIII. carried his
-English bride from the wedding festivities of Madrid to spend their
-honeymoon amid the natural beauties of the scenery of Segovia. The Royal
-Palace consists of a large rectangular building, in the centre of which
-is preserved the ancient cloister of the friars’ _hospitium_, now called
-the Patio de la Fuente. The idea for the central façade of the palace
-originated with the Abbé Juvara, the Italian architect who was summoned
-to Spain to assist Philip V. in his palace-building operations, but it
-was his pupil, Sachetti, who prepared the finished designs. It was
-carried out in 1739 at a cost of 3,360,000 reals. The general façade of
-the edifice at the back, overlooking the Palace Square, recalls the
-Roman-Spanish style created at the Escorial by Herrera. One of the best
-views of the palace is from the back, where the building with its
-slate-covered towers at the sides, and the Collegiate Church in the
-centre, surmounted by its elevated cupola and the simple towers
-accompanying it, compose an agreeable picture. The principal entrance to
-the edifice is in this façade facing the Palace Square, and leads to
-the vestibule of the principal staircase. This is of simple
-construction, and is composed of two flights of stairs which meet at the
-top landing-place. The steps are of granite, as well as the pillars of
-the balustrade which support a small iron banister painted white and
-gold. The whole well of the staircase is surmounted by a semicircular
-vault finished by a lantern, in which are the windows. This staircase
-did not exist in the time of Charles IV., as may be ascertained by
-examining the plans of the palace made at that time, and its
-construction should be attributed to Ferdinand VII.
-
-The palace is a structure of two stories. On the ground floor are the
-‘Galeria baja de estatuas’ (lower gallery of statues), one of the rooms
-in which is the dining-room, the High Court of Halberdiers, the offices
-of the Lord High Steward, and other dependencies; while the upper floor
-consists of the ‘Galeria oficial’ (Official Gallery), used for
-receptions, audiences, and councils of ministers, and the private
-apartments of their Majesties and Royal Highnesses. The ‘Galeria de
-estatuas’ is open to any one provided with a permit supplied by the
-Administration Patrimonial when the Court is absent. The apartments are
-generally decorated in good style. Most of the furniture is in the
-Empire style, especially that in the Official Gallery; but there is also
-some in Louis XIV., Regency, and Louis XV. style.
-
-The collection of pictures, especially of the Flemish and Dutch schools,
-was very fine, for Queen Isabella Farnese acquired in Rome for this
-palace in 1735, through the Venetian painter G. B. Pittoni, and on the
-recommendation of the Abbé Juvara, a considerable number of very notable
-pictures of these schools. On the creation of the Royal Prado Museum in
-1829, the best were taken there by order of Ferdinand VII., and there
-are at present in its catalogue three hundred and fifty-one pictures
-which came from this palace, among them three by Correggio, two by Luca
-Giordano, four by Il Guido, one by Paul Veronese, six by Tintoretto, one
-by Claudio Coello, sixteen by Murillo, two by Ribera, four by Velazquez,
-four by Van Dyck, fourteen by Rubens, and twenty-four by Teniers.
-
-Among the pictures of the original collection which exist at the present
-time, there are none of great merit; but the large number painted by
-Michel Ange Houasse, of the French school, who was born in Paris in
-1675, and died in Spain in 1730, being the chief painter of Philip V.,
-are of no little merit. The marble statues that enrich the Lower
-Gallery, some of them Greek ones of great merit, like the Castor and
-Pollux group, form the greater part of the sculptures of the Madrid
-Museum. They were acquired in Rome through the celebrated Venetian
-sculptor Camillo Rusconi, and came from the collection made by Queen
-Christina of Sweden. Their cost, 12,000 doubloons, or 36,000 dollars,
-was defrayed by Philip V. and Isabella Farnese equally.
-
-The lower gallery of statues were painted _al fresco_ by Bartolomé
-Ruscha, and with them were placed, under the direction of Don Domingo
-Sanni, and by order of the royal founders, the statues of the collection
-formed by Queen Christina of Sweden and acquired by them in Rome. The
-sculptors Fremin and Thierri, who at the time were doing work for the
-gardens, restored many of them and added some others by themselves, but
-the majority of the best statues were removed in 1829 to the sculpture
-room in the Madrid Museum, where they are still preserved and constitute
-almost its only statuary wealth. At present there are in these rooms
-very few marble statues, and nearly all those forming their decoration
-are copies in plaster of the original ones, and they have therefore
-lost the great artistic value which the pure Greek sculpture in the
-collection of Queen Christina of Sweden conferred on them. Among them
-the most valuable pieces to be seen here are the group of Castor and
-Pollux; two colossal statues of Julius Cæsar and Augustus in alabaster,
-with heads, arms, and legs of gilded bronze; a fine urn which it is
-believed contained the ashes of Caius Caligula; the representations of
-Day and Night; a very handsome Apollo; a Daphne; a Venus coming out of
-the bath; a Faun leaning on the trunk of a tree; another Venus with her
-knee on a tortoise; many handsome busts of deities and Roman emperors;
-the nine Muses; two superb heads of Antinous and Alexander; the
-recumbent statue of Ariadne, a replica of the one in the Museum of the
-Vatican; a copy of the Venus de Medici; an excellent small statue
-representing Seneca; Leda with the swan; a head of Homer; a colossal
-head, in bronze, of Queen Christina of Sweden; and Ganymede attacked by
-the eagle. With this array of sculpture and antiquities, the Palace of
-Ildefonso may be said to be more like a museum than a home; and in
-truth, apart from the Royal Chapel which contains the tomb of Philip V.
-and his queen, Elizabeth Farnese, and boasts some superbly embroidered
-vestments and mantles of the Virgin, the visitor must seek the beauties
-of the palace in its church and in its gardens and fountains.
-
-In order to enhance the splendour of the worship that should be
-conducted in the Palace Chapel, Philip V. obtained from Pope Benedict
-XIII. a bull, _Dum Infatigabilem_, dated 20th December 1724, making it a
-collegiate church. Among other provisions in this bull it conceded that
-the new collegiate church should be the mother-church of all the
-churches and chapels of the town and its abbey; that it should have a
-chapter composed of an abbot, four officiating prebendaries, eight
-canons, six prebendaries, and four chaplain-acolytes; that the abbots
-should be a royal appointment with exclusive ecclesiastical jurisdiction
-throughout the district to be marked out by the Pope’s Nuncio, and at
-liberty to use the pontifical insignia and dress; that the abbot and
-canons should devote half the masses celebrated to the royal founders
-during their lifetime, and for their souls after their death, and that
-the canons should wear the choral dress of those of St. Peter’s in Rome.
-The same bull contained the king’s promise to endow the new collegiate
-church with the sum of 8625 gold ducats (276,000 reals of present
-Spanish money), to be distributed as follows: 5764 ducats for the fabric
-and its dependents, and the remainder, 2861, for the abbot and
-prebendaries.
-
-In the reign of Charles III. the collegiate church was renovated at the
-expense of the royal treasury and under the direction of Marshal
-Sabatini, the vaults were painted with frescoes by Bayeu and Maella, and
-the mouldings and reliefs were decorated by Vega. By the decree of
-Joseph Bonaparte, given in Madrid on May 30, 1810, the collegiate church
-was suppressed, and it was reduced to a simple private chapel of the
-Royal Palace, uniting its parish with that of the Cristo Church, and
-adding the territory of the abbey to the bishopric of Segovia. The
-church was only closed four years, and on June 24, 1814, Ferdinand VII.
-restored things to their original condition, this event being celebrated
-by four days of public rejoicing and fêtes.
-
-The church is in the shape of a Latin cross, the ends of the four arms
-being occupied by the high altar, choir, and two principal doors.
-
-The ‘platillos’ of the four vaults, surrounded by a moulding, were
-painted _al fresco_ by Maella, and all the paintings on the cupola are
-by Bayeu, brother-in-law of Goya. Some of the studies for these
-paintings were purchased by Queen Isabel II., and are now in the Madrid
-Museum.
-
-The gardens with which Philip V. surrounded his palace cover an area of
-three hundred and sixty acres, and are the finest in the kingdom, while
-even the admirers of Versailles admit that La Granja has the more
-amazing fountains. From the grand walk one looks out across a panorama
-of the rocks and forests of New Castile, or gazes down upon the
-beautiful extravagancies of these literally hand-made gardens. The
-formal design of the ground-plan, the regularity of its well-ordered box
-avenues and mazes, the artificiality of its numerous fountains, its
-marble vases and statuary, and the baths and summer-houses that rise out
-of the dwarf-like vegetation, are all in striking contrast with the wild
-grandeur of the distant scenery. Yet, artificial as the aspect
-undoubtedly is, the gardens are a sheer delight, for beyond the
-flower-beds are masses of yellow broom and springing ferns, and the
-grass is a blaze of wild hyacinths, forget-me-nots, cowslips, and
-periwinkle. Higher up the mountain, to where the sky-line shows, 3000
-feet above the palace, are woods of chestnut trees, oaks, elms, and
-innumerable pines, in which myriad butterflies of every hue disport
-themselves, and scores of streams trickle down to feed the royal
-fountains in the gardens below. The statues representing Lucretia,
-Bacchus, Apollo, Daphne, America, Ceres, and Milo, and many others, are
-of no great artistic value; while the fountains, to the number of
-twenty-six, are unique. The Fama, which throws up its waters to a height
-of 130 feet, is the most renowned; and from another fountain, compact of
-sculptured flowers and fruits, forty spouts send out their two-score
-jets 80 feet high. The Cenador is a single vast cascade of gleaming
-water from the mountain snows. Then there are the Ranas (Frogs), Ocho
-Calles, Canastillo, Tres Gracias, and the Neptuno, at which, says M.
-Bourgoin, the Egotist read Virgil and quoted ‘quos ego.’ Last of all,
-there is the wonderful Baño de Diana, to which reference has already
-been made.
-
-Here, where Art is truly French, and Nature is truly Spanish, where even
-Nature conceives in bleak discomfort for eight months in each year to
-bring forth four months of flowers and faërie, the King of Spain and his
-English bride retired to surroundings amid which a honeymoon will not
-be forgotten. Madrid has its magnificent royal palaces; El Pardo boasts
-its wondrous tapestries; Aranjuez its gardens, and Rio Frio its
-orchards; El Escorial is the eighth wonder of the world, and Miramar
-looks over the yellowest of golden sands into the bluest of blue waters;
-but La Granja, in the Guadarrama Mountains, is that place apart where
-lovers may find a bower
-
-    ‘Of coolest foliage, musical with birds’;
-
-and here one may listen to
-
-    ‘The murmurs of low fountains that gush forth
-     I’ the midst of roses!’
-
-The auxiliary residence to the palace of San Ildefonso, located some
-fourteen miles from it beyond the city of Segovia, is the royal house of
-Rio Frio, situated in a picturesque park which is full of game of every
-description. The small elegant building which stands in the centre of
-the park was begun by Isabel, the widow of Philip V., and was completed
-internally by Alfonso XII. It is a two-storied square building, the four
-sides of which are all exactly alike, and a large square court, paved
-with granite flags, occupies the centre of the building. A large portico
-of Tuscan pilasters surrounds the court and supports a covered gallery
-on the level of the first floor. From this court a noble staircase,
-consisting of two independent flights, which start from the vestibule in
-opposite directions, each subdividing into two other parallel ones, on
-the level of the first landing. The two independent flights end at the
-first floor at the opposite ends of the room which is used as a
-guardroom for the halberdiers. The steps are of granite, and the
-balustrades, which are supported by figures of children in various
-attitudes, are of a pretty yellow limestone. The sculpturing is also in
-stone, but it was unfortunately painted white, thus depriving it of its
-artistic merit, and giving the appearance of plaster. The whole of this
-work is from the chisel of Bartolomé Seximini. The entire weight of the
-staircase rests on four large Tuscan columns (monoliths), constructed of
-granite, and eight semi-columns of the same kind.
-
-The apartments on the first floor, which with the exception of the
-sacristy and chapel on the ground floor are the only rooms that call for
-description, are decorated and furnished with a simplicity that would
-seem to betoken actual poverty. This is accounted for by the fact that
-the royal family very seldom resides in this palace; and at such times
-whatever is required is conveyed there from the palace of San Ildefonso.
-On the other hand, the collection of pictures is superior in number and
-merit to that of San Ildefonso, for among its six hundred and
-fifty-eight pictures there are many originals of the great masters of
-the different schools. There is one each of Van Dyck, Titian, Albert
-Dürer, and Goya; two by Zurbaran, Navarrete, Guido de Reni, Pantoja de
-la Cruz, and Correggio; eight by Jordán, three by Teniers, four by
-Domenichino, and six by Poussin.
-
-
-
-
-III
-
-EL PARDO
-
-
-At the royal residence of El Pardo Maria Cristina was lodged on the eve
-of her marriage with Alfonso XII. in 1879. Seven years later in the same
-palace she wept beside the deathbed of her husband, the father of the
-unborn king, Alfonso XIII. For a score of years El Pardo was avoided by
-the queen-mother, until, in 1906, Don Alfonso brought to the suburban
-palace the English princess who, on the 31st of May of that year, went
-in state to the church of San Jeronimo to be married to the King of
-Spain.
-
-From the earliest days of Madrid’s claim to royal favour, over a hundred
-years before Charles V. transferred the Court from Valladolid to the
-present capital, the Kings of Spain have had a residence at El Pardo.
-Henry III., _El Doliente_, when making some additions to the old town of
-Madrid about 1461, built a pleasure-house on this site. The attraction
-of the district was undoubtedly the abundance of boar and bear which
-found ample cover in the forests which surrounded the capital.
-Generations of improvident inhabitants have destroyed these woods, but
-the preserves within the stone wall which surrounds the royal residence
-are well timbered, and the plantations are full of deer and boar and all
-kinds of small game. Charles V. transformed the building into a winter
-palace and left the task of completing it to Philip II., who, one
-imagines, spared but scant leisure from his colossal building operations
-at the Escorial to superintend the furnishing of a mere shooting-box. At
-the beginning of the seventeenth century the original structure was
-destroyed by fire and the present château was built by Philip III.
-Charles III. altered and added to the palace in which he found refuge
-after the famous riots against Squillaci, and here in the reign of
-Charles IV. were hatched the plot and counterplot of Ferdinand and Godoy
-which culminated in the revolution of Aranjuez, the fall of the
-much-abused favourite, and the deposition of Charles and his crafty
-sons.
-
-Philip II. by the prosecution of his religious policy, which was
-fruitful of ruinous wars, had beggared Spain in money and credit. Philip
-III. succeeded in 1621 to the crown of a country that the Cortes
-officially described as ‘completely desolated.’ Agriculture and every
-form of manufacture was fallen into decay, the land was left desert for
-want of cultivators, the looms were idle, and the wealth of the
-Spanish-American possessions was swallowed up by the crowd of avaricious
-and unscrupulous office-holders and their underlings. But if Philip II.
-had reduced the nation to these straits by his bigoted zeal and arrogant
-vainglory, his son aggravated the conditions by his reckless
-extravagance and riotous splendour. When the country’s resources had
-been taxed to an extent that made further taxation an impossibility, the
-king, through the agency of his all-powerful favourite, the luxurious
-Duke of Lerma, raised funds to gratify his prodigal expenditure by the
-sale of knighthoods and patents of nobility. When that source failed
-him, he attempted to wrest from the church its silver plate and
-ornaments, and being terrified out of this resolve by the threats of the
-bishops, he made a personal appeal to the people. The king’s officers
-went from door to door begging in the name of the sovereign for the
-money required for carrying on the business of the Government.
-
-But Philip III. still claimed to be the richest potentate in
-Christendom; his subjects still believed themselves the richest people
-in the world. The king could afford to expel 500,000 of his Moslem
-subjects to Barbary, after robbing them of all they possessed; he could
-afford to plunge his country into a foolish war to gratify Spanish
-pride; and he could still afford to indulge his wildest and most
-extravagant personal whims, of which the rebuilding of El Pardo was one
-of the least expensive.
-
-The palace, located in contiguity to the village, which consists of
-about two hundred houses whose inhabitants are employed on the Royal
-Patrimony, has a length of 432 feet and a depth of 192 feet. A tower
-commands each corner, and the entire building is surrounded by a moat,
-30 feet wide, which once served the double purpose of irrigation and
-defence. The principal entrance to the estate is through the ancient and
-beautiful Puerta de Hierro (Iron Doorway), built about the year 1753 by
-Ferdinand VI. and distant about five miles from the town of El Pardo.
-From the doorway a wall of stout masonry, six feet high, runs right and
-left round the demesne for a distance of sixty-two miles. The property
-is intersected from north to south by the River Manzanares. The stream
-enters on the Sierra side beneath a high stone bridge, the piers of
-which rest on the tall rocks that enclose the narrow pass of Marmota.
-From this bridge may be obtained a magnificent view of the country
-bounded and framed by the distant snow-clad Guadarrama Mountains. The
-rugged and broken ground is prolific in evergreen oaks, cork trees, and
-extensive areas of the cistus shrub. For purposes of defence the estate
-is divided into twenty departments, and the fifty warders who guard the
-royal residence are accommodated in twenty-six spacious and well-built
-houses.
-
-The impression conveyed by the sombre, granite-built palace is
-distinctly imposing. Several stone staircases lead to the royal
-apartments, consisting of sixty commodious rooms, nearly all of which
-are covered with rich and brilliantly coloured tapestries, manufactured
-at Madrid from designs of Goya, Bayeu, Castillo, and Teniers. The
-subjects portrayed are landscapes, hunting and country scenes, and
-passages in the history of _Don Quixote_. The stucco of the ceilings of
-most of the saloons is the exquisite work of Roberto Michel, while the
-many fresco paintings were executed by Patricio Carcéo, Carducho,
-Bayeu, Maella, Galvez, Ribera, and Zacarias Velazquez. The fine
-collection of pictures that once adorned the walls was destroyed by the
-fire of 1604, and of the forty-seven portraits by such famous masters as
-Titian, A. Moro, and Coello, only a few remain. The magnificent glass
-chandeliers are a feature of the royal apartments, and in the Retablo of
-the Oratory there is a copy of Christ bearing the Cross, by Ribalta, the
-original of which is in Magdalen Chapel, Oxford. The Court officials are
-lodged in a commodious building having a complement of a hundred rooms.
-
-To the north of the town is the Prince’s Cottage, another creation of
-that villa-building monarch, Charles IV. It is a delightful example of
-the three noble arts that vie with one another to give beauty to the
-villa--the old silks that cover the walls, the carvings that adorn them,
-and the magnificent chandeliers and rich, varied furniture, which make a
-valuable museum of this so-styled cottage. There are also other two
-palaces called _La Zarzuela_ and the _Quinta_. Both are surrounded by
-fine gardens, and contain sumptuous oratories where Mass is celebrated
-on special occasions. These two buildings are surviving portions of the
-old edifice. In _La Zarzuela_ Don Fernando, the brother of Philip IV.,
-was wont to organise those little vaudeville entertainments which were
-christened _Zarzuelas_. It is no longer used for that purpose, the
-theatrical performances at El Pardo now taking place in the small but
-elegant theatre in the palace which Alfonso XIII. had restored when the
-residence was prepared for the accommodation of Princess Victoria Ena.
-
-To the Royal Patrimony also belongs the parish church and the Capuchin
-convent of Santo Cristo, situated on the left bank of the river, and
-hither, on St. Eugene’s day, the people of Madrid journey in crowds. On
-other feast days, also, the beautifully wooded slopes and shady avenues
-of El Pardo attract thousands of visitors from the city. It would be
-difficult to find anywhere in Europe, at the very doors of the capital,
-such beautiful rustic scenery as that enclosed in this royal estate.
-
-We have said that Charles III. retired to El Pardo after the Squillaci
-riots, and it is curious to reflect that this best of Spanish kings was
-sadly out of touch with the character of his own people. He was a man of
-extraordinary ability, sound experience, and commanding personality. He
-had the will and the power to carry the government of the State on his
-own broad shoulders, and to manage the domestic affairs of his subjects
-into the bargain. He realised the crying need for domestic reforms in
-his capital, but the Madrileños failed to recognise the necessity, and
-resented his interference. The king found the city ugly, filthy, and
-insanitary, and he decreed that it should be made clean and kept so. He
-was the apostle of order and decency, and not understanding the pride of
-the Spaniards, he could not comprehend that they were affronted by this
-imperious resolve to bring them into line with more advanced European
-nations. Moreover, the decree was published by Squillaci, the king’s
-Italian minister. Squillaci was a marked man from that day, and the
-clergy who had been made to recognise that the King would tolerate no
-clerical interference with his policy, fanned the spirit of revolt which
-manifested itself among the people. In 1766 Charles, having commenced
-his crusade by cleansing the city, now turned his attention to the
-national costume. As a dress-reformer he objected to the long cloaks and
-wide-brimmed hats affected by the citizens, and in March 1766 he issued
-another decree forbidding their use. Immediately Madrid was in revolt.
-The king’s Walloon guards were massacred, the detested Italian,
-Squillaci, sought safety in flight, and for two days the city was in the
-hands of the murdering, destroying mob. On the third day the king
-abolished the Walloon guards and promised to rule without foreign
-ministers. The revolution was at an end, and Charles retreated to El
-Pardo to reflect upon the situation. The king was convinced that the
-priests, and particularly the clever, intriguing members of the Society
-of Jesus, were at the bottom of all the agitation against his policy of
-reform, and the result of his reflections was made known in the
-following year when he decreed that every Jesuit should be forthwith
-expelled from his dominions. The people could not believe their ears,
-but Charles was firm as a rock. He cleared Spain of the power which was
-behind the priesthood, and twelve months later he wrung from Rome the
-papal decree by which the Society of Jesus was temporarily suppressed.
-Charles III. was engrossed in business more serious than hunting when he
-retired from the riot of the capital to take counsel with himself in the
-woods of El Pardo.
-
-Still nearer to the city of Madrid, from which it is only divided by the
-River Manzanares, is the royal shooting-box, called _Casa de Campo_,
-the grounds of which, abounding in beautiful scenery and stocked with
-well-preserved game, are twelve miles in circumference. A network of
-channels irrigate the estate, many fountains adorn the gardens, and the
-great pond is full of carp and other fish. The residence was
-built in the middle of the sixteenth century by Philip II., who
-characteristically gave orders that the house was to be surrounded by a
-forest. To this end a royal decree was issued on January 17, 1562,
-authorising the acquisition of some adjoining lands, and this tract was
-augmented by the king’s private purchase of the ancient and noble estate
-of the heirs of Fadrique de Vargas. Philip, in a fine moment, declined
-to have their coats-of-arms removed, saying that in a king’s palace the
-blazonry of the families that had rendered signal service to the State
-were well placed. In 1582, by order of the same monarch, additional land
-was purchased; and though his successors have made little alterations in
-the original demesne, Ferdinand VI., when Prince of the Asturias,
-increased it by the purchase of a tract of country valued at 1,250,211
-reals, and still later a smaller area was purchased by the order of
-Charles III. The documents relating to the acquisition of these
-properties have been carefully preserved, and are now in the archives of
-the royal house. The wall around the estate was commenced in 1736 and
-finished twenty-two years later; it is twelve feet high and about two
-feet thick, and is composed entirely of brick and solid masonry.
-
-
-
-
-IV
-
-ARANJUEZ
-
-
-The Palace of Aranjuez became a patrimony of the Crown of Spain by
-virtue partly of the wise and able economic reforms instituted by
-Ferdinand the Catholic, and partly as a result of his characteristic
-greed. The husband of Isabel of Castile safeguarded his country by
-stripping the nobles of many of their privileges and powers, and
-readjusting their sources of income. He prohibited them from erecting
-new castles and coining money, and as the masterships of the vast
-estates of the military orders fell vacant, he retained the masterships
-and the estates in the royal family and paid the knights by fixed
-pensions. Aranjuez sprang into existence in the fourteenth century as
-the summer residence of Lorenzo Suarez de Figueroa, the master of the
-illustrious and wealthy Order of Santiago, who planted the land with
-trees and vines and olives, and erected a building that answered the
-double purpose of castle and convent. When Ferdinand incorporated the
-mastership of the Order of Santiago with the Crown, Aranjuez became the
-summer palace of the Catholic king and his consort. In 1536 Charles V.
-made it a shooting villa, and Philip II. introduced English elms into
-the grounds, and employed Herrera, of Escorial fame, to construct
-additional buildings to better accommodate his growing family. The
-palace was partially destroyed by fire in 1650, and five years later a
-second fire reduced it to a ruin. In this condition it remained until
-1727, when Philip V., who had tasted the pleasures of palace-building at
-La Granja, rebuilt the present edifice, which was successively improved
-by Charles III. and Ferdinand VII.
-
-Philip V. was better advised when he decided to erect a palace on the
-site of the master of the Order of Santiago’s summer residence than when
-he wrested a foothold for La Granja from the side of the mountains of
-Segovia. The royal home at Aranjuez is charmingly situated in the midst
-of avenues of stately elms and sycamores at the confluence of the Tagus
-and Jarama--a verdurous oasis in the midst of treeless, waterless
-Castile. He constructed the palace and the public chapel from stone
-taken from a quarry in the district of Colmenar, which he bought for
-the purpose. The timber he procured from the mountains of Cuenca, and
-the lead for the roofing from some mines that existed near Consuegra.
-Philip III. enriched the gardens with many of the fine bronzes and
-marbles that are to be seen there, and some of the splendid fountains
-were also added by his orders; but the Parterre department which Philip
-II. laid out was completed by the art-loving Philip IV., who furnished
-the busts of the Roman emperors, the statues, and the beautiful
-medallions. In 1748 the palace was again on fire, and the principal
-façade was restored by Ferdinand VI. in its present more elegant form.
-
-That weak and fatuous monarch Charles IV., who added the Casas del
-Principe to the Escorial, and El Pardo, and the auxiliary Casa del
-Labrador to the palace of Aranjuez, had a particular affection for the
-‘Spanish Fontainebleau.’ Here the king and queen and their favourite,
-Godoy, passed much of their time in the anxious days that preceded the
-fall of the monarchy; and here, in March 1808, the determination was
-arrived at by which the detested Prince of the Peace was torn from
-office and power, literally by the hands of the incensed mob. What a
-curious spectacle of a family group they present to our eyes! Charles
-IV. and Maria Luisa, Ferdinand and Godoy, with mutual hatred in their
-hearts and the sound of the tumult of Madrid ringing in their ears.
-King, prince, and minister each believed the advancing French to be his
-friends; each felt confident that Spain was being trampled under foot by
-foreign soldiers to advance their several conflicting interests. But
-suddenly from the rapidly approaching host came messengers with an
-ultimatum from Napoleon, containing impossible conditions that would
-have dismembered Spain and deprived her of her independence. It was
-evident now that Napoleon was coming not as a saviour but as a
-conqueror, and now it was too late to resist him by force of arms. In
-the palace of Aranjuez it was resolved that the Court should retire to
-Seville, and from there, if the worst happened, sail for America.
-
-Although this secret resolution was carefully guarded, a rumour of the
-projected flight got about, and the mob vented their anger upon Godoy,
-whom they believed was prepared to sell the country to the Corsican. In
-vain Charles addressed proclamations to ‘my dear vassals,’ and assured
-them that his dear ally, the Emperor of the French, was only making use
-of Spanish soil to reach points threatened by the English enemy; in vain
-he denied the story of his intended flight. The greater part of the
-garrison in Madrid was ordered to Aranjuez, but with the soldiers went
-an army of country people who surrounded the king’s palace and the
-palace of the favourite, and closely guarded every avenue of escape. At
-midnight of the 17th March a bugle-call rang out, a shot responded to
-the summons, and in a moment the revolution was in full swing. Around
-the royal residence, in which Charles was lying ill with gout, the mob
-contented itself by howling threats and imprecations, but Godoy’s palace
-was carried by assault. The work of destruction was stayed for a few
-moments while the Princess of the Peace, a member of the royal family,
-and her daughter were respectfully conveyed to the royal palace. Then
-the ruffians got to work in terrible earnest. With murderous
-thoroughness they searched every room and corridor for the despised
-author of the national trouble, wrecking everything in their path. But
-Godoy had slipped from his bed, and found a refuge under a roll of
-matting in a neighbouring lumber-room. For thirty-six hours he remained
-in hiding until hunger and thirst drove him from his retreat, and he
-was led from his ruined house to the barrack guardroom through a
-populace that thirsted for his life. The wretched fugitive, ill with
-fear and fatigue, was placed between two mounted guards, and the journey
-was made at a sharp trot, but he could not out-distance the vengeance of
-the crowd, and his guards could not protect him. Fierce blows were
-rained upon him by the infuriated multitude, and the man who had been
-master of Spain, bleeding from a score of wounds and gasping for breath,
-was only rescued from instant death by a miracle.
-
-The mob still overran the streets of Aranjuez, and swarmed around the
-royal palace in which Charles IV. signed the decree handing the crown of
-Spain to Ferdinand. A few days later he withdrew his abdication
-privately at the instigation of General Monthion, Murat’s chief of the
-staff, and shortly afterwards left Aranjuez for the Escorial, from
-whence, on the 25th April following, he set out for Bayonne, to lay the
-crown at the feet of the Emperor of the French. The king died at Rome in
-1819; Ferdinand, having spent six years at Valençay, where he was
-virtually a prisoner of the French, was restored to the throne of Spain.
-During the nineteen years of his reign Ferdinand VII. and the coarse,
-ignorant vulgarians who composed the camarilla by which he surrounded
-himself, spent much of their time at Aranjuez. Here the vast conspiracy
-was hatched against the Constitution, which led to the battle between
-the militia and the citizens in 1822; and here the worthless monarch
-intrigued until his death to re-establish absolutism, and restore the
-old rotten order of things which the nation had shed its best blood to
-wipe out.
-
-The nearness of Aranjuez to Madrid and the beauty of its situation has
-always made it a favourite residence of the Spanish royal family. The
-town itself, which has a population of some ten thousand inhabitants, is
-composed of wide streets and large squares, and many noble families
-possess villas in the neighbourhood. The interior of the palace, which
-reveals an incongruous jumble of modern innovations adapted to the
-architecture and decoration of bygone generations, is filled with a
-large assortment of works of art, some possessing a very high order of
-merit, and others very little. The celebrated staircase which faces the
-principal entrance is magnificent. It leads to the _Saleta_, a room
-embellished with a granite chimney-piece and chandeliers of rock
-crystal and bronze, and containing several paintings by the famous
-Italian artist Luca Giordano, who is known in Spain by the name of Juan
-Jordán. Other pictures by Giordano, painted on white silk damask, are to
-be seen in an adjoining apartment. In the Oratory is a superb altar,
-with an agate inlaid table, and Titian’s ‘Annunciation of the Virgin.’
-Next to the Oratory is the Hall of Ambassadors, a modern apartment, with
-a ceiling painted in 1850 by Vicente and Maximino Camarón. The walls of
-the queen’s study in the same suite are covered with white damask, and
-the room is furnished with twelve chairs and a carved mahogany table of
-the time of Charles IV.
-
-The ball-room and the dining-room, even the Moorish room, in which
-Rafael Contreras has revived the beauties of the Alhambra, are surpassed
-by the music-room, which is the finest saloon in the palace. Here all
-the decorations are Chinese in character, worked out and enamelled with
-great skill; and the chandelier, which is in one piece, is an exquisite
-specimen of workmanship. The walls of this room are entirely covered
-with large porcelain plaques, representing in high relief groups of
-beautifully modelled Oriental figures. The looking-glasses, made at La
-Granja, with their frames composed of fruits and flowers, enhance the
-effect. Joseph Gricci, who modelled and painted the music-saloon, was
-one of the artists brought over from Naples by Charles III. in 1759,
-when he established in Madrid the factory of Buen Retiro. In addition to
-this superb porcelain, the palace boasts a bedstead of splendidly carved
-lignum-vitae, and some pictures by Bosch (Jerome van Aeken), a painter
-of the sixteenth century, who is almost unknown outside Spain. These
-canvases represent fantastic subjects and allegories in the style of
-Breughel, and were highly praised by the critics of his time.
-
-The Convent of San Pascual was founded by Charles III., and the theatre
-in the town owed its inception to the same monarch. The convent church
-contains only a few valuable pictures, but it is rich in marble and
-beautifully carved wood. The convent library possesses many ancient
-manuscripts, and the convent grounds are famous for their beauty, but
-the gardens of the royal palace are the crowning glory of Aranjuez.
-
-That most entertaining author and indefatigable dispenser of Testaments,
-George Borrow, travelled in Spain at a time when royalty was battling
-for its very existence. He found the country dangerous and desolated,
-and the country homes of its kings fallen into a state of neglect. When
-he was in La Granja, the palace of San Ildefonso was shut up, and the
-town which surrounds the patrimony of the Crown of Spain was practically
-deserted. He had no better luck in Aranjuez. He admits the beauty of the
-district, but he describes the place as in a state of desolation; he
-recalls the fact that Ferdinand VII. spent his latter days in its palace
-surrounded by lovely señoras and Andalusian bull-fighters, and
-quotes--perhaps with more sentiment than sympathy--the words of
-Schiller:
-
-    ‘The happy days in fair Aranjuez
-     Are past and gone.’
-
-‘Intriguing courtiers no longer crowd its halls,’ he reflects; ‘its
-spacious circus, where Manchegan bulls once roared in rage and agony, is
-now closed, and the light tinkling of guitars is no longer heard amidst
-its groves and gardens.’ One feels as one reads these passages that
-Borrow was not at his best as a moralist. One prefers him when he is
-describing in his lively, absorbing manner his personal experiences, and
-is glad to learn that he disposed of eighty Testaments in desolate
-Aranjuez, and that he ‘might have sold many more of these Divine books’
-if he had remained there a longer period.
-
-But we are sorry that Borrow did not see the Palace Gardens in April or
-May, when the view from the Parterre is one of almost unsurpassed
-loveliness. The Reina, Isla, and Principe Gardens are furnished with a
-multitude of bridges, grottoes, fountains, and cascades, bordered and
-surrounded by an exuberance of plants and flowers from England, France,
-and the East, all bathed by the waters of the Tagus, and made musical
-with the notes of myriad birds. ‘The Nightingale that in the Branches
-sang’ returns in his thousands every spring, and we hear ‘The melodious
-noise of birds among the spreading branches, and the pleasing fall of
-water running violently.’ Here are Oriental trees, palms, and the cedars
-of Lebanon, and interspersed with them are the first elms introduced by
-Philip II. into Spain from England, which grow magnificently under the
-combined influence of heat and moisture. The impressionable and
-responsive Edmondo de Amicis writes of Aranjuez:
-
-     ‘The interior of the royal building is superb, but all the riches
-     of the palace do not compare with the view of the gardens, which
-     seem to have been laid out for the family of a Titanic king, to
-     whom the parks and gardens of our kings must appear like terrace
-     flower-beds or stable-yards. There are avenues as far as the eye
-     can reach, flanked by immensely high trees, whose branches
-     interlace as if bent by two contrary winds, which traverse in every
-     direction a forest whose boundaries one cannot see; and through
-     this forest the broad and rapid Tagus describes a majestic curve,
-     forming here and there cascades and basins. A luxurious and
-     flourishing vegetation abounds between a labyrinth of small
-     avenues, cross roads, and openings; and on every side gleam
-     statues, fountains, columns, and sprays of water, which fall in
-     splashes, bows, and drops, in the midst of every kind of flower of
-     Europe and America. To the majestic roar of the cascade of the
-     Tagus is joined the song of innumerable nightingales, who utter
-     their plaintive vibratory notes in the mysterious shade of the
-     solitary paths. Beyond the palace, and all around the shrubberies,
-     extend vineyards, olive-groves, plantations of fruit trees, and
-     smiling meadows. It is a genuine oasis, surrounded by a desert,
-     which Philip II. chose in a day of good humour, almost as if to
-     temper with the gay picture the gloomy melancholy of the Escorial,
-     and in which one still breathes the atmosphere, so to speak, of the
-     private life of the kings of Spain.’
-
-The Jardines de la Reina are of minor importance, but the Jardines de la
-Isla, comprising the four divisions which are known as Parterre, La
-Estatuas, Isla, and Emparrado, are filled with natural and created
-beauties. In the Isabel II. Garden is a bronze statue of the queen,
-erected to commemorate the political events of 1834. It is surrounded by
-a handsome iron railing, and completed by eight stone seats and as many
-marble vases mounted on pedestals. The Jardines de Principe, a much more
-modern preserve, are divided into four departments, and bisected by
-avenues that lead to the various small squares and to the Princesa,
-Apollo, Blanco, and Embajadores Avenues, the last of which terminates in
-the little Pabellones Garden of the time of Ferdinand VI. In addition to
-these princely gardens there are the English Garden, remarkable for its
-carved rock supporting a well-modelled swan; the Chinese Garden with its
-banana plantations; and the Garden of the Princess, acquired in 1535,
-and adorned in 1616 with a mechanical clock, decorated with twelve
-bronze figures that play on bronze trumpets. On the banks of the swiftly
-flowing river are the paddocks of the Crown, where camels and llamas
-roam, and a stud farm, where are bred English and Spanish blood horses
-and the beautiful cream-coloured animals of the Aranjuez stock.
-
-The auxiliary palace called the Casa del Labrador, or Labourer’s
-Cottage, built by Charles IV., is a remarkable structure, being a
-series of boudoirs, _à petit Trianon_, worthy of a Pompadour. The
-ceilings are painted by Zacarias Velazquez, Lopez, Maella, and other
-artists, and the walls of the back staircase are decorated with scenes
-and figures of the time of Charles I. At the top of the staircase is
-figured a balcony, on which are leaning the handsome wife and children
-of the painter, Z. Velazquez. The gilded bronze balustrade of the main
-staircase contains gold to the value of £3000, and the marbles over the
-doors are very fine. On the ground-floor of the building, which is
-composed of three stories, are thirteen statues by Spanish sculptors. In
-the centre of the hall is a marble figure representing Envy, and around
-the apartment are twenty busts of Carrara marble. Among the treasures of
-the palace are many Japanese vases and bronzes of great artistic value,
-marble busts of Minerva and Mars, a group representing a sacrifice in
-honour of Venus, and an enormous, beautifully carved mahogany fountain.
-The decorations consist of platinum, artistically worked pavements of
-Buen Retiro porcelain, and the most gorgeous silk embroideries and
-tapestries bordered with gold; while the furniture includes priceless
-chandeliers, Sèvres vases, candelabra, and clocks. A chair and table in
-malachite, a present from Prince Demidoff to the ex-Queen Isabella of
-Spain, is valued at about £1500. The apartment known as _Retrete_ is
-adorned with a composition resembling marble in the Moorish style and
-Etruscan low relief, and furnished with crimson coverings bordered with
-gold, while all the appointments of the hall, the capricious clocks and
-floral stands of bronze and glass, the table of rock crystal, and the
-wealth of marbles, all contribute to the magnificence of this so-called
-_Casa del Labrador_.
-
-
-
-
-V
-
-MIRAMAR
-
-
-The most modern of the many royal residences in Spain is the palace
-which the queen-mother built for herself and her young family in the
-most easterly province on the northern coast of the Peninsula. Queen
-Maria Cristina had been Regent for three years when in 1889 she
-determined to make a home between the mountains and the sea in a spot
-far removed from the etiquette and stress of the capital and from the
-sad memories which were associated with the ancient palaces of Castile.
-Her Majesty spent her first summer holiday at Miramar, the capital of
-Guipuzcoa in 1894, and here, overlooking the Bay of Biscay, Alfonso
-XIII. was brought up among and in the heart of his own people. Here he
-was prepared by a rigorous course of study to assume the duties of the
-high destiny to which he was born, and here also he learnt to ride and
-shoot, to swim and handle a boat, and to excel in every form of manly
-sport. At San Sebastian the dignity and restraint of royalty is largely
-relaxed, and the English visitor realises more clearly than in any other
-part of the country how intensely democratic is the Spaniard at heart.
-The King of Spain is more in touch with the masses of his people than
-the ruler of any other European nation. He is an anointed sovereign and
-the most august personage in the land; but he is a Spaniard, he belongs
-to his people, he is one of themselves. In Madrid court etiquette keeps
-the sovereign at a different altitude from his subjects, but here he
-rides and drives abroad, generally unattended, and sets an example of
-princely amiability and unaffected kindliness which distinguishes all
-ranks of the Spanish nobility. The line of demarkation between the
-nobles and the people is so clearly defined that it never has to be
-emphasised. In their relations there is no unbending on the one side,
-there is no servility on the other. A grandee of Spain does not imperil
-his dignity by joining the cotillon at the Casino; a duchess can drink
-tea at the crowded tables of a public café without taking thought of
-appearances.
-
-In San Sebastian the sovereign is not the High and Mighty Señor Don
-Alfonso XIII. of Bourbon and Austria, Catholic King of Spain, but
-rather is he ‘_le chevalier Printemps_,’ and the respect with which he
-is everywhere greeted is based as much in affection for his person as in
-deference to his exalted station. In all the festivities and social
-functions of the fashionable watering-place, His Majesty takes a
-prominent part; and although roulette is forbidden at the Casino while
-Royalty is at Miramar, no other restriction is imposed upon the gaiety
-of the town by the king’s presence. Don Alfonso is president of the
-Yacht Club and of the Horse Show; he distributes the athletic
-championship prizes, and is among the guns at every important shoot; the
-homely, merry festival of the Urumea would be incomplete without him;
-his attendance in the Avenida de la Libertad is as necessary as the
-sunshine to the Carnival of Flowers. The queen-mother’s handsome team of
-four Spanish mules is to be met with every day in the neighbouring
-country, and the king’s motor car is a familiar object of the landscape
-between San Sebastian and Biarritz. It was from San Sebastian that he
-motored to the bright little French town to make his formal request for
-the hand of Victoria Eugénie of Battenberg, and it was to Miramar that
-he brought his affianced bride to present her to the queen-mother and
-the Spanish people.
-
-If the Spanish coast had been searched from one end to the other, it
-would have been impossible to have found a more picturesque spot than
-the bay of San Sebastian, where the blue billows from the North Atlantic
-bring their long journey to an end on a stretch of the most golden sands
-in Europe. During the summer months the crested rollers, following one
-another with the regularity and precision of Highland regiments at the
-quickstep, sweep through the narrow channel between Santa Clara and
-Mount Orgullo, and, making the semicircle of the Concha, break their
-formation at the private landing-stage beneath the royal palace of
-Miramar, and fall out about the rocky base of Mount Igueldo. Seen from
-the royal yacht, the _Giralda_, which always lies in the bay when the
-royal family are in residence at Miramar, the town of San Sebastian lies
-in the base of a crescent, the horns of which are tipped with the old
-light tower at one extremity and the castle of La Mota at the other.
-Behind the town Mount Ulia raises its wooded height in the middle
-distance, and beyond it, as far as the eye can see, the white-capped
-sentinels of the Pyrenees complete the view. One can sip one’s
-chocolate on the terrace of the restaurant which crowns Mount Ulia, and
-gaze on San Sebastian spread out like a panorama in the valley, or watch
-the sunlight reflected from the white cliffs of France, or try to make
-out the sword-cut in the coast-line by which the tide flows, as through
-the neck of a bottle, into the inland sea, which laps the very
-door-steps of Pasajes and divides it into the two sections of San Juan
-and San Pedro. There are seasons when the Bay of Biscay is the
-incarnation of elemental fury, when the inviting natural harbour of San
-Sebastian is a death trap for any vessel that flies to it for shelter.
-When the south and south-west winds are blowing at the end of September,
-and the hurricane is driving the raging billows of the Atlantic before
-it; when even whales are caught by the stampeding waters and tossed like
-weeds on the sandy bosom of the Concha; when the roof of the Royal
-Nautical Club is swept by the waves, and the breakwater at the mouth of
-the Urumea crumbles before the ferocity of the gale; then is this
-north-east coast of Spain _anathema maranatha_ to those that go down to
-the sea in ships. But by the end of September, the holiday season in San
-Sebastian is over, and the holiday-makers are distributed over every
-country in Europe. The Court is removed to Madrid, the Palace of Miramar
-and the Casino are closed, the _Giralda_ seeks a surer anchorage, and
-the fishing-fleet is safely berthed in the land-locked harbours of
-Pasajes.
-
-The construction of the Royal Palaces of Madrid absorbed over a quarter
-of a century, and a whole army of labourers were twenty years on the
-Escorial before it was ready for occupation by Philip II. Five hundred
-men built the royal residence of Miramar in four years. Two architects
-collaborated in its construction--Mr. Selden Wornum, who laid down the
-general plan, and Señor Goicoa, who was in charge of the building
-operations and revised the plans as the work proceeded. The materials
-used, with the exception of some special tiles, which had to be brought
-from England, are Spanish, the marble and stone having been brought from
-the provinces of Guipuzcoa, Valladolid, and Burgos; the iron for the
-different stages from the ‘Altos Hornos’ and ‘Vizcaya’ factories of
-Bilbao, and the metal work from Eibar.
-
-The real Casa de Campo de Miramar is composed of three departments: the
-palace, the offices, and the stables and coach-houses. The palace is a
-three-storied building, in the style of an English country house. On
-the ground-floor, at the entrance, is a spacious central gallery, which
-extends nearly the whole length of the palace, dividing it into two
-parts. On the right are the king’s study, the library, the oratory, the
-reading-room and the dining-room, which is rectangular, and boasts a
-magnificent balcony. On the left are the hall, the official reception
-rooms, and the billiard-room. Between the study and the library is a
-large drawing-room. On the first floor are the apartments of the king
-and queen and the old playroom of his Majesty, all communicating with
-each other by a terrace which overlooks the sea and the garden. From the
-king’s room a tower is reached, which is surmounted by a flag-staff. The
-rooms occupied by the royal servants are on the upper floor. A long
-gallery connects the main building with the house in which are lodged
-the chief officials of the palace, and the stables, which are fashioned
-on the most modern English pattern, form a separate building.
-
-Over the principal entrance are three beautifully carved shields: one
-with the arms of Spain, another with those of the king, and the third
-with those of the queen. In the construction of the palace, the chief
-considerations have been comfort and convenience. Every most modern
-improvements, both scientific and æsthetic, have been employed to attain
-this end. The furniture is elegant, and harmonises perfectly with the
-decoration of the rooms; the tapestries, paintings, porcelains, all the
-objects of art, in fact, which are found there in great profusion, are
-in the most exquisite taste; while the park by which Miramar is
-surrounded is probably the best cultivated domain in the possession of
-the Crown. The telegraph links up the palace with the whole world; and
-the telephone connects it with the royal palace and the Government
-Offices at Madrid. At the extremity of the grounds of the Royal
-residence, which have been built over the road, and continued to the
-water’s edge, is the private landing-stage which his Majesty always uses
-in going to and from the _Giralda_. On most days during the San
-Sebastian season, the king is to be seen in the Bay, and he is always
-one of the most interested spectators of the races during the regatta
-week.
-
-In a little volume of this kind, which is intended as an album and
-pictorial souvenir of the palaces of which it treats rather than an
-illustrated handbook, little attention has been given to the cities in
-which these royal residences are situated, or the country by which they
-are surrounded. But a few lines may be added here about San Sebastian,
-which in most respects is different from other Spanish cities, even from
-the capitals of the other Basque provinces. San Sebastian is kept
-spotlessly clean, its municipal management is perfect, and its beggars
-are conspicuous by their absence. The modernity of the town is due to
-the firing of the place after the siege of 1813, when the only part that
-escaped was the bit of old town, situated near the little _Port des
-Pêcheurs_, under the shadow of Mount Urgull. The broad, even, regular
-streets of the new town, which is bisected by the handsome Avenida de la
-Libertad, are flanked by splendid shops and hotels that would do credit
-to any European city. The whole place wears an aspect of smiling
-prosperity, and its life during the holiday season is one continuous
-round of hearty, innocent gaiety. Cricket, it must be admitted, has not
-yet been naturalised in Spain, and the golfer must cross the border to
-Biarritz to indulge in his favourite game, but every other sport that
-the average Englishman affects can be enjoyed here. The bathing from the
-beach is the best and safest in the world, and the lover of picturesque
-scenery has a paradise of varied landscapes and sea pieces within
-walking distance of the town. There is lawn tennis in the new recreation
-grounds, and pelota matches, at one or other of the courts, are played
-daily; while, for those who care for bull fighting, there is a _corrida_
-every Sunday afternoon during the season.
-
-
-
-
-VI
-
-EL ALCAZAR
-
-SEVILLE
-
-
-The beautiful Moorish palace of the Alcazar at Seville, unlike the more
-famous Alhambra of Granada, is still a royal palace, though only
-occasionally the residence of their Catholic Majesties. The upper floor,
-containing the royal apartments, is always kept ready for these
-illustrious tenants, and in consequence is rarely accessible by the
-tourist and sight-seer. The palace proper is one of a group of buildings
-known as the Alcazares, which is surrounded by an embattled wall, and
-includes several open spaces and numerous private dwellings. Immediately
-inside the wall are two squares called the Patio de las Banderas and
-Patio de la Monteria. At the far end of the former is the office of the
-governor of the palace, and to the right of this is an entrance whence a
-colonnaded passage called the Apeadero leads straight through to the
-gardens, or, by turning to the right, to the Patio del Leon. On one side
-this latter square communicates with the Patio de la Monteria; on the
-other side is the palace of the Alcazar itself. I hope this will make
-the rather puzzling topography of the place a little more intelligible.
-
-Whether or not the Roman ‘Arx’ stood on this spot, as tradition avers, I
-cannot pretend to say. But there is no room for doubt that a palace
-stood here in the days of the Abbadite amirs, and that this building was
-restored and remodelled by the Almohades. To outward seeming the Alcazar
-is as Moorish a monument as the Alhambra. In reality, few traces remain
-of the palace raised by the Moslem rulers of either dynasty, and the
-present building was mainly the work of the Castilian kings--especially
-of Pedro the Cruel. But though built under and for a Christian monarch,
-it is practically certain that the architects were Moors and good
-Moslems, and that their instructions and intentions were to build a
-Moorish palace. Historically, you may say, the Alcazar is a Christian
-work; artistically, Mohammedan.
-
-The actual palace occupies only a small part of the site of the older
-structures, and incorporates but a few fragments of their fabrics.
-Since Pedro the Cruel’s day, so many sovereigns have restored,
-remodelled, and added to the building, that it is far from being
-homogeneous, though we can hardly agree with Contreras that it is ‘far
-from being a monument of Oriental art.’
-
-Pedro built more than one palace, or, more correctly, two or three wings
-of the same palace, in this enclosure. Traces of his Stucco Palace
-(Palacio del Yeso) remain. Pedro looms very large in the history of
-Seville. He plays the same part here as Harûn-al-Rashid in the story of
-Bagdad. He was fond of the Moors, and affected their costumes and
-customs. He also favoured the Jews, and was alleged by his enemies to be
-the changeling child of a Jewess. His treasurer and trusted adviser was
-an Israelite named Simuel Ben Levi. He served the king long and
-faithfully, till one day it was whispered that half the wealth that
-should fill the royal coffers had been diverted into his own. Ben Levi
-was seized without warning and placed on the rack, whereupon he expired,
-not of pain, but of sheer indignation. Under his house--so the story
-goes--was found a cavern in which were three piles of gold and silver,
-twice as high as a man. Pedro on beholding these was much affected.
-‘Had Simuel surrendered a third of the least of these piles,’ he
-exclaimed, ‘he should have gone free. Why would he rather die than
-speak?’
-
-Stories innumerable are told of this king, a good many, no doubt, being
-pure inventions. There is no reason to question the account of his
-treatment of Abu Saïd, the Moorish Sultan of Granada. This prince had
-usurped his throne, and being solicitous of Pedro’s alliance, came to
-visit him at the Alcazar with a magnificent retinue. The costliest
-presents were offered to the Castilian king, whose heart, however, was
-bent on possessing the superb ruby in the regalia of his guest. Before
-many hours had passed, the Moors were seized in their apartments and
-stripped of their raiment and valuables. Abu Saïd, ridiculously tricked
-out, was mounted on a donkey, and with thirty-six of his courtiers,
-hurried to a field outside the town, where they were bound to posts. A
-train of horsemen appeared, Don Pedro at their head, and transfixed the
-helpless men with darts, the king shouting, as he hurled his missiles at
-his luckless guest: ‘This for the treaty you made me conclude with
-Aragon! This for the castle you took from me!’ The ruby which had been
-the cause of the Moor’s death was presented by his murderer to the
-Black Prince, and now adorns the crown of England.
-
-Nor did Pedro confine his fury to the sterner sex. Doña Urraca Osorio,
-because her son was concerned in Don Enrique’s uprising, was burned at
-the stake on the Alameda. Her faithful servant, Leonor Dávalos, seeing
-that the flames had consumed her mistress’s clothing, threw herself into
-the pyre to cover her nakedness, and was likewise burnt to ashes. Having
-conceived a passion for Doña Maria Coronel, the king caused the husband
-to be executed in the Torre del Oro. The widow, far from yielding to his
-entreaties and threats, took the veil and destroyed her beauty by means
-of vitriol. Pedro at once transferred his attentions to her sister, Doña
-Aldonza, and met with more success. If a chronicler is to be believed,
-he threw his brother Enrique’s young daughter naked to the lions, like
-some Christian virgin martyr. The generous (or possibly overfed) brutes
-refused the proffered prey, and the whimsical tyrant ever afterwards
-treated the maiden kindly. In memory of her experience, she was known as
-‘Leonor de los Leones.’
-
-Crossing the Plaza del Triunfo, which lies between the Cathedral and
-the old Moorish walls, we enter the Patio de las Banderas, so called
-either because a flag was hoisted here when the royal family was in
-residence, or on account of the trophy, composed of the arms of Spain
-with crossed flags, displayed over one of the arches. Pedro was
-accustomed to administer justice, tempered with ferocity, after the
-Oriental fashion, seated on a stone bench in a corner of this square.
-The surrounding private houses occupy the site of the old Palace of the
-Almohades, and one of the halls--the Sala de Justicia--is still visible.
-It is entered from the Patio de la Monteria. Contreras assigns an
-earlier date to this room even than the advent of Almohades. It is
-square, and measures nine metres across. The stucco ceiling is adorned
-with stars and wreaths, and bordered by a painted frieze. The
-decorations consist chiefly of inscriptions in Cufic characters. The
-right-angled apertures in the walls were closed either by screens of
-translucent stucco or by tapestries, ‘which must,’ says Gestoso y Perez,
-‘have made the hall appear a miracle of wealth and splendour.’ It was in
-this hall, often overlooked by visitors, that Don Pedro overheard four
-judges discussing the division of a bribe they had received. The
-question was abruptly solved by the division of the disputants’ heads
-and bodies. Thanks to its isolation, the Sala de Justicia escaped the
-dreadful ‘restoration’ effected in the middle of the nineteenth century
-by the Duc de Montpensier. The house No. 3, Patio de las Banderas,
-formed part, in the opinion of Gestoso y Perez, of the Palacio del Yeso,
-or Stucco Palace, of Don Pedro.
-
-Passing through the colonnaded Apeadero, built by Philip III. in 1607,
-and once used as an armoury, we reach the Patio del Leon, where
-tournaments used to be held, and stand in front of the Palace of the
-Alcazar. The façade is gorgeous yet elegant, of a gaudiness that in this
-brilliant city of golden sunshine and white walls is not obtrusive. Yet,
-despite the Moorish character of the decoration, the Arabic capitals and
-pilasters, and the square entrance ‘in the Persian style,’ the front is
-not that of an eastern palace; and it is without surprise that we read
-over the portal, in quaint Gothic characters, the legend: ‘The most
-high, the most noble, the most powerful, and the most victorious Don
-Pedro, commanded these Palaces, these Alcazares, and these entrances to
-be made in the year (of Cæsar) 1402’ (1364). Elsewhere on the façade are
-the oft-repeated Cufic inscriptions: ‘There is no conqueror but Allah,’
-‘Glory to our lord the Sultan’ (Don Pedro), ‘Eternal glory to Allah,’
-etc., etc.
-
-This is a very different entrance from that of the Alhambra, the
-building on the model of which the Alcazar was undoubtedly planned. From
-the entrance a passage leads from your left to one extremity of the
-Patio de las Doncellas, the central and principal court of the palace.
-How this patio came to be so named I have never been able to ascertain.
-There is an absurd story to the effect that here were collected the
-girls fabled to have been sent by way of annual tribute by Mauregato to
-the Khalifa. Had such a transaction taken place, the tribute would have
-been payable, of course, at Cordova, not at Seville. Moreover this court
-was among the works executed in the fourteenth century.
-
-The Alcazar strikes us (if we have come from Granada) as being on a much
-smaller scale than the Alhambra. It is very much better preserved, as it
-should be, seeing that it is a century younger; and if it vaguely
-strikes one as being fitter for the abode of a court favourite than of a
-monarch, it impresses one as being fresher, more elegant--in a word,
-more artistic--than the older building.
-
-The Patio de las Doncellas is an oblong, and surrounded by an arcade of
-pointed and dentated arches which spring from the capitals of white
-marble columns placed in pairs. The middle arch on each side is higher
-than the others, and springs from oblong imposts resting on the twin
-columns and flanked by the miniature pillars characteristic of the
-Grenadine architecture. The spandrels are beautifully adorned with
-stucco work of the trellis pattern. On the frieze above runs a flowing
-scroll with Arabic inscriptions, among them being ‘Glory to our lord,
-the Sultan Don Pedro,’ and this very remarkable text: ‘There is but one
-God; He is eternal; He was not begotten and has never begotten, and He
-has no equal.’ This inscription, opposed to the tenets of Christianity,
-was evidently designed by a Moslem artificer, who relied (and safely
-relied) on the ignorance of his employers. The frieze is decorated also,
-at intervals, by the escutcheons of Don Pedro and of Ferdinand and
-Isabella, and by the well-known devices of Charles V., the Pillars of
-Hercules with the motto ‘Plus Oultre.’ The inside of the arcade is
-ornamented with a high dado of glazed tile mosaic (_azulejo_),
-brilliantly coloured, and with the highly prized metallic glint. The
-combinations and variations of the designs are very ingenious and
-interesting. This decoration probably dates from Don Pedro’s time.
-Behind each central arch is a round-arched doorway, flanked by twin
-windows. These are framed in rich conventional ornamental work. Through
-little oblong windows above the doors light falls and illumines the
-ceilings of the apartments opening into the court. The ceiling of the
-arcade dates from the reign of Ferdinand and Isabella, but was restored
-in 1856. A deep cornice marks the division of the lower part of the
-court from the upper story, the front of which, with its white marble
-arches, columns and balustrades, was the work of Don Luis de Vega, a
-sixteenth-century architect.
-
-Three recesses in the wall to the left of the entrance are pointed out
-as the audience closets of King Pedro; but they are much more likely to
-be walled-up entrances to formerly existing corridors and chambers
-behind.
-
-The door facing this wall gives access to the Hall of the Ambassadors
-(Salon de los Embajadores), the finest apartment in this fairy palace.
-The doors are magnificent examples of inlay work, and were, according to
-the inscription on them, made by Moorish carpenters from Toledo in the
-year 1364. The hall is about thirty-three feet square, and exhibits a
-splendid combination of the various styles with the Gothic and
-Renaissance. The ornamentation is rich and elaborate almost beyond the
-possibility of description. The magnificent ‘half-orange’ ceiling of
-carved wood rests on a frieze decorated with the Tower and Lion. Then
-come Cufic inscriptions on a blue ground and ugly female heads of the
-sixteenth century. Then, below another band of decoration, is a row of
-fifty-six busts of the Kings of Spain, from Receswinto the Goth to
-Philip III. These date, at earliest, from the sixteenth century. The
-wrought-iron balconies were made by Francisco Lopez in 1592. The
-decoration of this splendid chamber is completed by a high dado of blue,
-white, and green ‘azulejos.’ It was in this hall that Abu Saïd is said
-to have been received by his treacherous host.
-
-The Hall of the Ambassadors communicates on each side with the patio and
-adjoining halls by entrances composed of three horseshoe arches,
-supported by graceful pillars and enclosed in a circular arch.
-
-Through the arch facing the entrance from the patio we pass into a long
-narrow apartment, known as the Comedor, where the late Comtesse de Paris
-was born in 1848. To the north of the salon is a small square chamber,
-called the ‘Cuarto del Techo de Felipe Segundo,’ with a coffered ceiling
-dating from the time of that king. North of this room is the exquisite
-little Patio de las Muñecas (Court of the Dolls) purely Grenadine in
-treatment. The rounded arches are separated by cylindrical pillars--I
-call them so for want of a better word--which rest on slender columns of
-different colours, reminding one of the early or Cordovan style. The
-capitals are rich, the pillars they uphold decorated with vertical lines
-of Cufic inscriptions, many of which, says Contreras, are placed upside
-down. The walls and spandrels are tastefully adorned with stucco work of
-the trellis pattern, tiling and mosaic. This court, though still
-harmonious and beautiful, suffered rather than benefited by its
-restoration in 1843; but the architecture has been not unsuccessfully
-reproduced in the upper story.
-
-This charming spot is by no means suggestive of deeds of blood and
-violence; yet, just as they point out the Salon de los Embajadores as
-the scene of the arrest of the Red Sultan by Don Pedro, so here do the
-guides place the scene of the murder of Don Fadrique by the truculent
-monarch--a fratricide to be avenged by another fratricide at Montiel.
-The Master of Santiago, to give the Don his usual title, after a
-successful campaign in Murcia, had been graciously received by his
-brother the king, and presently went to pay his respects in another part
-of the palace to the royal favourite, Maria de Padilla. It is said that
-she warned him of his impending fate; perhaps by her manner, if not by
-words, she tried to arouse in him a sense of danger, but the soldier
-prince returned to the king’s presence. With a shout, Pedro gave the
-fatal signal. ‘Kill the Master of Santiago!’ he cried. Guards fell upon
-the prince. His sword was entangled in his scarf, and he was butchered
-without mercy. His retainers fled in all directions, pursued by Pedro’s
-guards. One took refuge in Maria de Padilla’s own apartment, and tried
-to screen himself by holding her little daughter, Doña Beatriz, before
-him. Pedro tore the child away, and dispatched the unfortunate man with
-his own hand. The murder took place on May 19, 1358.
-
-To the west of the court is a little room, elegantly decorated, and
-named after the Catholic Sovereigns, by whom it was restored. Their
-well-known devices appear, together with the Towers and Lions, among
-the decorations, which reveal the influence of the plateresque style.
-The north side of the patio is occupied by the Cuarto de los Principes,
-not to be confounded with a similarly named apartment on the floor
-above. At either end of this room is an arch, adorned with stucco work,
-admitting to a cabinet or alcove. That to the right has a fine
-artesonado ceiling, and that to the left is decorated in a species of
-Moorish plateresque style. An inscription states that the frieze was
-made in the year 1543 by Juan de Simancas, master carpenter.
-
-East of the Patio de las Muñecas, and occupying the north side of the
-Patio de las Doncellas, is the long room called the Dormitorio de los
-Reyes Moros. All the apartments in the Alcazar are fancifully named, but
-the designation of none is quite so stupid and misleading as this. The
-columns of the twin windows on either side of the door appear to date
-from the time of the Khalifate. The doors themselves are richly inlaid
-and painted with geometrical patterns. The three horseshoe arches
-leading to the _al hami_, or alcove, also seem to belong to the early
-period of Spanish-Arabic art. The room is so richly decorated that
-scarce a handbreadth of the surface is free from ornament.
-
-On the opposite side of the central court is the sumptuous Salon de
-Carlos V., the ceiling of which was constructed by order of the emperor,
-and is adorned with classical heads. The tile and stucco work is the
-finest in the palace. There is a legend to the effect that St. Ferdinand
-died in this room--on his knees, with a cord round his neck and a taper
-in his hand--but it is unlikely that this part of the palace existed in
-his time. The guide pointed out the room to the west of this salon as
-the chamber of Maria de Padilla, but this again is, to put it mildly,
-doubtful.
-
-The upper chambers of the Alcazar, which are not accessible to the
-general public, are very handsome. The floor overlooking the Patio del
-Leon is occupied by the Sala del Principe, with its beautiful spring
-windows, polychrome tiling, and columns brought from the old Moorish
-Palace at Valencia. Adjacent is the Oratory, built by order of Ferdinand
-and Isabella in 1504. The tile work is of extraordinary beauty, and
-shows that the Moors had not a monopoly of talent in this kind of
-decoration. The fine Visitation over the altar is signed by Francesco
-Nicoloso the Italian. On the same floor is the reputed bed-chamber of
-Don Pedro. Over the door may be seen four death’s-heads, and over
-another entrance the curious figure of a man who looks back over his
-shoulder at a grinning skull. These gruesome designs commemorate the
-summary execution by the king of four judges whom he overheard
-discussing the division of a bribe. The royal apartments on this floor
-contain some precious works of art; but I abstain from mentioning the
-most remarkable of these, as pictures are so often transferred in Spain
-from one royal residence to another that such indications are often out
-of date before they are printed.
-
-The gardens are really the most pleasing spot within the Alcazares. They
-form a delicious pleasaunce, where the orange and citron diffuse their
-fragrance, and magic fountains spring up suddenly beneath the
-passenger’s feet, sprinkling him with a cooling dew. I noticed some
-flower beds shaped like curiously formed crosses, which the gardener
-told me were the crosses of the orders of Calatrava, Santiago,
-Alcantara, and Montesa. You are also shown the baths of Maria de
-Padilla, which are approached through a gloomy arched entrance. In the
-favourite’s time they had no other roof than the sky, and no further
-protection from prying eyes than that afforded by a screen of orange
-and lemon trees. In Mohammedan times the baths were probably used by the
-ladies of the harem.
-
-The Alcazar, I think, disappoints most foreigners. The architectural and
-decorative work of the Spanish Moors and their descendants pleases
-people quite inexperienced in the arts by its mere prettiness, its
-brilliance, its originality, and its colour; and it delights still more
-those who are able to appreciate its marvellous combinations of
-geometrical forms, its exquisite epigraphy, and all its subtle details.
-But the average traveller stands between these two classes of observers.
-He looks for grandeur where he should expect only beauty, and his eye is
-wearied by the wealth of conventional ornamentation. What I think is
-conspicuously lacking in the Alcazar, and to a much less extent in the
-Alhambra, is atmosphere. Memories do not haunt you in these gilded
-halls. There is nothing about them to suggest that anything ever
-happened here. The legends tell us the contrary; but assuredly no one
-was ever less successful in impressing his personality on his abode than
-were the founders and inhabitants of the Alcazar.
-
-
-
-
-VII
-
-ROYAL PALACE
-
-MADRID
-
-
-The Palacio Real, which towers high above the ‘most noble, loyal,
-imperial, crowned and heroic city’ of Madrid, dominating the bleak
-table-land, and reflecting in the rays of southern sunshine the gleaming
-whiteness of the distant, snow-capped Guadarramas, occupies a site which
-has been royal since the eleventh century. In 1466 an earthquake
-partially destroyed the Moorish Alcazar, and on the ruins Henry IV.
-constructed a palace of mediæval splendour, which was enlarged by
-Charles V., embellished by Philip II. and completed by Philip III., who
-added a façade--the joint work of Toledos, Herrera, Moras, Luis and
-Gaspar de Vega--which was acclaimed as a masterpiece of architecture. In
-the time of Philip II., the palace is described as having five hundred
-rooms. On the ground-floor was the grand reception-room, an apartment
-170 feet long, in which the ten state councillors held their meetings.
-Behind the tapestry hangings the walls were lined with marble, and
-guards were stationed at the outer and inner portals. There was a
-theatre in the building, in which some of the great comedies of Philip’s
-reign were first produced, and in an adjoining saloon was held, in 1622,
-the famous Poetic Tournament of which Lope de Vega has left us such a
-sprightly account. The rooms were hung with the richest Flemish
-tapestries, the picture gallery was filled with priceless works of art,
-and the treasury of the king’s, the _Guarda Joyas_--that store of untold
-gold and silver, of jewels and precious stones--was contained in a
-carefully guarded suite of apartments. Gil Gonzalez Davila in his
-_Teatro de las Grandezas de Madrid_ tells us that included in the royal
-treasure were a diamond valued at 200,000 ducats, a pearl as large as a
-nut--which is impressive but indefinite--called _La Huerfana_ (the
-Orphan), because of its unique size, and a golden lily, which was
-recovered from the French by Charles V., who made its return a condition
-in the agreement by which they obtained the deliverance of Francis I. A
-maze of subterranean passages was constructed beneath the old palace,
-some of which exist beneath the present building.
-
-On Christmas night, 1734, the Royal Palace of the Alcazar was on fire,
-and the building and all its treasures were utterly destroyed. This
-disaster afforded Philip V. the opportunity to display his powers as a
-master builder. He had already created the Palace of San Ildefonso at La
-Granja, he had rebuilt the palace at Aranjuez, he had tinkered at the
-Alcazar at Seville. Now he would create a marble monument that should
-surpass the magnitude and magnificence of Philip the Second’s Escorial
-and outstrip in splendour the Versailles palace of Louis XIV. Such a
-work was beyond the art of the followers of Churriguera: he sent to the
-Court of Turin for the Abbé Felipe de Juvara, the Sicilian, and confided
-to him the scheme of the palace that he would raise on the heights of
-San Bernardino. It was to be a square edifice of the composite order,
-having four façades, each 1700 feet long, it was to contain twenty-three
-courts, approached by thirty-four entrances from the exterior, and be
-completed with gardens, churches, public offices, and a theatre. It was
-to be a collection of palaces under one roof, and the colossal model of
-the building, which is preserved in the Galeria Topografica of the
-Madrid Museum, conveys some idea of the marvel of architecture which the
-king and his designer had conceived between them. But the palace on the
-San Bernardino hill was never begun. The ruling ambition of the
-masterful Elizabeth Farnese was to advance the interests of her
-children, and she begrudged the expense which the colossal building
-would entail. She raised so many difficulties and delayed so long the
-adoption of the plans that Juvara died of hope deferred, and Giovanoni
-Battista Saccheti came from Turin to carry on the work. The queen by
-this time had exhausted Philip’s resistance to her will, and Sacchetti’s
-less pretentious design, traced among the still smouldering ruins of the
-ancient Alcazar, was adopted on 7th April 1737.
-
-A year later the first stone of the present palace was laid. The
-foundation-stone bore a commemorative description and enclosed a leaden
-casket, containing gold, silver, and copper coins from the mints of
-Madrid, Seville, Mexico, and Peru. The work of ensuring the solidity of
-the foundations by moulding them into the western slope of the hill cost
-an enormous sum of money, entailed an immense amount of labour, and
-occupied a proportionately extensive period of time. In 1808 the palace
-had cost 75,000,000 pesetas, and the subsequent alterations, which
-included the enclosing of the Campo del Moro with a wall and gilded
-railing, brought up the sum total to the enormous sum of over
-100,000,000 pesetas. Philip died in 1746, long before the palace he had
-projected was near completion. The work went on through the thirteen
-years’ reign of Philip VI., and when Charles III. came to Madrid in 1759
-he recognised that unless the rate of progress was accelerated he would
-have to occupy the building at the Buen Retiro for the rest of his life.
-Under his resolute authority the work was pushed on with more vigour,
-and it was ready for his occupation on 1st December 1764. It had taken
-over a quarter of a century to build, it had cost Spain three millions
-sterling, but it gained the place that Philip V. anticipated for it
-among the palaces of the world.
-
-It has been said, and the statement is but slightly exaggerated, that
-our own Buckingham Palace looks shabby and insignificant beside this
-vast pile of shimmering, white masonry, this truly royal residence, this
-unique museum, which contains every variety of art treasures. The
-architecture selected is the unpoetical but imposing style of the late
-Renaissance, and the regularity of the exterior is redeemed from
-monotony by Ionic columns, pilasters, and balconies. The massive
-building, 500 feet square and 100 feet in height, forms a huge
-quadrangle, enclosing a court, while two projecting wings form the Plaza
-de Armas. The base of the building, which is composed of three stories
-above the ground-floor, is of granite, and the upper portion is of the
-beautiful white stone of Colmenar, which gleams like marble. The lower
-portion is plain, massive, and severe, and the appearance of the third
-story is marred by the square port-holes of the entre-súelos. A wide
-cornice runs round the top, and above it a stone balustrade, on the
-pedestals of which stand rococo vases. In accordance with the first
-plans of the palace, the whole of this balustrade was surmounted by
-statues, but these were removed on account of their great weight, and
-are now scattered all over Madrid.
-
-The principal entrance is in the south façade, but the palace is
-approached by five other grand entrances. The east side, which faces on
-to the Plaza de Oriente, is called ‘del Principe,’ from the fact that at
-one time it was always used by the royal family. On the eastern and
-southern sides the height of the edifice is more than doubled by reason
-of the uneven ground where it falls away to the river. The northern side
-faces the Guadarrama mountains, from which the icy winter blasts have
-frozen to death many unfortunate sentries on guard at the Puerta del
-Diamante. The main southern entrance leads into a huge patio, some 240
-feet square, surrounded by an open portico, composed of thirty-six
-arches, surmounted by another row of arches, forming a gallery with
-glass windows. In this court are four large statues of Trajan, Hadrian,
-Honorius, and Theodosius, the four Roman emperors who were natives of
-Spain. The upper vaulting is decorated with allegorical frescoes, the
-work of Corrado Giaquinto, representing the Spanish monarchy offering
-homage to religion. The famous Grand Staircase, with its three flights
-of black and white marble steps,--each step a single slab of marble--and
-its celebrated lions, lead out of this court. Napoleon Bonaparte is
-reported to have said to his brother Joseph as the intrusive king made
-his first ascent of this superb staircase, ‘Vous serez mieux logé que
-moi.’ During the same historic tour of the palace the emperor laid his
-hand on one of the silver lions in the throne-room, and remarked to his
-brother, ‘Je la tiens enfin, cette Espagne si désirée.’
-
-The ground area of the palace is divided into thirty salons,
-magnificently furnished and adorned with a profusion of precious marbles
-and fresco paintings by Ribera, Gonzalez, Velazquez, Maella, Mengs,
-Bayeu, and Lopez. It would be going outside the province of this sketch
-to describe each apartment in detail, but special reference must be made
-to the Hall of Ambassadors. This magnificent apartment, the largest and
-richest in the Palace, occupies the centre of the principal façade, in
-which it has five balconies. The whole apartment glows with rich
-colouring, and scintillates with a lavish display of precious metals.
-The rock-crystal chandeliers, colossal looking-glasses cast at San
-Ildefonso, the marble tables, the crimson, and the gilding compose a
-spectacle of royal magnificence. Here is the splendid throne of silver,
-made for the husband of Mary of England, and mounting guard on either
-side are the huge lions of the same metal. The ceiling, painted by Juan
-Bautista Tiépolo, represents the Spanish Monarchy, exalted by poetic
-beings, accompanied by the Virtues, and surrounded by its dominions in
-both hemispheres. On a throne, at the sides of which are Apollo and
-Minerva, the Monarchy is majestically seated, supported by the
-allegorical figures representing the science of Government, Peace and
-Justice and Virtue. Another group, on clouds, is formed by Abundance,
-Mercy, and other figures. A rainbow crosses the whole ceiling, and
-between this and the great circle of clouds circled by angels covering
-is the Monarchy. In the same salon is an allegory in praise of Charles
-III., which is formed by Magnanimity and Glory, Affability and Counsel.
-Faith, enthroned on clouds, has an altar of fire, and is accompanied by
-Hope, Charity, Prudence, Strength, and Victory; and an angel carries a
-chain with a medal to reward the Noble Arts. Between the cornice Tiépolo
-displayed his masterly hand by delineating the provinces of the Spanish
-Monarchy. Roberto Michel executed in the angles four gilded medallions,
-representing Water and Spring, Air and Summer, Fire and Autumn, and
-Earth and Winter. Over the doors are two ovals, one representing
-Abundance, and the other Merit and Virtue. All the walls of this regal
-hall are covered with crimson velvet bordered with gold. On the right is
-the statue of Prudence, on the left that of Justice, and in the two
-angles traced by the steps are four gilded bronze lions. Before the
-superb mirrors in this apartment are costly tables, and on these marble
-busts and other no less beautiful objects, the whole constituting the
-most beautiful room in the palace, and one of the first in Europe.
-
-In these salons is the wonderful collection of French clocks which
-amused the unproductive leisure of Ferdinand VII., who spent his time in
-a profitless endeavour to make them chime simultaneously. The glorious
-pictures, now in the Prado, that once adorned these walls were removed
-by Ferdinand VII. to make room for his beloved silk hangings. At his
-death vaults and store-rooms were emptied of a forgotten accumulation of
-fine old furniture, and much portable treasure was removed from the
-palace. Much of this has vanished beyond recovery, but during the
-redecoration of the building for the reception of the king’s bride,
-Alfonso XIII. was successful in recovering a number of splendid bronzes,
-clocks, and porcelain vases, which now adorn the principal apartments.
-
-The Guard Room, occupied by the Royal Halberdiers, is at the head of the
-Royal Staircase, and opens into the enormous Hall of Columns. The
-columns which support the corner medallions are similar to those on the
-staircase, and the ceiling is painted by Conrado Giaquinto. The paving
-is of variegated marbles; the only decorations of the apartments are its
-medallions, its cornices of trophies, and its four great allegorical
-figures. For its impressiveness the room depends solely on its
-architectural merits and its simplicity, and forms a striking contrast
-to the other salons of the palace with their superb tapestries,
-upholstered furniture, brocades, and ornaments. The Banqueting Hall is
-of magnificent proportions, and the Ball Room, to the splendour of which
-all the arts and manufactures appear to have contributed, is the largest
-in Europe. The Chinese Room, the Charles III. Room, hung with blue
-brocade starred with silver, and the Giardini Room, which is upholstered
-in ivory satin, embroidered in gold and coloured flowers, and roofed
-with porcelain from the Buen Retiro factory, are among the many marvels
-of this marvellous palace.
-
-The Royal Chapel, which was depleted in 1808 by General Belliard, who
-carried off the pictures painted for Philip II. by Michael Coxis, is
-still splendid in its profusion of rich marbles, gilt, and stucco, and
-its beautiful ceiling painted by Giaquinto. Many of the exquisite
-altar-cloths and vestments were embroidered by Queen Cristina. Here also
-is an immensely valuable collection of fine ecclesiastical objects; and
-here at Epiphany, Easter, and Corpus Christi the galleries leading from
-the royal chapel are hung with the magnificent and unique tapestries
-which belong to the crown of Spain.
-
-The private library of his Majesty is on the ground-floor of the
-palace. It was formed by Philip V. about 1714, and has since been
-increased by the acquisition of several notable collections, including
-those of the dean of Teruel, Counts Mansilla and Gondomar, and Judge
-Bruna of Seville. The manuscripts are for the most part from the extinct
-colleges. The king’s library, which occupies ten rooms and two passages,
-is composed of eighty thousand volumes in magnificent mahogany cases
-with beautiful glass from La Granja. Books issued prior to the sixteenth
-century, beautiful copies on vellum, very rare editions by Spanish
-printers, and rich bindings, make this library one of the most important
-in Europe. Among the illustrated missals is a prayer-book said to have
-belonged to Ferdinand and Isabella or their daughter, Juana la Loca,
-whose portrait it contains. The building is adorned with exquisite
-ornaments and the arms of Leon and Castile in enamel. The correspondence
-of Gondomar, the Spanish ambassador in London during the reign of James
-I., is also to be seen here.
-
-The general Archive of the crown of Spain was created in virtue of a
-royal decree of Ferdinand VII., dated May 22, 1814. The organisation and
-classification of all the documents since the reign of Charles I. until
-that of Isabella II. were based on chronology; but Alfonso XII. thought
-the classification of subjects more scientific, and the Keeper of the
-Archives has, since 1876, had the whole of the documents divided into
-four large sections, namely, administrative, juridical, historical, and
-according to their sources. This Archive also has a reference library
-composed of seven hundred volumes. At present the Archive of the Crown
-consists of thirty rooms, containing nearly ten thousand bundles of
-papers and two thousand volumes. The administrative documents date from
-1479; the juridical ones from 1598; the historical from 1558; there
-being also some property deeds dating from the eleventh century relating
-to the celebrated monastery of El Escorial, founded by Philip II., which
-from the paleographic point of view, and even from the historical, are
-of great interest.
-
-The Royal Pharmacy, situated in the part of the palace known as Los
-Arcos Nuevos (the New Arches), has an origin which is closely bound up
-with the history of national pharmacy. In the beginning of the
-pharmaceutical profession, when it became a faculty, the Royal Pharmacy
-was the centre of the profession in all its phases. It contains a rich
-collection of utensils of all periods, curious examples of
-pharmaceutical materials used in olden times, and a well-filled library,
-consisting of more than two thousand five hundred volumes.
-
-The stables of the ancient Alcazar were situated in the space now
-occupied by the large Armoury Court; those of the present palace were
-built in the reign of Charles III., in accordance with the plans and
-under the direction of the notable architect, Francisco Sabatini. The
-plan of the edifice is an irregular polygon, the longest side of which,
-at the Cuesta de San Vicente, is nearly 700 feet in length. The
-principal façade is in the Calle Bailen, and is adorned by a simple
-granite portal, over which are the royal arms. This door leads to a fine
-court surrounded by arches, and on the west side is a small chapel,
-dedicated to St. Anthony, Abbot.
-
-The principal part of these buildings consists in the large and
-magnificent galleries, sustained by double rows of pillars, which
-constitute the stables. These consist of a spacious stable for the
-horses used by royalty. There is another stable for Spanish horses,
-another for foreign horses and mares, and yet another for mules. More
-than three hundred animals can be accommodated in the stables. There are
-at present one hundred saddle-horses, all of which, with the exception
-of sixty foreign animals, come from the royal stud at Aranjuez.
-
-The general harness-room is a large nave, consisting of three halls.
-Preserved in many cases are the magnificent sets of harness and saddles,
-the liveries of footmen and coachmen, crests, fly-traps, whips and
-ancient horse-cloths, bridles, and other curiosities. The Royal Riding
-School is built on one of the esplanades facing the Campo del Moro.
-
-In order to form some idea of the size of the edifice, it may be
-mentioned that, besides the coach-houses, stables, harness-rooms, etc.,
-there are apartments for the accommodation of the six hundred and
-thirty-seven people and their families who are employed in this
-department of the palace.
-
-The Royal Coach-house is situated in the Campo del Moro. Its plan is a
-rectangular parallelogram, the longest sides of which are 278 feet in
-length, and the shortest 101 feet. This great coach-house was built in
-the time of Ferdinand VII., after the design and under the direction of
-the architect Custodio Moreno, who gave to the exterior a simple and
-severe appearance. In this department are twenty splendid State
-carriages, which are only used on special occasions, among them being
-that of Juana _the Mad_, restored a few years since, and one hundred and
-twenty-one carriages of all kinds and shapes for daily use.
-
-Kings of three dynasties have made their homes in the Royal Palace of
-Madrid since the nineteenth century brought in with it so much havoc and
-disruption to Spain. The Bourbons, Joseph Buonaparte, and Amadeo of
-Savoy, each ‘abode his hour or two and went his way,’ and in 1873 and
-1874 the palace windows looked out upon a city which for the first time
-since its foundation was the capital of a republic. Nearly all the
-culminating incidents in the stormy history which has been enacted in
-Spain since the abdication of Charles IV. occurred in the Royal Palace.
-From this not too secure eminence Ferdinand the Desired saw his guards
-slaughtered by the frenzied mob. ‘Serve the fools right,’ he exclaimed;
-‘at all events I am inviolable.’ But the king had a fit of terror when
-he found his palace was left without guards to protect it from the
-crowd, and Riego, the man he hated, was taken into favour, in order that
-he might appease the populace.
-
-Through the terrible night of 7th October 1841, when Generals Concha
-and Leon made their determined attempt to kidnap Queen Isabella and her
-little sister, the Infanta Maria Luisa, the valiant eighteen halberdiers
-of the guard, commanded by Colonel Dalee, held the grand staircase of
-the palace against an army of revolutionists until the National Militia
-arrived to relieve them. Truly that night the halberdiers wrote a
-magnificent page of fidelity in the records of the guards.
-
-After a hopeless struggle to reduce Spanish affairs into something like
-order, Amadeo of Savoy issued from the Royal Palace his valedictory
-address to his people, and on the following day, 12th February 1873, he
-left Madrid, as he had entered it, a chevalier _sans peur et sans
-reproche_. In the same palace Alfonso XIII. was born and baptized, from
-the palace he set out to the church of San Jeronimo to be married to
-Victoria Eugénie of Battenberg, and here was born and baptized the
-Prince of the Asturias, the heir to the throne of Spain.
-
-[Illustration: PLATE 1
-
-ESCORIAL. VIEW OF THE PALACE]
-
-[Illustration: PLATE 2
-
-ESCORIAL. VIEW OF THE PALACE]
-
-[Illustration: PLATE 3
-
-ESCORIAL. VIEW OF THE PALACE (EAST SIDE)]
-
-[Illustration: PLATE 4
-
-ESCORIAL. NORTH-WEST ANGLE OF THE PALACE]
-
-[Illustration: PLATE 5
-
-ESCORIAL. PRINCIPAL FAÇADE AND ANGLE OF THE PALACE]
-
-[Illustration: PLATE 6
-
-ESCORIAL. VIEW OF THE PRINCIPAL STAIRCASE OF THE PALACE]
-
-[Illustration: PLATE 7
-
-ESCORIAL. HALL OF AMBASSADORS]
-
-[Illustration: PLATE 8
-
-ESCORIAL. RECEPTION HALL]
-
-[Illustration: PLATE 9
-
-ESCORIAL. VIEW OF THE DINING HALL]
-
-[Illustration: PLATE 10
-
-ESCORIAL. POMPEIAN HALL]
-
-[Illustration: PLATE 11
-
-ESCORIAL. LIBRARY]
-
-[Illustration: PLATE 12
-
-ESCORIAL. CHAPTER ROOM]
-
-[Illustration: PLATE 13
-
-ESCORIAL. “THE HOLY FAMILY,” BY RAPHAEL]
-
-[Illustration: PLATE 14
-
-ESCORIAL. “THE LAST SUPPER,” BY TITIAN]
-
-[Illustration: PLATE 15
-
-ESCORIAL. “A SMOKER,” BY TENIERS]
-
-[Illustration: PLATE 16
-
-ESCORIAL. “COUNTRY DANCE,” BY GOYA]
-
-[Illustration: PLATE 17
-
-ESCORIAL. “CHILDREN PICKING FRUIT,” BY GOYA. TAPESTRY]
-
-[Illustration: PLATE 18
-
-ESCORIAL. “THE GRAPE-SELLERS,” BY GOYA. TAPESTRY]
-
-[Illustration: PLATE 19
-
-ESCORIAL. “THE CHINA MERCHANT,” BY GOYA. TAPESTRY]
-
-[Illustration: PLATE 20
-
-“THE STORY OF THE PASSION.” DIPTYCH, IN IVORY, OF THE THIRTEENTH CENTURY
-
-(FROM THE CAMARIN OF ST. THERESA, ESCORIAL)]
-
-[Illustration: PLATE 21
-
-SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE]
-
-[Illustration: PLATE 22
-
-SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE AND THE CASCADE]
-
-[Illustration: PLATE 23
-
-SAN ILDEFONSO, LA GRANJA. GENERAL VIEW OF THE PALACE]
-
-[Illustration: PLATE 24
-
-SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE AND FOUNTAIN OF FAMA]
-
-[Illustration: PLATE 25
-
-LA GRANJA. VIEW OF THE PALACE FROM THE FOUNTAIN OF FAMA]
-
-[Illustration: PLATE 26
-
-SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE]
-
-[Illustration: PLATE 27
-
-SAN ILDEFONSO. THE PALACE IN PERSPECTIVE]
-
-[Illustration: PLATE 28
-
-SAN ILDEFONSO, LA GRANJA. ENTRANCE TO THE PALACE]
-
-[Illustration: PLATE 29
-
-SAN ILDEFONSO, LA GRANJA. GENERAL VIEW OF THE COLLEGIATE CHURCH AND THE
-PALACE]
-
-[Illustration: PLATE 30
-
-ENVIRONS OF LA GRANJA. PALACE OF RIO FRIO]
-
-[Illustration: PLATE 31
-
-SAN ILDEFONSO, LA GRANJA. THE CASCADE]
-
-[Illustration: PLATE 32
-
-LA GRANJA. THE PALACE, AND FOUNTAIN OF FAMA]
-
-[Illustration: PLATE 33
-
-LA GRANJA. THE FOUNTAIN OF FAMA]
-
-[Illustration: PLATE 34
-
-LA GRANJA. FOUNTAIN OF FAMA]
-
-[Illustration: PLATE 35
-
-SAN ILDEFONSO, LA GRANJA. FOUNTAIN OF THE HORSE-RACE]
-
-[Illustration: PLATE 36
-
-LA GRANJA. FOUNTAIN OF THE THREE GRACES]
-
-[Illustration: PLATE 37
-
-LA GRANJA. FOUNTAIN OF THE THREE GRACES]
-
-[Illustration: PLATE 38
-
-LA GRANJA. FOUNTAIN OF NEPTUNE]
-
-[Illustration: PLATE 39
-
-LA GRANJA. FOUNTAIN OF NEPTUNE]
-
-[Illustration: PLATE 40
-
-LA GRANJA. PART OF THE FOUNTAIN OF NEPTUNE]
-
-[Illustration: PLATE 41
-
-LA GRANJA. FOUNTAIN OF NEPTUNE]
-
-[Illustration: PLATE 42
-
-LA GRANJA. FOUNTAIN OF THE BATHS OF DIANA]
-
-[Illustration: PLATE 43
-
-LA GRANJA. THE FOUNTAIN OF DRAGONS]
-
-[Illustration: PLATE 44
-
-LA GRANJA. FOUNTAIN OF LATONA]
-
-[Illustration: PLATE 45
-
-LA GRANJA. FOUNTAIN OF ESLO, OR OF THE WINDS]
-
-[Illustration: PLATE 46
-
-LA GRANJA. FOUNTAIN OF ANDROMEDA]
-
-[Illustration: PLATE 47
-
-LA GRANJA. FOUNTAIN OF THE CANASTILLO]
-
-[Illustration: PLATE 48
-
-LA GRANJA. FOUNTAIN OF THE CUP]
-
-[Illustration: PLATE 49
-
-LA GRANJA. FOUNTAIN OF THE CUP]
-
-[Illustration: PLATE 50
-
-LA GRANJA. MOUTH OF THE ASNO, UNDERGROUND RIVER]
-
-[Illustration: PLATE 51
-
-SAN ILDEFONSO. THE RIVER]
-
-[Illustration: PLATE 52
-
-LA GRANJA. THE RESERVOIR]
-
-[Illustration: PLATE 53
-
-LA GRANJA. THE RESERVOIR]
-
-[Illustration: PLATE 54
-
-LA GRANJA. CASCADE OF THE RESERVOIR]
-
-[Illustration: PLATE 55
-
-SAN ILDEFONSO. THE LAKE]
-
-[Illustration: PLATE 56
-
-SAN ILDEFONSO. GROUP OF VASES IN THE PARTERRE OF ANDROMEDA]
-
-[Illustration: PLATE 57
-
-SAN ILDEFONSO. THREE VASES IN THE PARTERRE OF ANDROMEDA]
-
-[Illustration: PLATE 58
-
-SAN ILDEFONSO. VASE IN THE PARTERRE DE LA FAMA]
-
-[Illustration: PLATE 59
-
-SAN ILDEFONSO. VASE IN THE PARTERRE DE LA FAMA]
-
-[Illustration: PLATE 60
-
-SAN ILDEFONSO. VASE IN THE PARTERRE DE LA FAMA]
-
-[Illustration: PLATE 61
-
-SAN ILDEFONSO. VASE OF THE BATHS OF DIANA]
-
-[Illustration: PLATE 62
-
-SAN ILDEFONSO. VASE IN THE PARTERRE OF ANDROMEDA]
-
-[Illustration: PLATE 63
-
-SAN ILDEFONSO. VASE IN THE PARTERRE OF ANDROMEDA]
-
-[Illustration: PLATE 64
-
-SAN ILDEFONSO. VASE IN THE PARTERRE OF ANDROMEDA]
-
-[Illustration: PLATE 65
-
-EL PARDO. VIEW OF THE PALACE FROM THE GROUNDS]
-
-[Illustration: PLATE 66
-
-EL PARDO. THE PALACE]
-
-[Illustration: PLATE 67
-
-EL PARDO. THE PALACE]
-
-[Illustration: PLATE 68
-
-EL PARDO. THE PALACE]
-
-[Illustration: PLATE 69
-
-EL PARDO. THE PALACE]
-
-[Illustration: PLATE 70
-
-EL PARDO. HALL OF AMBASSADORS]
-
-[Illustration: PLATE 71
-
-EL PARDO. HALL OF AMBASSADORS]
-
-[Illustration: PLATE 72
-
-EL PARDO. DINING-ROOM]
-
-[Illustration: PLATE 73
-
-EL PARDO. AN ANTE-ROOM]
-
-[Illustration: PLATE 74
-
-EL PARDO. ANTE-ROOM]
-
-[Illustration: PLATE 75
-
-EL PARDO. PRIVATE ROOM]
-
-[Illustration: PLATE 76
-
-EL PARDO. PRIVATE ROOM]
-
-[Illustration: PLATE 77
-
-EL PARDO. PROSCENIUM AND SET-SCENE OF THE ROYAL THEATRE]
-
-[Illustration: PLATE 78
-
-EL PARDO. ROYAL BOX IN THE THEATRE]
-
-[Illustration: PLATE 79
-
-EL PARDO. “CASETA DEL PRINCIPE”]
-
-[Illustration: PLATE 80
-
-ARANJUEZ. PRINCIPAL FAÇADE OF THE PALACE]
-
-[Illustration: PLATE 81
-
-ARANJUEZ. SOUTHERN FAÇADE OF THE ROYAL PALACE]
-
-[Illustration: PLATE 82
-
-ARANJUEZ. THE ROYAL PALACE FROM THE PARTERRE]
-
-[Illustration: PLATE 83
-
-ARANJUEZ. THE ROYAL PALACE FROM THE GARDENS]
-
-[Illustration: PLATE 84
-
-ARANJUEZ. THE ROYAL PALACE AND THE SUSPENSION BRIDGE OVER THE TAJO]
-
-[Illustration: PLATE 85
-
-ARANJUEZ. THE GRAND STAIRCASE]
-
-[Illustration: PLATE 86
-
-ARANJUEZ. PORCELAIN ROOM, JAPANESE STYLE]
-
-[Illustration: PLATE 87
-
-ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE]
-
-[Illustration: PLATE 88
-
-ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE]
-
-[Illustration: PLATE 89
-
-ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE]
-
-[Illustration: PLATE 90
-
-ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE]
-
-[Illustration: PLATE 91
-
-ARANJUEZ. LA CASA DEL LABRADOR]
-
-[Illustration: PLATE 92
-
-ARANJUEZ. CONVENT OF SAN ANTONIO]
-
-[Illustration: PLATE 93
-
-ARANJUEZ. ENTRANCE TO THE GARDENS OF THE ISLAND]
-
-[Illustration: PLATE 94
-
-ARANJUEZ. FOUNTAIN IN THE PLAZA DE SAN ANTONIO]
-
-[Illustration: PLATE 95
-
-ARANJUEZ. AVENUE OF THE CATHOLIC SOVEREIGNS, IN THE GARDENS OF THE
-ISLAND]
-
-[Illustration: PLATE 96
-
-ARANJUEZ. JUPITER, BRONZE GROUP IN THE GARDENS OF THE ISLAND]
-
-[Illustration: PLATE 97
-
-ARANJUEZ. THE GODDESS CERES, BRONZE GROUP IN THE GARDENS OF THE ISLAND]
-
-[Illustration: PLATE 98
-
-ARANJUEZ. THE GODDESS JUNO, BRONZE GROUP IN THE GARDENS OF THE ISLAND]
-
-[Illustration: PLATE 99
-
-ARANJUEZ. PAVILIONS OF THE RIVER, IN THE GARDEN OF THE PRINCE]
-
-[Illustration: PLATE 100
-
-ARANJUEZ. FOUNTAIN OF APOLLO, IN THE GARDEN OF THE PRINCE]
-
-[Illustration: PLATE 101
-
-ARANJUEZ. FOUNTAIN OF CERES, IN THE GARDEN OF THE PRINCE]
-
-[Illustration: PLATE 102
-
-ARANJUEZ. FOUNTAIN OF NARCISSUS, IN THE GARDEN OF THE PRINCE]
-
-[Illustration: PLATE 103
-
-ARANJUEZ. FOUNTAIN OF THE SWAN, IN THE GARDEN OF THE PRINCE]
-
-[Illustration: PLATE 104
-
-ARANJUEZ. GENERAL VIEW OF THE TAGO AND THE PARTERRE]
-
-[Illustration: PLATE 105
-
-ARANJUEZ. FOUNTAIN OF HERCULES, IN THE GARDENS OF THE ISLAND]
-
-[Illustration: PLATE 106
-
-ARANJUEZ. FOUNTAIN OF HERCULES, IN THE GARDENS OF THE ISLAND]
-
-[Illustration: PLATE 107
-
-ARANJUEZ. FOUNTAIN OF APOLLO, IN THE GARDENS OF THE ISLAND]
-
-[Illustration: PLATE 108
-
-MIRAMAR. SIDE VIEW OF PALACE]
-
-[Illustration: PLATE 109
-
-MIRAMAR. RECEPTION ROOM]
-
-[Illustration: PLATE 110
-
-MIRAMAR. BILLIARD ROOM]
-
-[Illustration: PLATE 111
-
-SEVILLE. FAÇADE OF THE ALCAZAR]
-
-[Illustration: PLATE 112
-
-SEVILLE. ALCAZAR--GATES OF THE PRINCIPAL ENTRANCE]
-
-[Illustration: PLATE 113
-
-SEVILLE. INTERIOR OF THE HALL OF AMBASSADORS]
-
-[Illustration: PLATE 114
-
-SEVILLE. INTERIOR OF THE HALL OF AMBASSADORS]
-
-[Illustration: PLATE 115
-
-SEVILLE. INTERIOR OF THE HALL OF AMBASSADORS]
-
-[Illustration: PLATE 116
-
-SEVILLE. HALL OF AMBASSADORS]
-
-[Illustration: PLATE 117
-
-SEVILLE. HALL OF AMBASSADORS]
-
-[Illustration: PLATE 118
-
-SEVILLE. COURT OF THE HUNDRED VIRGINS]
-
-[Illustration: PLATE 119
-
-SEVILLE. COURT OF THE DOLLS]
-
-[Illustration: PLATE 120
-
-SEVILLE. COURT OF THE DOLLS, FROM THE ROOM OF THE PRINCE]
-
-[Illustration: PLATE 121
-
-SEVILLE. COURT OF THE DOLLS]
-
-[Illustration: PLATE 122
-
-SEVILLE. COURT OF THE DOLLS]
-
-[Illustration: PLATE 123
-
-SEVILLE. COURT OF THE DOLLS]
-
-[Illustration: PLATE 124
-
-SEVILLE. UPPER PART OF THE COURT OF THE DOLLS]
-
-[Illustration: PLATE 125
-
-SEVILLE. DORMITORY OF THE MOORISH KINGS]
-
-[Illustration: PLATE 126
-
-SEVILLE. SLEEPING SALOON OF THE MOORISH KINGS]
-
-[Illustration: PLATE 127
-
-SEVILLE. ENTRANCE TO THE DORMITORY OF THE MOORISH KINGS]
-
-[Illustration: PLATE 128
-
-SEVILLE. ALCAZAR--VIEW OF THE GALLERY FROM THE SECOND FLOOR]
-
-[Illustration: PLATE 129
-
-SEVILLE. ALCAZAR--HALL IN WHICH KING ST. FERDINAND DIED]
-
-[Illustration: PLATE 130
-
-SEVILLE. INTERIOR OF THE HALL OF ST. FERDINAND]
-
-[Illustration: PLATE 131
-
-SEVILLE. FRONT OF THE HALL OF ST. FERDINAND]
-
-[Illustration: PLATE 132
-
-MADRID. THE ROYAL PALACE]
-
-[Illustration: PLATE 133
-
-MADRID. THE ROYAL PALACE FROM THE PLAZA DE ORIENTE]
-
-[Illustration: PLATE 134
-
-MADRID. ROYAL PALACE]
-
-[Illustration: PLATE 135
-
-MADRID. PRINCIPAL FAÇADE OF THE PALACE]
-
-[Illustration: PLATE 136
-
-MADRID. THE ROYAL PALACE FROM THE PLAZA DE ORIENTE]
-
-[Illustration: PLATE 137
-
-MADRID. THE ROYAL PALACE]
-
-[Illustration: PLATE 138
-
-MADRID. THE ROYAL PALACE]
-
-[Illustration: PLATE 139
-
-MADRID. PALACE FROM THE PLAZA DE LA ARMERIA]
-
-[Illustration: PLATE 140
-
-MADRID. THE GRAND STAIRCASE OF THE PALACE]
-
-[Illustration: PLATE 141
-
-MADRID. PRINCIPAL STAIRCASE OF THE PALACE]
-
-[Illustration: PLATE 142
-
-MADRID. GRAND STAIRCASE IN THE PALACE]
-
-[Illustration: PLATE 143
-
-MADRID. THE GRAND STAIRCASE]
-
-[Illustration: PLATE 144
-
-MADRID. HALL OF COLUMNS]
-
-[Illustration: PLATE 145
-
-MADRID. GENERAL VIEW OF THE THRONE ROOM]
-
-[Illustration: PLATE 146
-
-MADRID. THE THRONE, ROYAL PALACE]
-
-[Illustration: PLATE 147
-
-MADRID. THE THRONE, ROYAL PALACE]
-
-[Illustration: PLATE 148
-
-MADRID. DETAIL OF THRONE ROOM]
-
-[Illustration: PLATE 149
-
-MADRID. CEILING OF THE THRONE ROOM, BY TIEPOLO]
-
-[Illustration: PLATE 150
-
-MADRID. CEILING IN THE THRONE ROOM, BY TIEPOLO]
-
-[Illustration: PLATE 151
-
-MADRID. CEILING OF THE THRONE ROOM, BY TIEPOLO]
-
-[Illustration: PLATE 152
-
-MADRID. ROYAL PALACE. THE KING’S PRIVY COUNCIL CHAMBER]
-
-[Illustration: PLATE 153
-
-MADRID. ROYAL PALACE. THE QUEEN’S ROOM]
-
-[Illustration: PLATE 154
-
-MADRID. THE MUSIC ROOM, ROYAL PALACE]
-
-[Illustration: PLATE 155
-
-MADRID. THE ROOM OF MIRRORS, ROYAL PALACE]
-
-[Illustration: PLATE 156
-
-MADRID. RECEPTION ROOM, ROYAL PALACE]
-
-[Illustration: PLATE 157
-
-MADRID. BRONZE URN IN THE RECEPTION ROOM, ROYAL PALACE]
-
-[Illustration: PLATE 158
-
-MADRID. ROOM OF CHARLES III.]
-
-[Illustration: PLATE 159
-
-MADRID. CHINESE ROOM BY GASPARINI, ROYAL PALACE]
-
-[Illustration: PLATE 160
-
-MADRID. CHINESE ROOM BY GASPARINI, ROYAL PALACE]
-
-[Illustration: PLATE 161
-
-MADRID. PORCELAIN ROOM IN THE PALACE]
-
-[Illustration: PLATE 162
-
-MADRID. CORNER OF THE PORCELAIN ROOM]
-
-[Illustration: PLATE 163
-
-MADRID. THE PORCELAIN ROOM]
-
-[Illustration: PLATE 164
-
-MADRID, PORCELAIN GROUP IN THE BUEN RETIRO]
-
-
-
-
-
-
-
-End of Project Gutenberg's Royal Palaces of Spain, by Albert F. Calvert
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-
-The Project Gutenberg EBook of Royal Palaces of Spain, by Albert F. Calvert
-
-This eBook is for the use of anyone anywhere at no cost and with
-almost no restrictions whatsoever.  You may copy it, give it away or
-re-use it under the terms of the Project Gutenberg License included
-with this eBook or online at www.gutenberg.org/license
-
-
-Title: Royal Palaces of Spain
-
-Author: Albert F. Calvert
-
-Release Date: September 5, 2020 [EBook #63126]
-
-Language: English
-
-Character set encoding: UTF-8
-
-*** START OF THIS PROJECT GUTENBERG EBOOK ROYAL PALACES OF SPAIN ***
-
-
-
-
-Produced by Chuck Greif and the Online Distributed
-Proofreading Team at http://www.pgdp.net (This file was
-produced from images available at The Internet Archive)
-
-
-
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-</pre>
-
-<hr class="full" />
-
-<p class="figcenter">
-<a href="images/cover.jpg">
-<img src="images/cover.jpg" alt="[Image of
-the book's cover unavailable.]"
-height="550" /></a>
-</p>
-
-<table border="0" cellpadding="0" cellspacing="0" summary=""
-style="border: 2px black solid;margin:auto auto;max-width:50%;
-padding:1%;">
-<tr><td>
-
-<p class="c"><a href="#CONTENTS">Contents.</a></p>
-<p class="c"><a href="#ILLUSTRATIONS">List of Illustrations</a><br /> <span class="nonvis">(In certain versions of this etext [in certain browsers]
-clicking on the image will bring up a larger version.)</span></p>
-
-<p class="c">(etext transcriber's note)</p></td></tr>
-</table>
-
-<p><span class="pagenum"><a name="page_i" id="page_i">{i}</a></span>&nbsp; </p>
-
-<p class="c">THE SPANISH SERIES<br /><br /><br />
-ROYAL PALACES OF SPAIN</p>
-
-<p><span class="pagenum"><a name="page_ii" id="page_ii">{ii}</a></span></p>
-
-<div class="bbox">
-<p class="c">THE SPANISH SERIES<br /><br />
-<i>EDITED BY<br />
-ALBERT F. CALVERT</i></p>
-
-<table border="0" cellpadding="0" cellspacing="0" summary="">
-
-<tr><td>
-<span class="smcap">Goya</span><br />
-<span class="smcap">Toledo</span><br />
-<span class="smcap">Madrid</span><br />
-<span class="smcap">Seville</span><br />
-<span class="smcap">Murillo</span><br />
-<span class="smcap">Cordova</span><br />
-<span class="smcap">El Greco</span><br />
-<span class="smcap">Velazquez</span><br />
-<span class="smcap">Cervantes</span><br />
-<span class="smcap">The Prado</span><br />
-<span class="smcap">The Escorial</span><br />
-<span class="smcap">Royal Palaces of Spain</span><br />
-<span class="smcap">Spanish Arms and Armour</span><br />
-<span class="smcap">Granada and the Alhambra</span><br />
-<span class="smcap">Leon, Burgos, and Salamanca</span><br />
-<span class="smcap">Valladolid, Oviedo, Segovia, Zamora, Avila, and Zaragoza</span><br />
-</td></tr>
-
-<tr><td class="c"><i>In preparation</i>&mdash;</td></tr>
-
-<tr><td>
-<span class="smcap">Galicia</span><br />
-<span class="smcap">Sculpture in Spain</span><br />
-<span class="smcap">Cities of Andalucia</span><br />
-<span class="smcap">Murcia and Valencia</span><br />
-<span class="smcap">Tapestries of the Royal Palace</span><br />
-<span class="smcap">Catalonia and Balearic Islands</span><br />
-<span class="smcap">Santander, Viscaya, and Navarre</span>
-</td></tr>
-</table>
-</div>
-
-<p><span class="pagenum"><a name="page_iii" id="page_iii">{iii}</a></span>&nbsp; </p>
-
-<h1><span class="redd">
-ROYAL PALACES<br />
-OF SPAIN</span></h1>
-
-<div class="poetry"><div class="poem">
-<div class="stanza1"><b>
-A HISTORICAL &nbsp;&amp;&nbsp; DESCRIPTIVE<br />
-ACCOUNT OF THE SEVEN &nbsp;PRIN-<br />CIPAL
-PALACES OF THE SPANISH<br />
-KINGS, &nbsp; WITH &nbsp;&nbsp;  164 &nbsp;&nbsp; ILLUSTRA-<br />
-TIONS.
-BY&nbsp;  ALBERT&nbsp;  F.&nbsp;  CALVERT</b>
-</div></div>
-</div>
-<p class="c"><b><span class="redd">LONDON: JOHN LANE, THE BODLEY HEAD</span><br />
-NEW YORK: JOHN LANE COMPANY MCMIX</b><br />
-</p>
-
-<p><span class="pagenum"><a name="page_iv" id="page_iv">{iv}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_v" id="page_v">{v}</a></span>&nbsp; </p>
-
-<p class="c"><small>Edinburgh: T. and <span class="smcap">A. Constable</span>, Printers to His Majesty</small></p>
-
-<h2><a name="PREFACE" id="PREFACE"></a>PREFACE</h2>
-
-<p class="nind"><span class="smcap">Since</span> despotism has been replaced by constitutional rule the divinity
-that doth hedge a King has shed something of its significance, but the
-staunchest republican will admit that there is at least a certain
-picturesqueness about royalty; and the interest attaching to a crowned
-head naturally extends to the ancestral homes of majesty. Spain is
-unusually rich in ‘cloud-capped towers and gorgeous palaces,’ many of
-which have been the scenes of stirring and momentous events in her
-history. On the gloomy pile of the Escorial&mdash;worthier of an Egyptian
-Pharaoh&mdash;Philip <small>II.</small> stamped conspicuously and indelibly his own sombre
-personality; Aranjuez and La Granja reveal to us monarchy in its lighter
-aspect; the Alcazar reminds us of the days when Castilian royalty aped
-the pomp of the Saracen and became itself half-Oriental; the Royal
-Palace of Madrid epitomises the greatest crisis<span class="pagenum"><a name="page_vi" id="page_vi">{vi}</a></span> in the nation’s
-history, of the expulsion of its legitimate sovereign, and of the
-usurpation of the eldest Buonaparte. Napoleon himself ascended its grand
-staircase, and looking round at the splendid home of the Spanish
-Bourbons, he was able to say to his brother, ‘I hold at last this Spain
-so much desired!’</p>
-
-<p>These palaces of the haughtiest royal race in Europe are endowed with
-the rarest treasures of art and taste such as only a semi-despotic Power
-could accumulate in bygone days. It is the object of this little book to
-reveal these riches to the curious in such matters by means of
-illustrations, the accompanying text being only to be considered in the
-light of explanatory notes and chronological data.</p>
-
-<p class="r">
-A. F. C.<br />
-<span class="pagenum"><a name="page_vii" id="page_vii">{vii}</a></span></p>
-
-<h2><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2>
-
-<table border="0" cellpadding="5" cellspacing="0" summary="">
-
-<tr><td><small>CHAP.</small></td><td>&nbsp;</td>
-<td><small>PAGE</small></td></tr>
-
-<tr><td valign="top" class="rt"><a href="#I">I.</a></td><td valign="top"><a href="#I">THE ESCORIAL</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr>
-
-<tr><td valign="top" class="rt"><a href="#II">II.</a></td><td valign="top"><a href="#II">LA GRANJA (SAN ILDEFONSO)</a></td><td class="rt" valign="bottom"><a href="#page_19">19</a></td></tr>
-
-<tr><td valign="top" class="rt"><a href="#III">III.</a></td><td valign="top"><a href="#III">EL PARDO</a></td><td class="rt" valign="bottom"><a href="#page_38">38</a></td></tr>
-
-<tr><td valign="top" class="rt"><a href="#IV">IV.</a></td><td valign="top"><a href="#IV">ARANJUEZ</a></td><td class="rt" valign="bottom"><a href="#page_49">49</a></td></tr>
-
-<tr><td valign="top" class="rt"><a href="#V">V.</a></td><td valign="top"><a href="#V">MIRAMAR</a></td><td class="rt" valign="bottom"><a href="#page_64">64</a></td></tr>
-
-<tr><td valign="top" class="rt"><a href="#VI">VI.</a></td><td valign="top"><a href="#VI">EL ALCAZAR (SEVILLE)</a></td><td class="rt" valign="bottom"><a href="#page_74">74</a></td></tr>
-
-<tr><td valign="top" class="rt"><a href="#VII">VII.</a></td><td valign="top"><a href="#VII">ROYAL PALACE (MADRID)</a></td><td class="rt" valign="bottom"><a href="#page_91">91</a></td></tr>
-</table>
-
-<p><span class="pagenum"><a name="page_viii" id="page_viii">{viii}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_ix" id="page_ix">{ix}</a></span>&nbsp; </p>
-
-<h2><a name="ILLUSTRATIONS" id="ILLUSTRATIONS"></a>ILLUSTRATIONS</h2>
-
-<table border="0" cellpadding="1" cellspacing="0">
-<tr><th colspan="2">ESCORIAL</th></tr>
-<tr><td><small>SUBJECT</small></td>
-<td><small>PLATE</small></td></tr>
-<tr><td valign="top"><a href="#plt_001">View of the Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_001">1</a></td></tr>
-<tr><td valign="top"><a href="#plt_002">View of the Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_002">2</a></td></tr>
-<tr><td valign="top"><a href="#plt_003">View of the Palace (east side),</a></td><td class="rt" valign="bottom"><a href="#plt_003">3</a></td></tr>
-<tr><td valign="top"><a href="#plt_004">North-west angle of the Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_004">4</a></td></tr>
-<tr><td valign="top"><a href="#plt_005">Principal Façade and Angle of the Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_005">5</a></td></tr>
-<tr><td valign="top"><a href="#plt_006">View of the Principal Staircase of the Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_006">6</a></td></tr>
-<tr><td valign="top"><a href="#plt_007">Hall of Ambassadors,</a></td><td class="rt" valign="bottom"><a href="#plt_007">7</a></td></tr>
-<tr><td valign="top"><a href="#plt_008">Reception Hall,</a></td><td class="rt" valign="bottom"><a href="#plt_008">8</a></td></tr>
-<tr><td valign="top"><a href="#plt_009">View of the Dining Hall,</a></td><td class="rt" valign="bottom"><a href="#plt_009">9</a></td></tr>
-<tr><td valign="top"><a href="#plt_010">Pompeian Hall,</a></td><td class="rt" valign="bottom"><a href="#plt_010">10</a></td></tr>
-<tr><td valign="top"><a href="#plt_011">Library,</a></td><td class="rt" valign="bottom"><a href="#plt_011">11</a></td></tr>
-<tr><td valign="top"><a href="#plt_012">Chapter Room,</a></td><td class="rt" valign="bottom"><a href="#plt_012">12</a></td></tr>
-<tr><td valign="top"><a href="#plt_013">The Holy Family, by Raphael,</a></td><td class="rt" valign="bottom"><a href="#plt_013">13</a></td></tr>
-<tr><td valign="top"><a href="#plt_014">The Last Supper, by Titian,</a></td><td class="rt" valign="bottom"><a href="#plt_014">14</a></td></tr>
-<tr><td valign="top"><a href="#plt_015">A Smoker, by Teniers,</a></td><td class="rt" valign="bottom"><a href="#plt_015">15</a></td></tr>
-<tr><td valign="top"><a href="#plt_016">Country Dance, by Goya. Tapestry,</a></td><td class="rt" valign="bottom"><a href="#plt_016">16</a></td></tr>
-<tr><td valign="top"><a href="#plt_017">Children Picking Fruit, by Goya. Tapestry,</a></td><td class="rt" valign="bottom"><a href="#plt_017">17</a></td></tr>
-<tr><td valign="top"><a href="#plt_018">The Grape-sellers, by Goya. Tapestry,</a></td><td class="rt" valign="bottom"><a href="#plt_018">18</a></td></tr>
-<tr><td valign="top"><a href="#plt_019">The China Merchant, by Goya. Tapestry,</a></td><td class="rt" valign="bottom"><a href="#plt_019">19</a></td></tr>
-<tr><td valign="top"><a href="#plt_020">Diptych, in Ivory, of the 13th Century,</a></td><td class="rt" valign="bottom"><a href="#plt_020">20</a></td></tr>
-<tr><th colspan="2">SAN ILDEFONSO, LA GRANJA</th></tr>
-<tr><td valign="top"><a href="#plt_021">View of the Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_021">21</a></td></tr>
-<tr><td valign="top"><a href="#plt_022">View of the Palace and the Cascade,</a></td><td class="rt" valign="bottom"><a href="#plt_022">22</a>
-<span class="pagenum"><a name="page_x" id="page_x">{x}</a></span>
-</td></tr>
-<tr><td valign="top"><a href="#plt_023">View of the Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_023">23</a></td></tr>
-<tr><td valign="top"><a href="#plt_024">View of the Palace and Fountain of the Fama,</a></td><td class="rt" valign="bottom"><a href="#plt_024">24</a></td></tr>
-<tr><td valign="top"><a href="#plt_025">View of the Palace from the Fountain of the Fama,</a></td><td class="rt" valign="bottom"><a href="#plt_025">25</a></td></tr>
-<tr><td valign="top"><a href="#plt_026">View of the Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_026">26</a></td></tr>
-<tr><td valign="top"><a href="#plt_027">The Palace in perspective,</a></td><td class="rt" valign="bottom"><a href="#plt_027">27</a></td></tr>
-<tr><td valign="top"><a href="#plt_028">Entrance to the Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_028">28</a></td></tr>
-<tr><td valign="top"><a href="#plt_029">View of the Collegiate Church and the Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_029">29</a></td></tr>
-<tr><td valign="top"><a href="#plt_030">Palace of Rio Frio,</a></td><td class="rt" valign="bottom"><a href="#plt_030">30</a></td></tr>
-<tr><td valign="top"><a href="#plt_031">Cascade,</a></td><td class="rt" valign="bottom"><a href="#plt_031">31</a></td></tr>
-<tr><td valign="top"><a href="#plt_032">Palace and Fountain of Fama,</a></td><td class="rt" valign="bottom"><a href="#plt_032">32</a></td></tr>
-<tr><td valign="top"><a href="#plt_033">Fountain of Fama,</a></td><td class="rt" valign="bottom"><a href="#plt_033">33</a></td></tr>
-<tr><td valign="top"><a href="#plt_034">Fountain of Fama,</a></td><td class="rt" valign="bottom"><a href="#plt_034">34</a></td></tr>
-<tr><td valign="top"><a href="#plt_035">Fountain of the Courser,</a></td><td class="rt" valign="bottom"><a href="#plt_035">35</a></td></tr>
-<tr><td valign="top"><a href="#plt_036">Fountain of the Three Graces,</a></td><td class="rt" valign="bottom"><a href="#plt_036">36</a></td></tr>
-<tr><td valign="top"><a href="#plt_037">Fountain of the Three Graces,</a></td><td class="rt" valign="bottom"><a href="#plt_037">37</a></td></tr>
-<tr><td valign="top"><a href="#plt_038">Fountain of Neptune,</a></td><td class="rt" valign="bottom"><a href="#plt_038">38</a></td></tr>
-<tr><td valign="top"><a href="#plt_039">Fountain of Neptune,</a></td><td class="rt" valign="bottom"><a href="#plt_039">39</a></td></tr>
-<tr><td valign="top"><a href="#plt_040">Part of the Fountain of Neptune,</a></td><td class="rt" valign="bottom"><a href="#plt_040">40</a></td></tr>
-<tr><td valign="top"><a href="#plt_041">Fountain of Neptune,</a></td><td class="rt" valign="bottom"><a href="#plt_041">41</a></td></tr>
-<tr><td valign="top"><a href="#plt_042">Fountain of the Baths of Diana,</a></td><td class="rt" valign="bottom"><a href="#plt_042">42</a></td></tr>
-<tr><td valign="top"><a href="#plt_043">Fountain of Dragons,</a></td><td class="rt" valign="bottom"><a href="#plt_043">43</a></td></tr>
-<tr><td valign="top"><a href="#plt_044">Fountain of Latona,</a></td><td class="rt" valign="bottom"><a href="#plt_044">44</a></td></tr>
-<tr><td valign="top"><a href="#plt_045">Fountain of Eslo, or of the Winds,</a></td><td class="rt" valign="bottom"><a href="#plt_045">45</a></td></tr>
-<tr><td valign="top"><a href="#plt_046">Fountain of Andromeda,</a></td><td class="rt" valign="bottom"><a href="#plt_046">46</a></td></tr>
-<tr><td valign="top"><a href="#plt_047">Fountain of the Canastillo,</a></td><td class="rt" valign="bottom"><a href="#plt_047">47</a></td></tr>
-<tr><td valign="top"><a href="#plt_048">Fountain of the Cup,</a></td><td class="rt" valign="bottom"><a href="#plt_048">48</a></td></tr>
-<tr><td valign="top"><a href="#plt_049">Fountain of the Cup,</a></td><td class="rt" valign="bottom"><a href="#plt_049">49</a></td></tr>
-<tr><td valign="top"><a href="#plt_050">Source of the Arno, underground river,</a></td><td class="rt" valign="bottom"><a href="#plt_050">50</a></td></tr>
-<tr><td valign="top"><a href="#plt_051">The River,</a></td><td class="rt" valign="bottom"><a href="#plt_051">51</a></td></tr>
-<tr><td valign="top"><a href="#plt_052">The Reservoir,</a></td><td class="rt" valign="bottom"><a href="#plt_052">52</a></td></tr>
-<tr><td valign="top"><a href="#plt_053">The Reservoir,</a></td><td class="rt" valign="bottom"><a href="#plt_053">53</a></td></tr>
-<tr><td valign="top"><a href="#plt_054">Cascade of the Reservoir,</a></td><td class="rt" valign="bottom"><a href="#plt_054">54</a></td></tr>
-<tr><td valign="top"><a href="#plt_055">The Lake,</a></td><td class="rt" valign="bottom"><a href="#plt_055">55</a></td></tr>
-<tr><td valign="top"><a href="#plt_056">Group of Vases in the Parterre of Andromeda,</a></td><td class="rt" valign="bottom"><a href="#plt_056">56</a>
-<span class="pagenum"><a name="page_xi" id="page_xi">{xi}</a></span>
-</td></tr>
-<tr><td valign="top"><a href="#plt_057">Three Vases in the Parterre of Andromeda,</a></td><td valign="bottom" class="rt"><a href="#plt_057">57</a></td></tr>
-<tr><td valign="top"><a href="#plt_058">Vase in the Parterre de la Fama,</a></td><td class="rt" valign="bottom"><a href="#plt_058">58</a></td></tr>
-<tr><td valign="top"><a href="#plt_059">Vase in the Parterre de la Fama,</a></td><td class="rt" valign="bottom"><a href="#plt_059">59</a></td></tr>
-<tr><td valign="top"><a href="#plt_060">Vase in the Parterre de la Fama,</a></td><td class="rt" valign="bottom"><a href="#plt_060">60</a></td></tr>
-<tr><td valign="top"><a href="#plt_061">Vase of the Baths of Diana,</a></td><td class="rt" valign="bottom"><a href="#plt_061">61</a></td></tr>
-<tr><td valign="top"><a href="#plt_062">Vase in the Parterre of Andromeda,</a></td><td class="rt" valign="bottom"><a href="#plt_062">62</a></td></tr>
-<tr><td valign="top"><a href="#plt_063">Vase in the Parterre of Andromeda,</a></td><td class="rt" valign="bottom"><a href="#plt_063">63</a></td></tr>
-<tr><td valign="top"><a href="#plt_064">Vase in the Parterre of Andromeda,</a></td><td class="rt" valign="bottom"><a href="#plt_064">64</a></td></tr>
-<tr><th colspan="2">EL PARDO</th></tr>
-<tr><td valign="top"><a href="#plt_065">View of the Palace from the Grounds,</a></td><td valign="bottom" class="rt"><a href="#plt_065">65</a></td></tr>
-<tr><td valign="top"><a href="#plt_066">The Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_066">66</a></td></tr>
-<tr><td valign="top"><a href="#plt_067">The Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_067">67</a></td></tr>
-<tr><td valign="top"><a href="#plt_068">The Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_068">68</a></td></tr>
-<tr><td valign="top"><a href="#plt_069">The Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_069">69</a></td></tr>
-<tr><td valign="top"><a href="#plt_070">Hall of Ambassadors,</a></td><td class="rt" valign="bottom"><a href="#plt_070">70</a></td></tr>
-<tr><td valign="top"><a href="#plt_071">Hall of Ambassadors,</a></td><td class="rt" valign="bottom"><a href="#plt_071">71</a></td></tr>
-<tr><td valign="top"><a href="#plt_072">Dining Room,</a></td><td class="rt" valign="bottom"><a href="#plt_072">72</a></td></tr>
-<tr><td valign="top"><a href="#plt_073">Ante-Room,</a></td><td class="rt" valign="bottom"><a href="#plt_073">73</a></td></tr>
-<tr><td valign="top"><a href="#plt_074">Ante-Room,</a></td><td class="rt" valign="bottom"><a href="#plt_074">74</a></td></tr>
-<tr><td valign="top"><a href="#plt_075">Private Room,</a></td><td class="rt" valign="bottom"><a href="#plt_075">75</a></td></tr>
-<tr><td valign="top"><a href="#plt_076">Private Room,</a></td><td class="rt" valign="bottom"><a href="#plt_076">76</a></td></tr>
-<tr><td valign="top"><a href="#plt_077">Scene of the Royal Theatre,</a></td><td class="rt" valign="bottom"><a href="#plt_077">77</a></td></tr>
-<tr><td valign="top"><a href="#plt_078">Royal Box in the Theatre,</a></td><td class="rt" valign="bottom"><a href="#plt_078">78</a></td></tr>
-<tr><td valign="top"><a href="#plt_079">Casa del Principe,</a></td><td class="rt" valign="bottom"><a href="#plt_079">79</a></td></tr>
-<tr><th colspan="2">ARANJUEZ</th></tr>
-<tr><td valign="top"><a href="#plt_080">Principal Façade of the Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_080">80</a></td></tr>
-<tr><td valign="top"><a href="#plt_081">Southern Façade of the Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_081">81</a></td></tr>
-<tr><td valign="top"><a href="#plt_082">Royal Palace from the Parterre,</a></td><td class="rt" valign="bottom"><a href="#plt_082">82</a></td></tr>
-<tr><td valign="top"><a href="#plt_083">Royal Palace from the Gardens,</a></td><td class="rt" valign="bottom"><a href="#plt_083">83</a></td></tr>
-<tr><td valign="top"><a href="#plt_084">Royal Palace and Suspension Bridge over the Tajo,</a></td><td class="rt" valign="bottom"><a href="#plt_084">84</a>
-<span class="pagenum"><a name="page_xii" id="page_xii">{xii}</a></span>
-</td></tr>
-<tr><td valign="top"><a href="#plt_085">The Grand Staircase,</a></td><td valign="bottom" class="rt"><a href="#plt_085">85</a></td></tr>
-<tr><td valign="top"><a href="#plt_086">Porcelain Room, Japanese style,</a></td><td class="rt" valign="bottom"><a href="#plt_086">86</a></td></tr>
-<tr><td valign="top"><a href="#plt_087">Detail of Porcelain Room, Japanese style,</a></td><td class="rt" valign="bottom"><a href="#plt_087">87</a></td></tr>
-<tr><td valign="top"><a href="#plt_088">Detail of Porcelain Room, Japanese style,</a></td><td class="rt" valign="bottom"><a href="#plt_088">88</a></td></tr>
-<tr><td valign="top"><a href="#plt_089">Detail of the Porcelain Room, Japanese style,</a></td><td class="rt" valign="bottom"><a href="#plt_089">89</a></td></tr>
-<tr><td valign="top"><a href="#plt_090">Detail of the Porcelain Room, Japanese style,</a></td><td class="rt" valign="bottom"><a href="#plt_090">90</a></td></tr>
-<tr><td valign="top"><a href="#plt_091">Casa del Labrador,</a></td><td class="rt" valign="bottom"><a href="#plt_091">91</a></td></tr>
-<tr><td valign="top"><a href="#plt_092">Convent of San Antonio,</a></td><td class="rt" valign="bottom"><a href="#plt_092">92</a></td></tr>
-<tr><td valign="top"><a href="#plt_093">Entrance to the Gardens of the Island,</a></td><td class="rt" valign="bottom"><a href="#plt_093">93</a></td></tr>
-<tr><td valign="top"><a href="#plt_094">Fountain in the Plaza de San Antonio,</a></td><td class="rt" valign="bottom"><a href="#plt_094">94</a></td></tr>
-<tr><td valign="top"><a href="#plt_095">Avenue of the Catholic Sovereigns in the Gardens of the Island,</a></td><td class="rt" valign="bottom"><a href="#plt_095">95</a></td></tr>
-<tr><td valign="top"><a href="#plt_096">Jupiter, bronze group in the Gardens of the Island,</a></td><td class="rt" valign="bottom"><a href="#plt_096">96</a></td></tr>
-<tr><td valign="top"><a href="#plt_097">Ceres, bronze group in the Gardens of the Island,</a></td><td class="rt" valign="bottom"><a href="#plt_097">97</a></td></tr>
-<tr><td valign="top"><a href="#plt_098">Juno, bronze group in the Gardens of the Island,</a></td><td class="rt" valign="bottom"><a href="#plt_098">98</a></td></tr>
-<tr><td valign="top"><a href="#plt_099">Pavilions of the River, in the Garden of the Prince,</a></td><td class="rt" valign="bottom"><a href="#plt_099">99</a></td></tr>
-<tr><td valign="top"><a href="#plt_100">Fountain of Apollo, in the Garden of the Prince,</a></td><td class="rt" valign="bottom"><a href="#plt_100">100</a></td></tr>
-<tr><td valign="top"><a href="#plt_101">Fountain of Ceres, in the Garden of the Prince,</a></td><td class="rt" valign="bottom"><a href="#plt_101">101</a></td></tr>
-<tr><td valign="top"><a href="#plt_102">Fountain of Narcissus, in the Garden of the Prince,</a></td><td class="rt" valign="bottom"><a href="#plt_102">102</a></td></tr>
-<tr><td valign="top"><a href="#plt_103">Fountain of the Swan, in the Garden of the Prince,</a></td><td class="rt" valign="bottom"><a href="#plt_103">103</a></td></tr>
-<tr><td valign="top"><a href="#plt_104">General View of the Tajo and the Parterre,</a></td><td class="rt" valign="bottom"><a href="#plt_104">104</a></td></tr>
-<tr><td valign="top"><a href="#plt_105">Fountain of Hercules, in the Gardens of the Island,</a></td><td class="rt" valign="bottom"><a href="#plt_105">105</a></td></tr>
-<tr><td valign="top"><a href="#plt_106">Fountain of Hercules, in the Gardens of the Island,</a></td><td class="rt" valign="bottom"><a href="#plt_106">106</a></td></tr>
-<tr><td valign="top"><a href="#plt_107">Fountain of Apollo, in the Gardens of the Island,</a></td><td class="rt" valign="bottom"><a href="#plt_107">107</a></td></tr>
-<tr><th colspan="2">MIRAMAR</th></tr>
-<tr><td valign="top"><a href="#plt_108">Side View of the Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_108">108</a></td></tr>
-<tr><td valign="top"><a href="#plt_109">Reception Room,</a></td><td class="rt" valign="bottom"><a href="#plt_109">109</a></td></tr>
-<tr><td valign="top"><a href="#plt_110">Billiard Room,</a></td><td class="rt" valign="bottom"><a href="#plt_110">110</a></td></tr>
-<tr><th colspan="2">SEVILLE</th></tr>
-<tr><td valign="top"><a href="#plt_111">Façade of the Alcazar,</a></td><td valign="bottom" class="rt"><a href="#plt_111">111</a></td></tr>
-<tr><td valign="top"><a href="#plt_112">Alcazar, Gates of the Principal Entrance,</a></td><td class="rt" valign="bottom"><a href="#plt_112">112</a>
-<span class="pagenum"><a name="page_xiii" id="page_xiii">{xiii}</a></span>
-</td></tr>
-<tr><td valign="top"><a href="#plt_113">Interior of the Hall of Ambassadors,</a></td><td class="rt" valign="bottom"><a href="#plt_113">113</a></td></tr>
-<tr><td valign="top"><a href="#plt_114">Interior of the Hall of Ambassadors,</a></td><td valign="bottom" class="rt"><a href="#plt_114">114</a></td></tr>
-<tr><td valign="top"><a href="#plt_115">Interior of the Hall of Ambassadors,</a></td><td class="rt" valign="bottom"><a href="#plt_115">115</a></td></tr>
-<tr><td valign="top"><a href="#plt_116">Hall of Ambassadors,</a></td><td valign="bottom" class="rt"><a href="#plt_116">116</a></td></tr>
-<tr><td valign="top"><a href="#plt_117">Hall of Ambassadors,</a></td><td class="rt" valign="bottom"><a href="#plt_117">117</a></td></tr>
-<tr><td valign="top"><a href="#plt_118">Court of the Hundred Virgins,</a></td><td class="rt" valign="bottom"><a href="#plt_118">118</a></td></tr>
-<tr><td valign="top"><a href="#plt_119">Court of the Dolls,</a></td><td class="rt" valign="bottom"><a href="#plt_119">119</a></td></tr>
-<tr><td valign="top"><a href="#plt_120">Court of the Dolls, from the Room of the Prince,</a></td><td class="rt" valign="bottom"><a href="#plt_120">120</a></td></tr>
-<tr><td valign="top"><a href="#plt_121">Court of the Dolls,</a></td><td class="rt" valign="bottom"><a href="#plt_121">121</a></td></tr>
-<tr><td valign="top"><a href="#plt_122">Court of the Dolls,</a></td><td class="rt" valign="bottom"><a href="#plt_122">122</a></td></tr>
-<tr><td valign="top"><a href="#plt_123">Court of the Dolls,</a></td><td class="rt" valign="bottom"><a href="#plt_123">123</a></td></tr>
-<tr><td valign="top"><a href="#plt_124">Upper Part of the Court of the Dolls,</a></td><td class="rt" valign="bottom"><a href="#plt_124">124</a></td></tr>
-<tr><td valign="top"><a href="#plt_125">Dormitory of the Moorish Kings,</a></td><td class="rt" valign="bottom"><a href="#plt_125">125</a></td></tr>
-<tr><td valign="top"><a href="#plt_126">Sleeping Saloon of the Moorish Kings,</a></td><td class="rt" valign="bottom"><a href="#plt_126">126</a></td></tr>
-<tr><td valign="top"><a href="#plt_127">Entrance to the Dormitory of the Moorish Kings,</a></td><td class="rt" valign="bottom"><a href="#plt_127">127</a></td></tr>
-<tr><td valign="top"><a href="#plt_128">View of the Gallery from the second floor,</a></td><td class="rt" valign="bottom"><a href="#plt_128">128</a></td></tr>
-<tr><td valign="top"><a href="#plt_129">Hall in which King St. Ferdinand died,</a></td><td class="rt" valign="bottom"><a href="#plt_129">129</a></td></tr>
-<tr><td valign="top"><a href="#plt_130">Interior of the Hall of St. Ferdinand,</a></td><td class="rt" valign="bottom"><a href="#plt_130">130</a></td></tr>
-<tr><td valign="top"><a href="#plt_131">Interior of the Hall of St. Ferdinand,</a></td><td class="rt" valign="bottom"><a href="#plt_131">131</a></td></tr>
-<tr><th colspan="2">MADRID</th></tr>
-<tr><td valign="top"><a href="#plt_132">The Royal Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_132">132</a></td></tr>
-<tr><td valign="top"><a href="#plt_133">The Royal Palace from the Plaza de Oriente,</a></td><td valign="bottom" class="rt"><a href="#plt_133">133</a></td></tr>
-<tr><td valign="top"><a href="#plt_134">The Royal Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_134">134</a></td></tr>
-<tr><td valign="top"><a href="#plt_135">Principal Façade of the Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_135">135</a></td></tr>
-<tr><td valign="top"><a href="#plt_136">The Royal Palace from the Plaza de Oriente,</a></td><td class="rt" valign="bottom"><a href="#plt_136">136</a></td></tr>
-<tr><td valign="top"><a href="#plt_137">The Royal Palace,</a></td><td valign="bottom" class="rt"><a href="#plt_137">137</a></td></tr>
-<tr><td valign="top"><a href="#plt_138">The Royal Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_138">138</a></td></tr>
-<tr><td valign="top"><a href="#plt_139">Palace from the Plaza de la Armeria,</a></td><td class="rt" valign="bottom"><a href="#plt_139">139</a></td></tr>
-<tr><td valign="top"><a href="#plt_140">Grand Staircase of the Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_140">140</a></td></tr>
-<tr><td valign="top"><a href="#plt_141">Principal Staircase of the Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_141">141</a></td></tr>
-<tr><td valign="top"><a href="#plt_142">Grand Staircase of the Palace,</a></td><td class="rt" valign="bottom"><a href="#plt_142">142</a></td></tr>
-<tr><td valign="top"><a href="#plt_143">The Grand Staircase,</a></td><td valign="bottom" class="rt"><a href="#plt_143">143</a>
-<span class="pagenum"><a name="page_xiv" id="page_xiv">{xiv}</a></span>
-</td></tr>
-<tr><td valign="top"><a href="#plt_144">Hall of Columns,</a></td><td valign="bottom" class="rt"><a href="#plt_144">144</a></td></tr>
-<tr><td valign="top"><a href="#plt_145">General View of the Throne Room,</a></td><td valign="bottom" class="rt"><a href="#plt_145">145</a></td></tr>
-<tr><td valign="top"><a href="#plt_146">The Throne,</a></td><td class="rt" valign="bottom"><a href="#plt_146">146</a></td></tr>
-<tr><td valign="top"><a href="#plt_147">The Throne,</a></td><td valign="bottom" class="rt"><a href="#plt_147">147</a></td></tr>
-<tr><td valign="top"><a href="#plt_148">Detail of Throne Room,</a></td><td class="rt" valign="bottom"><a href="#plt_148">148</a></td></tr>
-<tr><td valign="top"><a href="#plt_149">Ceiling of the Throne Room, by Tiepolo,</a></td><td valign="bottom" class="rt"><a href="#plt_149">149</a></td></tr>
-<tr><td valign="top"><a href="#plt_150">Ceiling of the Throne Room, by Tiepolo,</a></td><td class="rt" valign="bottom"><a href="#plt_150">150</a></td></tr>
-<tr><td valign="top"><a href="#plt_151">Ceiling of the Throne Room, by Tiepolo,</a></td><td class="rt" valign="bottom"><a href="#plt_151">151</a></td></tr>
-<tr><td valign="top"><a href="#plt_152">The King’s Privy Council Chamber,</a></td><td class="rt" valign="bottom"><a href="#plt_152">152</a></td></tr>
-<tr><td valign="top"><a href="#plt_153">The Queen’s Room,</a></td><td class="rt" valign="bottom"><a href="#plt_153">153</a></td></tr>
-<tr><td valign="top"><a href="#plt_154">The Music Room,</a></td><td class="rt" valign="bottom"><a href="#plt_154">154</a></td></tr>
-<tr><td valign="top"><a href="#plt_155">The Room of Mirrors,</a></td><td class="rt" valign="bottom"><a href="#plt_155">155</a></td></tr>
-<tr><td valign="top"><a href="#plt_156">Reception Room,</a></td><td class="rt" valign="bottom"><a href="#plt_156">156</a></td></tr>
-<tr><td valign="top"><a href="#plt_157">Bronze Urn in the Reception Room,</a></td><td class="rt" valign="bottom"><a href="#plt_157">157</a></td></tr>
-<tr><td valign="top"><a href="#plt_158">Room of Charles <small>III.</small>,</a></td><td class="rt" valign="bottom"><a href="#plt_158">158</a></td></tr>
-<tr><td valign="top"><a href="#plt_159">Chinese Room, by Gasparini,</a></td><td class="rt" valign="bottom"><a href="#plt_159">159</a></td></tr>
-<tr><td valign="top"><a href="#plt_160">Chinese Room, by Gasparini,</a></td><td class="rt" valign="bottom"><a href="#plt_160">160</a></td></tr>
-<tr><td valign="top"><a href="#plt_161">Porcelain Room,</a></td><td class="rt" valign="bottom"><a href="#plt_161">161</a></td></tr>
-<tr><td valign="top"><a href="#plt_162">Corner in the Porcelain Room,</a></td><td class="rt" valign="bottom"><a href="#plt_162">162</a></td></tr>
-<tr><td valign="top"><a href="#plt_163">The Porcelain Room,</a></td><td class="rt" valign="bottom"><a href="#plt_163">163</a></td></tr>
-<tr><td valign="top"><a href="#plt_164">Porcelain Group in the Buen Retiro,</a></td><td class="rt" valign="bottom"><a href="#plt_164">164</a></td></tr>
-</table>
-
-<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span></p>
-
-<h1>Royal Palaces of Spain</h1>
-
-<h2><a name="I" id="I"></a>I<br /><br />
-<span class="chead">THE ESCORIAL</span></h2>
-
-<p class="nind"><span class="smcap">If</span> men may be known by their works, the Escorial will help us to a
-better understanding of Philip of Spain&mdash;of his temperament and his
-purpose&mdash;than can be gained by the study of any other architectural
-monument for which he was responsible. Philip <small>II.</small> 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.<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span></p>
-
-<p>The Emperor Charles <small>V.</small> 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
-<i>auto-da-fé</i> at Valladolid&mdash;in which twelve tortured creatures were
-sacrificed on the fiery altar of their sovereign’s religious zeal&mdash;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<span class="pagenum"><a name="page_3" id="page_3">{3}</a></span> 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.</p>
-
-<p>As the inheritor of divine rights, Philip could do no wrong, and as the
-greatest king of the greatest kingdom of the world, he always rose
-superior to personal or national calamity. His arms suffered
-overwhelming reverses in the Netherlands; he retaliated with massacre
-and extermination, and was deaf to entreaty. The defeat of his
-‘invincible’ Armada was the death-blow to his hopes of converting
-England to the true faith, but he heard the news of this crowning
-catastrophe of his life without suffering his ‘marble serenity’ to be
-ruffled. Into his dying ears was poured the story of the dire
-devastation of Cadiz by the English fleet, but he only gnawed his rude
-crucifix and resigned himself the more devoutly to the will of God.</p>
-
-<p>This was the man who in the leisure of thirty years of his life stamped
-his individuality upon the Royal Palace and Monastery of the Escorial,<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span>
-and fashioned this mighty pile to be a monument to his power and a
-revelation of his mind&mdash;a mind diseased with that virus of morbidity
-which turned from the contemplation of mercy, charity, and love to
-ponder on the awful and retributive side of religion. The man explains
-the edifice, and the edifice is the picture of the man. The granite
-towers, resting on deep massive foundations, rise boldly into the
-heavens&mdash;lofty, aspiring, severe, like the prayers his stern heart sent
-up to God. The spacious halls and lofty corridors, all leading finally
-to the church and the altar, have been likened to the avenues of his
-mind.</p>
-
-<p>In 1557, two years before Philip first showed himself to his people as
-champion of the purity of the faith, the meeting between the Spanish and
-the French arms at St. Quentin credited Spain with a decisive and sorely
-needed victory. The battle involved the destruction of a church
-dedicated to St. Lawrence, and Philip, who had spent the day invoking
-the aid of the martyred saint, bound himself by an oath to found a
-monastery to his name. He had also been bound under the will of Charles
-<small>V.</small> to provide a royal burial-place for the reception of his father’s
-remains, and Philip was probably actuated by a desire to fulfil<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> both
-these obligations in building the monastery of the Escorial. In the
-‘Carta de Dotacion,’ which appears in Cabrera’s <i>Vida de Felipe II.</i>,
-the king explains his reasons as follows:&mdash;</p>
-
-<div class="blockquot"><p>‘In acknowledgment of the many and great blessings which it has
-pleased God to heap on us, and continue to us daily, and, inasmuch
-as He has been pleased to direct and guide our deeds and acts to
-His holy service, and in maintenance and defence of His holy faith
-and religion, and of justice and peace within our realms;
-considering likewise what the emperor and king, my lord and father,
-in a codicil which he lately made, committed to our care, and
-charged us with, respecting his tomb, the spot and place where his
-body and that of the empress and queen, my lady and mother, should
-be placed; it being just and meet that their bodies should be most
-duly honoured with a befitting burial-ground, and that for their
-souls be said continually masses, prayers, anniversaries, and other
-holy records, and because we have, besides, determined that
-whenever it may please God to take us away to Him, our body should
-rest in the same place and spot near theirs ... for all these
-reasons we found and erect the Monastery of San Lorenzo el Real,
-near the town of El Escorial, in the diocese and archbishopric of
-Toledo, the which we dedicate in the name of the Blessed St.
-Lawrence, on account of the special devotion which, as we have
-said, we pray to this glorious saint, and in memory of the favour
-and victories which on this day we received from God....</p></div><p><span class="pagenum"><a name="page_6" id="page_6">{6}</a></span></p>
-
-<p>Although located in a desolate waste of rugged mountains and treeless
-plains, amid surroundings which most men would shun, the site of the
-Escorial was selected as the result of much careful thought and personal
-investigation by ‘the holy founder,’ as Philip is called by the monks.
-His sentimental attachment to the spot is explained by its air of
-unrelieved melancholy, but he was also influenced in his choice by the
-fact that the district contained the abundance and quality of stone
-suitable for his purpose. Already he had conceived the form and
-dimensions of his hermitage and sanctuary, the austerity and magnitude
-of which were to be in harmony with its natural surroundings. Before the
-work of clearing the land was begun he had erected upon the newly
-acquired site a rude temporary lodging for his own accommodation. He
-entrusted his ideas for the construction of the building to Juan
-Bautista de Toledo, whose plans, ambitious and eccentric in the first
-place, were severely revised by Philip. On April 23, 1563, the first
-stone was laid, and from that time until September 13, 1584, when the
-pile was completed, the king, assailed by the fear that he might die
-before his scheme was brought to completion, devoted every moment he
-could seize<span class="pagenum"><a name="page_7" id="page_7">{7}</a></span> from affairs of State to superintending the work, and
-urging architects, artists, and decorators to greater efforts in the
-accomplishment of their several tasks.</p>
-
-<p>In 1567 Toledo died and was succeeded by Juan de Herrera, who enlarged
-the convent and added a bell-tower to the building. In 1574 the
-temporary <i>Panteon</i>, or royal burying-place, situated under the high
-altar of the church, was completed, and to this vault the remains of
-Charles <small>V.</small> were transferred in 1574. The solemn service with which they
-were received was terminated by a terrific storm which broke over the
-monastery and made a wreck of the gorgeous dais that had been erected
-for the ceremony. During another storm which visited the district, when
-the construction of the edifice was almost finished, a lightning stroke
-set fire to the fabric, destroying the fine belfry and its costly peal
-of bells and doing much other damage. In 1582 an epidemic, which carried
-off the queen, attacked the king, and for a while his life was despaired
-of. But Philip survived to see the completion of his initial plans, and
-two years later he took formal possession of his royal home which had
-cost the then enormous sum of £660,000. Here for fourteen years he
-lived, half monarch and<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> half monk, exercising alternately the powers of
-a tyrant and the self-sacrificing humiliations of a saint, and boasting
-that, from the foot of a mountain, he governed both the old and new
-world with two inches of paper.</p>
-
-<p>In the first stages of his fatal illness in 1598, Philip desired to be
-removed from Madrid to his beloved Escorial. The distance is only eight
-leagues, but the king was so weak that six days were consumed by the
-journey. It was his wish to inspect every part of the huge building
-before he died, and during the fifty days in which his tortured body
-held death at bay his last desire was gratified. He died on the same day
-of the same month on which the Escorial was completed. Proudest among
-monarchs and the most devout among monks, his gift to posterity is a
-convent having the proportions of a palace, and a palace revealing the
-austerity of a convent&mdash;a structure which is at once the first and
-largest Spanish edifice into which the Græco-Roman element was cast. But
-although Philip had gratified his ambition, had built monastery, church,
-and palace, and had established a court and a college in this Castilian
-highland, had laid out gardens and planted elms brought from England,
-the royal burying-place at his death<span class="pagenum"><a name="page_9" id="page_9">{9}</a></span> was nothing more than a plain
-vault. Philip <small>III.</small>, in accordance with his father’s wishes, commenced to
-enrich the chamber, and the present gorgeous sepulchre was finished in
-1654 by Philip <small>IV.</small> ‘No monarchs of the earth,’ it has been written,
-‘have a mausoleum comparable to this of the Escorial, which, to the
-glory of Spain, was conceived by Charles <small>V.</small>, undertaken by Philip <small>II.</small>,
-carried on by Philip <small>III.</small>, and completed by Philip <small>IV.</small>’ Thus it was more
-than a century after the death of the emperor that his remains were laid
-to rest in the sepulchre which he had commanded to be built for the
-princes of his house.</p>
-
-<p>To-day the Eighth Wonder of the World, the <i>Octava Maravilla</i>, which it
-is calculated cost from first to last some ten millions, is but a shadow
-of its past glory. It is no longer a royal residence, the number of its
-monks has become few, its revenues have been wrested from them, and the
-spirit of the palace-monastery has departed. A fire which broke out here
-in 1671 was not quenched for fifteen days, and the damage then sustained
-was repaired in 1676 by the queen-regent, Anne of Austria. Charles <small>III.</small>
-effected some further restorations, and his son proposed to make the
-place more habitable by the construc<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span>tion of a bull-ring. Later, this
-prince, when Charles <small>IV.</small> and fast approaching the close of his ignoble
-reign, discovered at the Escorial the plot of the Queen Maria Luisa,
-Prince Fernando, and Godoy to betray Spain to France, and the royal
-monastery became a royal prison.</p>
-
-<p>The French troops pillaged the monastery in 1807, and during the Carlist
-war its treasures were depleted by the removal of about a hundred of the
-choicest paintings to the greater security of Madrid. Other pictures
-were transferred from the Escorial to the capital after the death of
-Ferdinand <small>VII.</small>, who had done what he could to repair the ravages of La
-Houssaye’s troopers. But the days of the Escorial’s importance as a
-centre of political or courtly life were already numbered, and by the
-summer of 1861, when the first train arrived at the Escorial station
-from Madrid, the palace had ceased to be a royal residence.</p>
-
-<p>It must be admitted that, at first sight, the Escorial produces a
-feeling of disappointment; the first impression of the clean granite,
-the blue slates, and the leaden roofs is not wholly pleasing. But as one
-approaches this ‘grandest and gloomiest failure of modern times,’ the
-size and simplicity of the ashy-coloured pile takes posses<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span>sion of the
-imagination, its sombreness and its austere magnificence stands out more
-and more clearly from its sombre and magnificent surroundings, and one
-begins to realise something of the spirit of the place and of the
-character of the man that called it into being. The edifice is a
-rectangular parallelogram, having a length of 744 feet from north to
-south, and a depth of 580 feet. It has been said that the architecture
-exhibits a series of solecisms which would have shocked the disciples of
-Vignola and Palladio, but Mr. Fergusson in his <i>History of the Modern
-Styles of Architecture</i> declares that the whole design shows more of
-Gothic character than the masterpieces of Wren and Michael Angelo.</p>
-
-<p>One building, which turns its back on Madrid, faces the Sierra on its
-west or principal side and on the north side, while on the east and
-south the terraces overlook the hanging gardens and fish ponds. The
-building covers an area of 500,000 feet and is 3000 feet in
-circumference. It is not proposed to enter here into a detailed
-description of the huge structure or its contents. Indeed, a building
-which boasts 16 courtyards, 15 cloisters, 40 altars, 88 fountains, 86
-staircases, 1200 doors, 2673 windows, 3000 feet of painted fresco, and
-120 miles of corridor cannot be dealt<span class="pagenum"><a name="page_12" id="page_12">{12}</a></span> with in the space at our
-disposal, and an enumeration of the literary and artistic treasures that
-are still left to it would occupy some hundreds of pages of print. But
-only a tithe remains of the myriad treasures which once adorned its
-walls and altars. Before the French invasion its pictures were
-priceless, for Philip <small>II.</small> drained Europe of paintings and painters for
-the adornment of his palace, and the church teemed with priceless
-articles&mdash;sacred vessels of gold, a multitude of shrines and
-reliquaries, and a tabernacle of such exquisite workmanship that it was
-declared to be worthy to be one of the ornaments of the celestial altar.</p>
-
-<p>The grand central portal in the western façade, which was formerly
-opened only to admit royalty either alive or dead, leads into the Court
-of the Kings, named from the statues of the Kings of Judah connected
-with the Temple of Jerusalem. The figures possess little artistic merit,
-but they share with the Court and everything connected with the Escorial
-the distinction of immensity. They are 17 feet high, and were each cut
-by Juan Bautista Monegro out of one block of granite. On the right of
-the Court is the Library, with its twenty thousand books and three
-thousand Arabic manuscripts, and on the right are the<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> Halls of
-Philosophy, the Seminary and the Refectories. The Relicario, from which
-one descends to the <i>Panteon</i>, is at the extreme right-hand corner of
-the church. Philip <small>II.</small> was a relicomaniac, and here in five hundred and
-fifteen costly shrines he kept his innumerable precious relics. La
-Houssaye scattered the relics to strip the precious metals from the
-shrines that contained them. He also stole upwards of a hundred sacred
-vessels of gold and silver, the gold and jewelled <i>custodia</i>, and the
-life-size silver statue of St. Lawrence, which weighed four and a half
-hundredweight. A procession of fourteen carts was engaged to convey the
-treasure to Madrid. The Court of Evangelists and the Palace Court,
-facing the south, are on the right and left of the church, and beyond it
-is the palace.</p>
-
-<p>The secret of the grandeur of the Escorial Church is in the conception
-and proportion, but also from the point of view of architectural beauty
-it is the finest of the several buildings within the walls. The vaulted
-roof is ornamented with the frescoes of Luca Giordano, and the screen,
-which is 93 feet high by 43 wide, monopolised the energies of Giacomo
-Trezzo of Milan for seven years. The high altar and its superb <i>retablo</i>
-are flanked on either side by the oratories<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> of marble for the royal
-family, above which are placed bronze-gilt effigies of Charles <small>V.</small> and
-his wife, Philip <small>II.</small> and his fourth wife and their children, inlaid with
-marbles and precious stones. Here, in his epitaph, is Philip of Spain’s
-challenge to future kings to surpass him in greatness and power. In the
-Library are his devotional books, and high up on a pinnacle above the
-chapel is a plate of gold, placed there to show that the building of the
-Escorial had not left ‘the holy founder’ penniless.</p>
-
-<p>Just beyond the precincts of the church, as one enters the palace, is
-the ‘Room of the Founder,’&mdash;the name given to the apartment occupied by
-Philip <small>II.</small> whenever he visited the monastery&mdash;a simple cell rather than
-a chamber befitting a king. It was in this room that he died on
-September 13, 1598. On the wall is a slab with the following
-inscription:&mdash;</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">‘En este estrecho recinto<br /></span>
-<span class="i1">murió Felipe segundo,<br /></span>
-<span class="i1">cuando era pequeño el mundo<br /></span>
-<span class="i1">al hijo de Carlos quinto.’<br /></span>
-</div></div>
-</div>
-
-<p>There still remain the bedroom he had built next to the royal oratory;
-the study, some of the chairs he used, and two chairs without arms on
-which he used to repose the leg in which he<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span> had gout. The ceiling is
-smooth and without ornaments; the walls are whitewashed, and the floor
-is of brick. From this bedroom the high altar can be seen through two
-doors that lead to the galleries.</p>
-
-<p>The palace contains a series of small rooms, the most remarkable of
-which are a set of four. The other apartments are covered with beautiful
-tapestry made from designs by Rubens, Teniers, and Goya, but the walls
-of these particular rooms are covered with the finest inlaid woodwork.
-The hinges, locks, and handles of the doors are in gilt-bronze and
-steel, and the ceilings are painted by Maella. The entire work is said
-to have cost £280,000.</p>
-
-<p>The Battle Room derives its name from the battle-scenes painted on the
-walls; these frescoes are by the celebrated Italian artists Granelio and
-Fabricio. This gallery is 198 feet long by 28 wide, and 25 high to the
-keystone of the vault. The principal fresco, which is very large,
-represents the battle of Higueruela and the victory obtained over the
-Arabs by John <small>II.</small> on the Vega at Granada. The other frescoes refer to
-the battle gained on the day of St. Lawrence, 1557, by Duke Filiberto,
-commander of the Spanish army; the capture of the French general,<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> the
-Constable de Montmorency, and the siege and capture of San Quentin.
-There are also representations of two expeditions to the Azores in the
-time of Philip <small>II.</small> The vault contains a variety of figures and caprices
-all designed fantastically and ingeniously, with taste and consummate
-skill.</p>
-
-<p>Of the three hundred and thirty-eight rich tapestries in the palace, one
-hundred and fifty-two of them were manufactured in the old Royal Factory
-of Madrid; one hundred and sixty-three in Flanders, from designs for the
-most part by David Teniers; twenty in France and five in Italy. Nearly
-all represent country scenes, landscapes, Spanish customs, views of
-Madrid, and hunting scenes.</p>
-
-<p>The Casa del Principe was built in 1772 by order of Charles <small>IV.</small>, when
-Prince of the Asturias. When the War of Independence broke out the
-treasures that adorned it were taken to Madrid and many of them
-disappeared. It was redecorated and embellished in 1824, and carefully
-restored some years later. It is entirely built of stone and is called
-‘Casita de Abajo,’ to distinguish it from another called ‘Casita de
-Arriba,’ built by the Infante Gabriel. The curiosities and works of art
-in this pleasant edifice are innumer<span class="pagenum"><a name="page_17" id="page_17">{17}</a></span>able. Of the ceilings twenty are of
-great merit, painted by Duque, Gómez, Gerroni, Maella, Briles, Pérez,
-Japeti, and López. In the nineteen rooms, of which the two floors of the
-edifice consist, there are over two hundred oil-paintings and prints,
-the subjects for the most part religious, some of them of real merit.
-There is also a fine collection of ivory reliefs consisting of
-thirty-seven pictures, representing mythological and sacred and profane
-scenes, and a beautiful collection of two hundred and twenty-six pieces
-of porcelain made at the Buen Retiro factory. In the time of Ferdinand
-<small>VII.</small> the house was valued at thirty-seven million pesetas, and it is at
-present a veritable museum of curiosities.</p>
-
-<p>The Royal School of Alfonso <small>XII.</small>, which occupies the north-east end of
-the edifice, is entered from the principal façade. Among its many and
-notable apartments is the spacious and magnificent <i>paraninfo</i>, the
-ceiling of which is formed by a painting of extraordinary size, which is
-believed to have been painted by the pupils of Jordán. Two smaller
-paintings represent symbolical figures of different sciences, and are
-signed by Llamas. Near the <i>paraninfo</i> are the fine Physics and Natural
-History rooms, the <i>lucerna</i> or light court, and<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span> the children’s
-dining-rooms, adorned with a collection of pictures representing
-incidents in the life of Alexander. These were painted for the palace of
-San Ildefonso by order of Philip <small>V.</small>, and they are all signed by eminent
-Italian artists. Over the <i>paraninfo</i> is another fine room, the centre
-of which is occupied by a beautiful statue of St. Augustine, carved in
-wood, conceived and executed by the lay-friar S. Cuñado to commemorate
-the fifteenth centenary of the conversion of St. Augustine.</p>
-
-<p>In 1878, by the direction of Alfonso <small>XII.</small>, the studies at this Royal
-College were reorganised with great success. Later (in 1885) the
-teaching being entrusted to the Augustinians, its credit was so enhanced
-that now, owing to the unsurpassed position of the place, the
-installation of electric light, the perfection and abundance of teaching
-material, and still more the competence and zeal with which the learned
-corporation carries out its delicate task of the moral, physical, and
-scientific education of a large number of youths, the Royal College at
-the Escorial well fulfils the high aims of its royal restorer, and is
-one of the most important centres of instruction in Spain.<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span></p>
-
-<h2><a name="II" id="II"></a>II<br /><br />
-<span class="chead">LA GRANJA</span><br /><br />
-<span class="chead1">(SAN ILDEFONSO)</span></h2>
-
-<p class="nind"><span class="smcap">George Borrow</span> loved Spain well, but he loved not the solitude in which
-Philip <small>V.</small> found respite from the cares of State and from the dominating
-personality of Elizabeth Farnese. ‘So great is the solitude of La
-Granja,’ he writes, ‘that wild boars from the neighbouring forests, and
-especially from the beautiful pine-covered mountain which rises like a
-cone directly behind the palace, frequently find their way into the
-streets and squares, and whet their tusks against the pillars of the
-porticos.’ But at the time this was written the country was overrun with
-Carlists. Candido lurked in the undergrowth, Garcia and his
-fellow-conspirators had driven Queen Cristina from the palace, and
-nine-tenths of the inhabitants of the town had fled. Even in the season
-La Granja may be described as solitary, but it is not desolate, to quote
-another word that<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> Borrow employed to describe it. Situated at an
-altitude of nearly four thousand feet above the sea, it has been styled,
-with much truth, a ‘castle in the air.’ Surrounded as it is by lovely
-woods, which extend for leagues in every direction, by gardens, lakes,
-and streams, the Palace of San Ildefonso, in the month of flowers, is a
-paradise and a miracle combined. For the site, although not exactly hit
-upon at random, was selected with a royal inconsequence of the
-difficulty and expense involved in the labour of transforming a monkish
-farmhouse into a palace rivalling the glittering creations of
-Versailles.</p>
-
-<p>The Bourbon Philip <small>V.</small>, like his Austrian predecessor Philip <small>II.</small>,
-conceived a craving for solitude, and while hunting at Valsain in 1720
-he observed La Granja (the Grange, or farmhouse) of the Segovian monks
-of El Parral, and coveted it for a place of retirement. Philip’s nature
-had undergone a great change since he entered Spain, a handsome,
-resolute soldier, in 1701. His first wife, Marie Louise of Savoy, had
-been at his side during the troublous, early days of his reign, and in
-1714, when Spain was at peace for the first time since he assumed the
-crown, his wife died. Under the stress of warlike excitement and the
-gentle, sustaining sympathy and influence of<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span> Marie Louise, Philip had
-proved himself a prince of high spirit, determination, and resource, but
-under the domination of the ambitious, intriguing, masterful Elizabeth
-he lost all initiative and sunk into a moody inaction, which
-subsequently developed into lethargic insanity. It has been said that,
-personally, Philip did little good for Spain, and it must be admitted
-that, when it was most incumbent on him to play the man, he weakly
-involved the country in prolonged wars at the bidding of his wife. If
-the national revenue increased enormously during his reign, the
-expenditure was more than proportionately increased in the construction
-of the three palaces he left to Spain and in the extravagant collection
-of works of art with which he furnished them. From Versailles he had
-brought the love of letters which prompted him to found the Royal
-Spanish Academy, the National Library, the Royal Academy of History, and
-the School of Nobles. His training at the Court of Louis <small>XIV.</small> was also
-evident in the change in the social customs of the country. The nobles
-adopted French fashions in costumes and cookery, they affected French
-furniture and French books. The king, who had thus stamped his personal
-tastes upon the Court, saw his opportunity of further gratifying his<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span>
-French sympathies by creating a ‘Spanish Versailles’ and a ‘Spanish
-Fontainebleau.’</p>
-
-<p>It was on the rocky eminence of La Granja, overlooking Segovia’s brown
-towers and the distant Roman aqueduct, that Philip <small>V.</small> gave orders for an
-estate to be laid out that should be reminiscent of his beloved
-Versailles. The fact that no suitable level existed on the sharp
-mountain slope for the erection of a palace mattered nothing. The level
-must be made. Tens of thousands of tons of rock were blasted away; tens
-of thousands of tons of soil were brought up from the sunny plain below;
-and on the astonishing ledge thus torn out of the sides of the mountain,
-the Royal Palace arose in a garden of the most beautiful flowers and
-adorned with the choicest fountains in all Spain.</p>
-
-<p>The building itself, which cannot compare with the Palace of Versailles,
-is a severe-looking structure of two stories, and is the antithesis of
-the proud, gloomy Escorial on which it turns its back. The façade facing
-the gardens is white and cheerful, but the multitude of windows gives it
-the air of a monster conservatory. The place, which is so essentially
-French, appears incongruous amid surroundings which are so
-characteristically Spanish; but the Castilian people find<span class="pagenum"><a name="page_23" id="page_23">{23}</a></span> no fault with
-it on that account. It is, they say, a worthy château of the King of
-Spain. As he is the first and loftiest of all earthly sovereigns, so his
-abode soars nearest to Heaven. The argument is Spanish and unanswerable!</p>
-
-<p>The cost of building the palace and laying out the gardens, and of
-acquiring the pictures and sculptures to adorn the saloons, reached the
-enormous total of forty-five million pesetas, the precise sum in which
-Philip <small>V.</small> died indebted. In this luxurious retreat in the mountains of
-Segovia he surrendered himself to the morbid mysticism of that form of
-devotion which exaggerates the vanity of all earthly things. Sunk at
-length into a condition of religious melancholy, in January 1724, at La
-Granja, he swore to renounce his crown for ever and abdicate in favour
-of his son Louis. Seven months later the boy-king died at the age of
-seventeen, and Philip, reluctantly acceding to the urgent requests of
-his wife, who had already tired of the domestic retirement of La Granja,
-resumed the burden of sovereignty.</p>
-
-<p>Many strange historical events have taken place in the Palace of San
-Ildefonso since Philip <small>V.</small> declared before the Baño de Diana that it had
-cost him three million pesetas and had amused him for three minutes. It
-was here, in<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span> 1783, that the great king, Charles <small>III.</small>, received the
-Count d’Artois when he started upon his fruitless mission to wrest
-Gibraltar from the English. Here, in 1796, Godoy, the notorious
-favourite of Charles <small>IV.</small> and the paramour of his wife&mdash;who in the
-previous year had earned the title of Prince of the Peace by negotiating
-the shameful surrender by which the war between Spain and France was
-concluded&mdash;signed the famous and fatal treaty by which Spain was dragged
-at the tail of France until such time as the French Emperor chose to
-annex it.</p>
-
-<p>In 1830, when Ferdinand <small>VII.</small> lay ill at La Granja, and his heir and
-brother, Don Carlos, was holding himself in readiness to assume the
-responsibility of sovereignty, Queen Cristina, anxious for her
-three-year-old daughter’s interest, induced the king to abolish the
-Salic law and declare his daughter Isabel to be his successor. Three
-years afterwards, Ferdinand died, and three years later the king’s
-abrogation of the constitution was revoked by a mob of common soldiers,
-led by Sergeant Garcia, who compelled the queen to renounce her royal
-rights and proclaim the Cadiz constitution of 1812. George Borrow, who
-was in Madrid at the time these events were taking place, had the story
-of the revolution of<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> La Granja from eye-witnesses, and it is related
-here in his words. ‘Early one morning,’ he writes&mdash;‘it was the morning
-of 12th August 1836&mdash;a party of these soldiers, headed by a certain
-Sergeant Garcia, entered her apartment, and proposed that she should
-subscribe her hand to this constitution, and swear solemnly to abide by
-it. Cristina, however, who was a woman of considerable spirit, refused
-to comply with this proposal, and ordered them to withdraw. A scene of
-violence and tumult ensued, but the Regent still continuing firm, the
-soldiers at length led her down to one of the courts of the palace,
-where stood her well-known paramour, Muñoz, bound and blindfolded.
-“Swear to the constitution, you she-rogue,” shouted the swarthy
-sergeant. “Never!” said the spirited daughter of the Neapolitan
-Bourbons. “Then your <i>cortejo</i> (lover)&mdash;he was in reality her
-husband&mdash;shall die!” replied the sergeant. “Ho! ho! my lads; get ready
-your arms and send four bullets through the fellow’s brain.” Muñoz was
-forthwith led to the wall and compelled to kneel down, the soldiers
-levelled their muskets, and another moment would have consigned the
-unfortunate wight to eternity, when Cristina, forgetting everything but
-the feelings of her woman’s heart,<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> suddenly started forward with a
-shriek, exclaiming, “Hold! hold! I sign! I sign!”<span class="lftspc">’</span></p>
-
-<p>Still more recently, it will be remembered, Alfonso <small>XIII.</small> carried his
-English bride from the wedding festivities of Madrid to spend their
-honeymoon amid the natural beauties of the scenery of Segovia. The Royal
-Palace consists of a large rectangular building, in the centre of which
-is preserved the ancient cloister of the friars’ <i>hospitium</i>, now called
-the Patio de la Fuente. The idea for the central façade of the palace
-originated with the Abbé Juvara, the Italian architect who was summoned
-to Spain to assist Philip <small>V.</small> in his palace-building operations, but it
-was his pupil, Sachetti, who prepared the finished designs. It was
-carried out in 1739 at a cost of 3,360,000 reals. The general façade of
-the edifice at the back, overlooking the Palace Square, recalls the
-Roman-Spanish style created at the Escorial by Herrera. One of the best
-views of the palace is from the back, where the building with its
-slate-covered towers at the sides, and the Collegiate Church in the
-centre, surmounted by its elevated cupola and the simple towers
-accompanying it, compose an agreeable picture. The principal entrance to
-the edifice is in this façade facing the Palace Square, and leads<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span> to
-the vestibule of the principal staircase. This is of simple
-construction, and is composed of two flights of stairs which meet at the
-top landing-place. The steps are of granite, as well as the pillars of
-the balustrade which support a small iron banister painted white and
-gold. The whole well of the staircase is surmounted by a semicircular
-vault finished by a lantern, in which are the windows. This staircase
-did not exist in the time of Charles <small>IV.</small>, as may be ascertained by
-examining the plans of the palace made at that time, and its
-construction should be attributed to Ferdinand <small>VII.</small></p>
-
-<p>The palace is a structure of two stories. On the ground floor are the
-‘Galeria baja de estatuas’ (lower gallery of statues), one of the rooms
-in which is the dining-room, the High Court of Halberdiers, the offices
-of the Lord High Steward, and other dependencies; while the upper floor
-consists of the ‘Galeria oficial’ (Official Gallery), used for
-receptions, audiences, and councils of ministers, and the private
-apartments of their Majesties and Royal Highnesses. The ‘Galeria de
-estatuas’ is open to any one provided with a permit supplied by the
-Administration Patrimonial when the Court is absent. The apartments are
-generally decorated in good style.<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> Most of the furniture is in the
-Empire style, especially that in the Official Gallery; but there is also
-some in Louis <small>XIV.</small>, Regency, and Louis <small>XV.</small> style.</p>
-
-<p>The collection of pictures, especially of the Flemish and Dutch schools,
-was very fine, for Queen Isabella Farnese acquired in Rome for this
-palace in 1735, through the Venetian painter G. B. Pittoni, and on the
-recommendation of the Abbé Juvara, a considerable number of very notable
-pictures of these schools. On the creation of the Royal Prado Museum in
-1829, the best were taken there by order of Ferdinand <small>VII.</small>, and there
-are at present in its catalogue three hundred and fifty-one pictures
-which came from this palace, among them three by Correggio, two by Luca
-Giordano, four by Il Guido, one by Paul Veronese, six by Tintoretto, one
-by Claudio Coello, sixteen by Murillo, two by Ribera, four by Velazquez,
-four by Van Dyck, fourteen by Rubens, and twenty-four by Teniers.</p>
-
-<p>Among the pictures of the original collection which exist at the present
-time, there are none of great merit; but the large number painted by
-Michel Ange Houasse, of the French school, who was born in Paris in
-1675, and died in Spain in 1730, being the chief painter of Philip <small>V.</small>,
-are of<span class="pagenum"><a name="page_29" id="page_29">{29}</a></span> no little merit. The marble statues that enrich the Lower
-Gallery, some of them Greek ones of great merit, like the Castor and
-Pollux group, form the greater part of the sculptures of the Madrid
-Museum. They were acquired in Rome through the celebrated Venetian
-sculptor Camillo Rusconi, and came from the collection made by Queen
-Christina of Sweden. Their cost, 12,000 doubloons, or 36,000 dollars,
-was defrayed by Philip <small>V.</small> and Isabella Farnese equally.</p>
-
-<p>The lower gallery of statues were painted <i>al fresco</i> by Bartolomé
-Ruscha, and with them were placed, under the direction of Don Domingo
-Sanni, and by order of the royal founders, the statues of the collection
-formed by Queen Christina of Sweden and acquired by them in Rome. The
-sculptors Fremin and Thierri, who at the time were doing work for the
-gardens, restored many of them and added some others by themselves, but
-the majority of the best statues were removed in 1829 to the sculpture
-room in the Madrid Museum, where they are still preserved and constitute
-almost its only statuary wealth. At present there are in these rooms
-very few marble statues, and nearly all those forming their decoration
-are copies in plaster of the original ones, and they have there<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span>fore
-lost the great artistic value which the pure Greek sculpture in the
-collection of Queen Christina of Sweden conferred on them. Among them
-the most valuable pieces to be seen here are the group of Castor and
-Pollux; two colossal statues of Julius Cæsar and Augustus in alabaster,
-with heads, arms, and legs of gilded bronze; a fine urn which it is
-believed contained the ashes of Caius Caligula; the representations of
-Day and Night; a very handsome Apollo; a Daphne; a Venus coming out of
-the bath; a Faun leaning on the trunk of a tree; another Venus with her
-knee on a tortoise; many handsome busts of deities and Roman emperors;
-the nine Muses; two superb heads of Antinous and Alexander; the
-recumbent statue of Ariadne, a replica of the one in the Museum of the
-Vatican; a copy of the Venus de Medici; an excellent small statue
-representing Seneca; Leda with the swan; a head of Homer; a colossal
-head, in bronze, of Queen Christina of Sweden; and Ganymede attacked by
-the eagle. With this array of sculpture and antiquities, the Palace of
-Ildefonso may be said to be more like a museum than a home; and in
-truth, apart from the Royal Chapel which contains the tomb of Philip <small>V.</small>
-and his queen, Elizabeth Farnese, and<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> boasts some superbly embroidered
-vestments and mantles of the Virgin, the visitor must seek the beauties
-of the palace in its church and in its gardens and fountains.</p>
-
-<p>In order to enhance the splendour of the worship that should be
-conducted in the Palace Chapel, Philip <small>V.</small> obtained from Pope Benedict
-<small>XIII.</small> a bull, <i>Dum Infatigabilem</i>, dated 20th December 1724, making it a
-collegiate church. Among other provisions in this bull it conceded that
-the new collegiate church should be the mother-church of all the
-churches and chapels of the town and its abbey; that it should have a
-chapter composed of an abbot, four officiating prebendaries, eight
-canons, six prebendaries, and four chaplain-acolytes; that the abbots
-should be a royal appointment with exclusive ecclesiastical jurisdiction
-throughout the district to be marked out by the Pope’s Nuncio, and at
-liberty to use the pontifical insignia and dress; that the abbot and
-canons should devote half the masses celebrated to the royal founders
-during their lifetime, and for their souls after their death, and that
-the canons should wear the choral dress of those of St. Peter’s in Rome.
-The same bull contained the king’s promise to endow the new collegiate
-church with the sum<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span> of 8625 gold ducats (276,000 reals of present
-Spanish money), to be distributed as follows: 5764 ducats for the fabric
-and its dependents, and the remainder, 2861, for the abbot and
-prebendaries.</p>
-
-<p>In the reign of Charles <small>III.</small> the collegiate church was renovated at the
-expense of the royal treasury and under the direction of Marshal
-Sabatini, the vaults were painted with frescoes by Bayeu and Maella, and
-the mouldings and reliefs were decorated by Vega. By the decree of
-Joseph Bonaparte, given in Madrid on May 30, 1810, the collegiate church
-was suppressed, and it was reduced to a simple private chapel of the
-Royal Palace, uniting its parish with that of the Cristo Church, and
-adding the territory of the abbey to the bishopric of Segovia. The
-church was only closed four years, and on June 24, 1814, Ferdinand <small>VII.</small>
-restored things to their original condition, this event being celebrated
-by four days of public rejoicing and fêtes.</p>
-
-<p>The church is in the shape of a Latin cross, the ends of the four arms
-being occupied by the high altar, choir, and two principal doors.</p>
-
-<p>The ‘platillos’ of the four vaults, surrounded by a moulding, were
-painted <i>al fresco</i> by Maella, and all the paintings on the cupola are
-by<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span> Bayeu, brother-in-law of Goya. Some of the studies for these
-paintings were purchased by Queen Isabel <small>II.</small>, and are now in the Madrid
-Museum.</p>
-
-<p>The gardens with which Philip <small>V.</small> surrounded his palace cover an area of
-three hundred and sixty acres, and are the finest in the kingdom, while
-even the admirers of Versailles admit that La Granja has the more
-amazing fountains. From the grand walk one looks out across a panorama
-of the rocks and forests of New Castile, or gazes down upon the
-beautiful extravagancies of these literally hand-made gardens. The
-formal design of the ground-plan, the regularity of its well-ordered box
-avenues and mazes, the artificiality of its numerous fountains, its
-marble vases and statuary, and the baths and summer-houses that rise out
-of the dwarf-like vegetation, are all in striking contrast with the wild
-grandeur of the distant scenery. Yet, artificial as the aspect
-undoubtedly is, the gardens are a sheer delight, for beyond the
-flower-beds are masses of yellow broom and springing ferns, and the
-grass is a blaze of wild hyacinths, forget-me-nots, cowslips, and
-periwinkle. Higher up the mountain, to where the sky-line shows, 3000
-feet above the palace, are woods of chest<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span>nut trees, oaks, elms, and
-innumerable pines, in which myriad butterflies of every hue disport
-themselves, and scores of streams trickle down to feed the royal
-fountains in the gardens below. The statues representing Lucretia,
-Bacchus, Apollo, Daphne, America, Ceres, and Milo, and many others, are
-of no great artistic value; while the fountains, to the number of
-twenty-six, are unique. The Fama, which throws up its waters to a height
-of 130 feet, is the most renowned; and from another fountain, compact of
-sculptured flowers and fruits, forty spouts send out their two-score
-jets 80 feet high. The Cenador is a single vast cascade of gleaming
-water from the mountain snows. Then there are the Ranas (Frogs), Ocho
-Calles, Canastillo, Tres Gracias, and the Neptuno, at which, says M.
-Bourgoin, the Egotist read Virgil and quoted ‘quos ego.’ Last of all,
-there is the wonderful Baño de Diana, to which reference has already
-been made.</p>
-
-<p>Here, where Art is truly French, and Nature is truly Spanish, where even
-Nature conceives in bleak discomfort for eight months in each year to
-bring forth four months of flowers and faërie, the King of Spain and his
-English bride retired to surroundings amid which a honey<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span>moon will not
-be forgotten. Madrid has its magnificent royal palaces; El Pardo boasts
-its wondrous tapestries; Aranjuez its gardens, and Rio Frio its
-orchards; El Escorial is the eighth wonder of the world, and Miramar
-looks over the yellowest of golden sands into the bluest of blue waters;
-but La Granja, in the Guadarrama Mountains, is that place apart where
-lovers may find a bower</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">‘Of coolest foliage, musical with birds’;<br /></span>
-</div></div>
-</div>
-
-<p class="nind">and here one may listen to</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">‘The murmurs of low fountains that gush forth<br /></span>
-<span class="i1">I’ the midst of roses!’<br /></span>
-</div></div>
-</div>
-
-<p>The auxiliary residence to the palace of San Ildefonso, located some
-fourteen miles from it beyond the city of Segovia, is the royal house of
-Rio Frio, situated in a picturesque park which is full of game of every
-description. The small elegant building which stands in the centre of
-the park was begun by Isabel, the widow of Philip <small>V.</small>, and was completed
-internally by Alfonso <small>XII.</small> It is a two-storied square building, the four
-sides of which are all exactly alike, and a large square court, paved
-with granite flags, occupies the centre of the building. A large portico
-of Tuscan pilasters sur<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span>rounds the court and supports a covered gallery
-on the level of the first floor. From this court a noble staircase,
-consisting of two independent flights, which start from the vestibule in
-opposite directions, each subdividing into two other parallel ones, on
-the level of the first landing. The two independent flights end at the
-first floor at the opposite ends of the room which is used as a
-guardroom for the halberdiers. The steps are of granite, and the
-balustrades, which are supported by figures of children in various
-attitudes, are of a pretty yellow limestone. The sculpturing is also in
-stone, but it was unfortunately painted white, thus depriving it of its
-artistic merit, and giving the appearance of plaster. The whole of this
-work is from the chisel of Bartolomé Seximini. The entire weight of the
-staircase rests on four large Tuscan columns (monoliths), constructed of
-granite, and eight semi-columns of the same kind.</p>
-
-<p>The apartments on the first floor, which with the exception of the
-sacristy and chapel on the ground floor are the only rooms that call for
-description, are decorated and furnished with a simplicity that would
-seem to betoken actual poverty. This is accounted for by the fact that
-the royal family very seldom resides in this<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span> palace; and at such times
-whatever is required is conveyed there from the palace of San Ildefonso.
-On the other hand, the collection of pictures is superior in number and
-merit to that of San Ildefonso, for among its six hundred and
-fifty-eight pictures there are many originals of the great masters of
-the different schools. There is one each of Van Dyck, Titian, Albert
-Dürer, and Goya; two by Zurbaran, Navarrete, Guido de Reni, Pantoja de
-la Cruz, and Correggio; eight by Jordán, three by Teniers, four by
-Domenichino, and six by Poussin.<span class="pagenum"><a name="page_38" id="page_38">{38}</a></span></p>
-
-<h2><a name="III" id="III"></a>III<br /><br />
-<span class="chead">EL PARDO</span></h2>
-
-<p class="nind"><span class="smcap">At</span> the royal residence of El Pardo Maria Cristina was lodged on the eve
-of her marriage with Alfonso <small>XII.</small> in 1879. Seven years later in the same
-palace she wept beside the deathbed of her husband, the father of the
-unborn king, Alfonso <small>XIII.</small> For a score of years El Pardo was avoided by
-the queen-mother, until, in 1906, Don Alfonso brought to the suburban
-palace the English princess who, on the 31st of May of that year, went
-in state to the church of San Jeronimo to be married to the King of
-Spain.</p>
-
-<p>From the earliest days of Madrid’s claim to royal favour, over a hundred
-years before Charles <small>V.</small> transferred the Court from Valladolid to the
-present capital, the Kings of Spain have had a residence at El Pardo.
-Henry <small>III.</small>, <i>El Doliente</i>, when making some additions to the old town of
-Madrid about 1461, built a pleasure-house on this site. The attraction
-of the district was<span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> undoubtedly the abundance of boar and bear which
-found ample cover in the forests which surrounded the capital.
-Generations of improvident inhabitants have destroyed these woods, but
-the preserves within the stone wall which surrounds the royal residence
-are well timbered, and the plantations are full of deer and boar and all
-kinds of small game. Charles <small>V.</small> transformed the building into a winter
-palace and left the task of completing it to Philip <small>II.</small>, who, one
-imagines, spared but scant leisure from his colossal building operations
-at the Escorial to superintend the furnishing of a mere shooting-box. At
-the beginning of the seventeenth century the original structure was
-destroyed by fire and the present château was built by Philip <small>III.</small>
-Charles <small>III.</small> altered and added to the palace in which he found refuge
-after the famous riots against Squillaci, and here in the reign of
-Charles <small>IV.</small> were hatched the plot and counterplot of Ferdinand and Godoy
-which culminated in the revolution of Aranjuez, the fall of the
-much-abused favourite, and the deposition of Charles and his crafty
-sons.</p>
-
-<p>Philip <small>II.</small> by the prosecution of his religious policy, which was
-fruitful of ruinous wars, had beggared Spain in money and credit. Philip
-<span class="pagenum"><a name="page_40" id="page_40">{40}</a></span><small>III.</small> succeeded in 1621 to the crown of a country that the Cortes
-officially described as ‘completely desolated.’ Agriculture and every
-form of manufacture was fallen into decay, the land was left desert for
-want of cultivators, the looms were idle, and the wealth of the
-Spanish-American possessions was swallowed up by the crowd of avaricious
-and unscrupulous office-holders and their underlings. But if Philip <small>II.</small>
-had reduced the nation to these straits by his bigoted zeal and arrogant
-vainglory, his son aggravated the conditions by his reckless
-extravagance and riotous splendour. When the country’s resources had
-been taxed to an extent that made further taxation an impossibility, the
-king, through the agency of his all-powerful favourite, the luxurious
-Duke of Lerma, raised funds to gratify his prodigal expenditure by the
-sale of knighthoods and patents of nobility. When that source failed
-him, he attempted to wrest from the church its silver plate and
-ornaments, and being terrified out of this resolve by the threats of the
-bishops, he made a personal appeal to the people. The king’s officers
-went from door to door begging in the name of the sovereign for the
-money required for carrying on the business of the Government.<span class="pagenum"><a name="page_41" id="page_41">{41}</a></span></p>
-
-<p>But Philip <small>III.</small> still claimed to be the richest potentate in
-Christendom; his subjects still believed themselves the richest people
-in the world. The king could afford to expel 500,000 of his Moslem
-subjects to Barbary, after robbing them of all they possessed; he could
-afford to plunge his country into a foolish war to gratify Spanish
-pride; and he could still afford to indulge his wildest and most
-extravagant personal whims, of which the rebuilding of El Pardo was one
-of the least expensive.</p>
-
-<p>The palace, located in contiguity to the village, which consists of
-about two hundred houses whose inhabitants are employed on the Royal
-Patrimony, has a length of 432 feet and a depth of 192 feet. A tower
-commands each corner, and the entire building is surrounded by a moat,
-30 feet wide, which once served the double purpose of irrigation and
-defence. The principal entrance to the estate is through the ancient and
-beautiful Puerta de Hierro (Iron Doorway), built about the year 1753 by
-Ferdinand <small>VI.</small> and distant about five miles from the town of El Pardo.
-From the doorway a wall of stout masonry, six feet high, runs right and
-left round the demesne for a distance of sixty-two miles. The property
-is intersected from north to south by the River<span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> Manzanares. The stream
-enters on the Sierra side beneath a high stone bridge, the piers of
-which rest on the tall rocks that enclose the narrow pass of Marmota.
-From this bridge may be obtained a magnificent view of the country
-bounded and framed by the distant snow-clad Guadarrama Mountains. The
-rugged and broken ground is prolific in evergreen oaks, cork trees, and
-extensive areas of the cistus shrub. For purposes of defence the estate
-is divided into twenty departments, and the fifty warders who guard the
-royal residence are accommodated in twenty-six spacious and well-built
-houses.</p>
-
-<p>The impression conveyed by the sombre, granite-built palace is
-distinctly imposing. Several stone staircases lead to the royal
-apartments, consisting of sixty commodious rooms, nearly all of which
-are covered with rich and brilliantly coloured tapestries, manufactured
-at Madrid from designs of Goya, Bayeu, Castillo, and Teniers. The
-subjects portrayed are landscapes, hunting and country scenes, and
-passages in the history of <i>Don Quixote</i>. The stucco of the ceilings of
-most of the saloons is the exquisite work of Roberto Michel, while the
-many fresco paintings were executed by Patricio Carcéo, Car<span class="pagenum"><a name="page_43" id="page_43">{43}</a></span>ducho,
-Bayeu, Maella, Galvez, Ribera, and Zacarias Velazquez. The fine
-collection of pictures that once adorned the walls was destroyed by the
-fire of 1604, and of the forty-seven portraits by such famous masters as
-Titian, A. Moro, and Coello, only a few remain. The magnificent glass
-chandeliers are a feature of the royal apartments, and in the Retablo of
-the Oratory there is a copy of Christ bearing the Cross, by Ribalta, the
-original of which is in Magdalen Chapel, Oxford. The Court officials are
-lodged in a commodious building having a complement of a hundred rooms.</p>
-
-<p>To the north of the town is the Prince’s Cottage, another creation of
-that villa-building monarch, Charles <small>IV.</small> It is a delightful example of
-the three noble arts that vie with one another to give beauty to the
-villa&mdash;the old silks that cover the walls, the carvings that adorn them,
-and the magnificent chandeliers and rich, varied furniture, which make a
-valuable museum of this so-styled cottage. There are also other two
-palaces called <i>La Zarzuela</i> and the <i>Quinta</i>. Both are surrounded by
-fine gardens, and contain sumptuous oratories where Mass is celebrated
-on special occasions. These two buildings are surviving portions of the
-old edifice. In <i>La Zarzuela</i><span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> Don Fernando, the brother of Philip <small>IV.</small>,
-was wont to organise those little vaudeville entertainments which were
-christened <i>Zarzuelas</i>. It is no longer used for that purpose, the
-theatrical performances at El Pardo now taking place in the small but
-elegant theatre in the palace which Alfonso <small>XIII.</small> had restored when the
-residence was prepared for the accommodation of Princess Victoria Ena.</p>
-
-<p>To the Royal Patrimony also belongs the parish church and the Capuchin
-convent of Santo Cristo, situated on the left bank of the river, and
-hither, on St. Eugene’s day, the people of Madrid journey in crowds. On
-other feast days, also, the beautifully wooded slopes and shady avenues
-of El Pardo attract thousands of visitors from the city. It would be
-difficult to find anywhere in Europe, at the very doors of the capital,
-such beautiful rustic scenery as that enclosed in this royal estate.</p>
-
-<p>We have said that Charles <small>III.</small> retired to El Pardo after the Squillaci
-riots, and it is curious to reflect that this best of Spanish kings was
-sadly out of touch with the character of his own people. He was a man of
-extraordinary ability, sound experience, and commanding personality. He
-had the will and the power to carry the<span class="pagenum"><a name="page_45" id="page_45">{45}</a></span> government of the State on his
-own broad shoulders, and to manage the domestic affairs of his subjects
-into the bargain. He realised the crying need for domestic reforms in
-his capital, but the Madrileños failed to recognise the necessity, and
-resented his interference. The king found the city ugly, filthy, and
-insanitary, and he decreed that it should be made clean and kept so. He
-was the apostle of order and decency, and not understanding the pride of
-the Spaniards, he could not comprehend that they were affronted by this
-imperious resolve to bring them into line with more advanced European
-nations. Moreover, the decree was published by Squillaci, the king’s
-Italian minister. Squillaci was a marked man from that day, and the
-clergy who had been made to recognise that the King would tolerate no
-clerical interference with his policy, fanned the spirit of revolt which
-manifested itself among the people. In 1766 Charles, having commenced
-his crusade by cleansing the city, now turned his attention to the
-national costume. As a dress-reformer he objected to the long cloaks and
-wide-brimmed hats affected by the citizens, and in March 1766 he issued
-another decree forbidding their use. Immediately Madrid was in revolt.
-The kin<span class="pagenum"><a name="page_46" id="page_46">{46}</a></span>g’s Walloon guards were massacred, the detested Italian,
-Squillaci, sought safety in flight, and for two days the city was in the
-hands of the murdering, destroying mob. On the third day the king
-abolished the Walloon guards and promised to rule without foreign
-ministers. The revolution was at an end, and Charles retreated to El
-Pardo to reflect upon the situation. The king was convinced that the
-priests, and particularly the clever, intriguing members of the Society
-of Jesus, were at the bottom of all the agitation against his policy of
-reform, and the result of his reflections was made known in the
-following year when he decreed that every Jesuit should be forthwith
-expelled from his dominions. The people could not believe their ears,
-but Charles was firm as a rock. He cleared Spain of the power which was
-behind the priesthood, and twelve months later he wrung from Rome the
-papal decree by which the Society of Jesus was temporarily suppressed.
-Charles <small>III.</small> was engrossed in business more serious than hunting when he
-retired from the riot of the capital to take counsel with himself in the
-woods of El Pardo.</p>
-
-<p>Still nearer to the city of Madrid, from which it is only divided by the
-River Manzanares, is the<span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> royal shooting-box, called <i>Casa de Campo</i>,
-the grounds of which, abounding in beautiful scenery and stocked with
-well-preserved game, are twelve miles in circumference. A network of
-channels irrigate the estate, many fountains adorn the gardens, and the
-great pond is full of carp and other fish. The residence was built in
-the middle of the sixteenth century by Philip <small>II.</small>, who
-characteristically gave orders that the house was to be surrounded by a
-forest. To this end a royal decree was issued on January 17, 1562,
-authorising the acquisition of some adjoining lands, and this tract was
-augmented by the king’s private purchase of the ancient and noble estate
-of the heirs of Fadrique de Vargas. Philip, in a fine moment, declined
-to have their coats-of-arms removed, saying that in a king’s palace the
-blazonry of the families that had rendered signal service to the State
-were well placed. In 1582, by order of the same monarch, additional land
-was purchased; and though his successors have made little alterations in
-the original demesne, Ferdinand <small>VI.</small>, when Prince of the Asturias,
-increased it by the purchase of a tract of country valued at 1,250,211
-reals, and still later a smaller area was purchased by the order of
-Charles <small>III.</small> The documents relating to<span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> the acquisition of these
-properties have been carefully preserved, and are now in the archives of
-the royal house. The wall around the estate was commenced in 1736 and
-finished twenty-two years later; it is twelve feet high and about two
-feet thick, and is composed entirely of brick and solid masonry.<span class="pagenum"><a name="page_49" id="page_49">{49}</a></span></p>
-
-<h2><a name="IV" id="IV"></a>IV<br /><br />
-<span class="chead">ARANJUEZ</span></h2>
-
-<p class="nind"><span class="smcap">The</span> Palace of Aranjuez became a patrimony of the Crown of Spain by
-virtue partly of the wise and able economic reforms instituted by
-Ferdinand the Catholic, and partly as a result of his characteristic
-greed. The husband of Isabel of Castile safeguarded his country by
-stripping the nobles of many of their privileges and powers, and
-readjusting their sources of income. He prohibited them from erecting
-new castles and coining money, and as the masterships of the vast
-estates of the military orders fell vacant, he retained the masterships
-and the estates in the royal family and paid the knights by fixed
-pensions. Aranjuez sprang into existence in the fourteenth century as
-the summer residence of Lorenzo Suarez de Figueroa, the master of the
-illustrious and wealthy Order of Santiago, who planted the land with
-trees and vines and olives, and erected a building that answered the
-double<span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> purpose of castle and convent. When Ferdinand incorporated the
-mastership of the Order of Santiago with the Crown, Aranjuez became the
-summer palace of the Catholic king and his consort. In 1536 Charles <small>V.</small>
-made it a shooting villa, and Philip <small>II.</small> introduced English elms into
-the grounds, and employed Herrera, of Escorial fame, to construct
-additional buildings to better accommodate his growing family. The
-palace was partially destroyed by fire in 1650, and five years later a
-second fire reduced it to a ruin. In this condition it remained until
-1727, when Philip <small>V.</small>, who had tasted the pleasures of palace-building at
-La Granja, rebuilt the present edifice, which was successively improved
-by Charles <small>III.</small> and Ferdinand <small>VII.</small></p>
-
-<p>Philip <small>V.</small> was better advised when he decided to erect a palace on the
-site of the master of the Order of Santiago’s summer residence than when
-he wrested a foothold for La Granja from the side of the mountains of
-Segovia. The royal home at Aranjuez is charmingly situated in the midst
-of avenues of stately elms and sycamores at the confluence of the Tagus
-and Jarama&mdash;a verdurous oasis in the midst of treeless, waterless
-Castile. He constructed the palace and the public chapel from stone
-taken from a quarry in the district<span class="pagenum"><a name="page_51" id="page_51">{51}</a></span> of Colmenar, which he bought for
-the purpose. The timber he procured from the mountains of Cuenca, and
-the lead for the roofing from some mines that existed near Consuegra.
-Philip <small>III.</small> enriched the gardens with many of the fine bronzes and
-marbles that are to be seen there, and some of the splendid fountains
-were also added by his orders; but the Parterre department which Philip
-<small>II.</small> laid out was completed by the art-loving Philip <small>IV.</small>, who furnished
-the busts of the Roman emperors, the statues, and the beautiful
-medallions. In 1748 the palace was again on fire, and the principal
-façade was restored by Ferdinand <small>VI.</small> in its present more elegant form.</p>
-
-<p>That weak and fatuous monarch Charles <small>IV.</small>, who added the Casas del
-Principe to the Escorial, and El Pardo, and the auxiliary Casa del
-Labrador to the palace of Aranjuez, had a particular affection for the
-‘Spanish Fontainebleau.’ Here the king and queen and their favourite,
-Godoy, passed much of their time in the anxious days that preceded the
-fall of the monarchy; and here, in March 1808, the determination was
-arrived at by which the detested Prince of the Peace was torn from
-office and power, literally by the hands of the incensed mob. What a
-curious spectacle<span class="pagenum"><a name="page_52" id="page_52">{52}</a></span> of a family group they present to our eyes! Charles
-<small>IV.</small> and Maria Luisa, Ferdinand and Godoy, with mutual hatred in their
-hearts and the sound of the tumult of Madrid ringing in their ears.
-King, prince, and minister each believed the advancing French to be his
-friends; each felt confident that Spain was being trampled under foot by
-foreign soldiers to advance their several conflicting interests. But
-suddenly from the rapidly approaching host came messengers with an
-ultimatum from Napoleon, containing impossible conditions that would
-have dismembered Spain and deprived her of her independence. It was
-evident now that Napoleon was coming not as a saviour but as a
-conqueror, and now it was too late to resist him by force of arms. In
-the palace of Aranjuez it was resolved that the Court should retire to
-Seville, and from there, if the worst happened, sail for America.</p>
-
-<p>Although this secret resolution was carefully guarded, a rumour of the
-projected flight got about, and the mob vented their anger upon Godoy,
-whom they believed was prepared to sell the country to the Corsican. In
-vain Charles addressed proclamations to ‘my dear vassals,’ and assured
-them that his dear ally, the Emperor<span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> of the French, was only making use
-of Spanish soil to reach points threatened by the English enemy; in vain
-he denied the story of his intended flight. The greater part of the
-garrison in Madrid was ordered to Aranjuez, but with the soldiers went
-an army of country people who surrounded the king’s palace and the
-palace of the favourite, and closely guarded every avenue of escape. At
-midnight of the 17th March a bugle-call rang out, a shot responded to
-the summons, and in a moment the revolution was in full swing. Around
-the royal residence, in which Charles was lying ill with gout, the mob
-contented itself by howling threats and imprecations, but Godoy’s palace
-was carried by assault. The work of destruction was stayed for a few
-moments while the Princess of the Peace, a member of the royal family,
-and her daughter were respectfully conveyed to the royal palace. Then
-the ruffians got to work in terrible earnest. With murderous
-thoroughness they searched every room and corridor for the despised
-author of the national trouble, wrecking everything in their path. But
-Godoy had slipped from his bed, and found a refuge under a roll of
-matting in a neighbouring lumber-room. For thirty-six hours he remained
-in hiding until hunger and thirst<span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> drove him from his retreat, and he
-was led from his ruined house to the barrack guardroom through a
-populace that thirsted for his life. The wretched fugitive, ill with
-fear and fatigue, was placed between two mounted guards, and the journey
-was made at a sharp trot, but he could not out-distance the vengeance of
-the crowd, and his guards could not protect him. Fierce blows were
-rained upon him by the infuriated multitude, and the man who had been
-master of Spain, bleeding from a score of wounds and gasping for breath,
-was only rescued from instant death by a miracle.</p>
-
-<p>The mob still overran the streets of Aranjuez, and swarmed around the
-royal palace in which Charles <small>IV.</small> signed the decree handing the crown of
-Spain to Ferdinand. A few days later he withdrew his abdication
-privately at the instigation of General Monthion, Murat’s chief of the
-staff, and shortly afterwards left Aranjuez for the Escorial, from
-whence, on the 25th April following, he set out for Bayonne, to lay the
-crown at the feet of the Emperor of the French. The king died at Rome in
-1819; Ferdinand, having spent six years at Valençay, where he was
-virtually a prisoner of the French, was restored to the throne of Spain.
-During the<span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> nineteen years of his reign Ferdinand <small>VII.</small> and the coarse,
-ignorant vulgarians who composed the camarilla by which he surrounded
-himself, spent much of their time at Aranjuez. Here the vast conspiracy
-was hatched against the Constitution, which led to the battle between
-the militia and the citizens in 1822; and here the worthless monarch
-intrigued until his death to re-establish absolutism, and restore the
-old rotten order of things which the nation had shed its best blood to
-wipe out.</p>
-
-<p>The nearness of Aranjuez to Madrid and the beauty of its situation has
-always made it a favourite residence of the Spanish royal family. The
-town itself, which has a population of some ten thousand inhabitants, is
-composed of wide streets and large squares, and many noble families
-possess villas in the neighbourhood. The interior of the palace, which
-reveals an incongruous jumble of modern innovations adapted to the
-architecture and decoration of bygone generations, is filled with a
-large assortment of works of art, some possessing a very high order of
-merit, and others very little. The celebrated staircase which faces the
-principal entrance is magnificent. It leads to the <i>Saleta</i>, a room
-embellished with a granite chimney-piece and<span class="pagenum"><a name="page_56" id="page_56">{56}</a></span> chandeliers of rock
-crystal and bronze, and containing several paintings by the famous
-Italian artist Luca Giordano, who is known in Spain by the name of Juan
-Jordán. Other pictures by Giordano, painted on white silk damask, are to
-be seen in an adjoining apartment. In the Oratory is a superb altar,
-with an agate inlaid table, and Titian’s ‘Annunciation of the Virgin.’
-Next to the Oratory is the Hall of Ambassadors, a modern apartment, with
-a ceiling painted in 1850 by Vicente and Maximino Camarón. The walls of
-the queen’s study in the same suite are covered with white damask, and
-the room is furnished with twelve chairs and a carved mahogany table of
-the time of Charles <small>IV.</small></p>
-
-<p>The ball-room and the dining-room, even the Moorish room, in which
-Rafael Contreras has revived the beauties of the Alhambra, are surpassed
-by the music-room, which is the finest saloon in the palace. Here all
-the decorations are Chinese in character, worked out and enamelled with
-great skill; and the chandelier, which is in one piece, is an exquisite
-specimen of workmanship. The walls of this room are entirely covered
-with large porcelain plaques, representing in high relief groups of
-beautifully modelled Oriental figures. The looking-glasses,<span class="pagenum"><a name="page_57" id="page_57">{57}</a></span> made at La
-Granja, with their frames composed of fruits and flowers, enhance the
-effect. Joseph Gricci, who modelled and painted the music-saloon, was
-one of the artists brought over from Naples by Charles <small>III.</small> in 1759,
-when he established in Madrid the factory of Buen Retiro. In addition to
-this superb porcelain, the palace boasts a bedstead of splendidly carved
-lignum-vitae, and some pictures by Bosch (Jerome van Aeken), a painter
-of the sixteenth century, who is almost unknown outside Spain. These
-canvases represent fantastic subjects and allegories in the style of
-Breughel, and were highly praised by the critics of his time.</p>
-
-<p>The Convent of San Pascual was founded by Charles <small>III.</small>, and the theatre
-in the town owed its inception to the same monarch. The convent church
-contains only a few valuable pictures, but it is rich in marble and
-beautifully carved wood. The convent library possesses many ancient
-manuscripts, and the convent grounds are famous for their beauty, but
-the gardens of the royal palace are the crowning glory of Aranjuez.</p>
-
-<p>That most entertaining author and indefatigable dispenser of Testaments,
-George Borrow, travelled in Spain at a time when royalty was battling
-for its very existence. He found the<span class="pagenum"><a name="page_58" id="page_58">{58}</a></span> country dangerous and desolated,
-and the country homes of its kings fallen into a state of neglect. When
-he was in La Granja, the palace of San Ildefonso was shut up, and the
-town which surrounds the patrimony of the Crown of Spain was practically
-deserted. He had no better luck in Aranjuez. He admits the beauty of the
-district, but he describes the place as in a state of desolation; he
-recalls the fact that Ferdinand <small>VII.</small> spent his latter days in its palace
-surrounded by lovely señoras and Andalusian bull-fighters, and
-quotes&mdash;perhaps with more sentiment than sympathy&mdash;the words of
-Schiller:</p>
-
-<div class="poetry">
-<div class="poem"><div class="stanza">
-<span class="i0">‘The happy days in fair Aranjuez<br /></span>
-<span class="i1">Are past and gone.’<br /></span>
-</div></div>
-</div>
-
-<p>‘Intriguing courtiers no longer crowd its halls,’ he reflects; ‘its
-spacious circus, where Manchegan bulls once roared in rage and agony, is
-now closed, and the light tinkling of guitars is no longer heard amidst
-its groves and gardens.’ One feels as one reads these passages that
-Borrow was not at his best as a moralist. One prefers him when he is
-describing in his lively, absorbing manner his personal experiences, and
-is glad to learn that he disposed of eighty Testaments in desolate
-Aranjuez, and that he ‘might<span class="pagenum"><a name="page_59" id="page_59">{59}</a></span> have sold many more of these Divine books’
-if he had remained there a longer period.</p>
-
-<p>But we are sorry that Borrow did not see the Palace Gardens in April or
-May, when the view from the Parterre is one of almost unsurpassed
-loveliness. The Reina, Isla, and Principe Gardens are furnished with a
-multitude of bridges, grottoes, fountains, and cascades, bordered and
-surrounded by an exuberance of plants and flowers from England, France,
-and the East, all bathed by the waters of the Tagus, and made musical
-with the notes of myriad birds. ‘The Nightingale that in the Branches
-sang’ returns in his thousands every spring, and we hear ‘The melodious
-noise of birds among the spreading branches, and the pleasing fall of
-water running violently.’ Here are Oriental trees, palms, and the cedars
-of Lebanon, and interspersed with them are the first elms introduced by
-Philip <small>II.</small> into Spain from England, which grow magnificently under the
-combined influence of heat and moisture. The impressionable and
-responsive Edmondo de Amicis writes of Aranjuez:</p>
-
-<div class="blockquot"><p>‘The interior of the royal building is superb, but all the riches
-of the palace do not compare with the view of the gardens, which
-seem to have been laid out for the family of a Titanic king, to
-whom the parks and<span class="pagenum"><a name="page_60" id="page_60">{60}</a></span> gardens of our kings must appear like terrace
-flower-beds or stable-yards. There are avenues as far as the eye
-can reach, flanked by immensely high trees, whose branches
-interlace as if bent by two contrary winds, which traverse in every
-direction a forest whose boundaries one cannot see; and through
-this forest the broad and rapid Tagus describes a majestic curve,
-forming here and there cascades and basins. A luxurious and
-flourishing vegetation abounds between a labyrinth of small
-avenues, cross roads, and openings; and on every side gleam
-statues, fountains, columns, and sprays of water, which fall in
-splashes, bows, and drops, in the midst of every kind of flower of
-Europe and America. To the majestic roar of the cascade of the
-Tagus is joined the song of innumerable nightingales, who utter
-their plaintive vibratory notes in the mysterious shade of the
-solitary paths. Beyond the palace, and all around the shrubberies,
-extend vineyards, olive-groves, plantations of fruit trees, and
-smiling meadows. It is a genuine oasis, surrounded by a desert,
-which Philip II. chose in a day of good humour, almost as if to
-temper with the gay picture the gloomy melancholy of the Escorial,
-and in which one still breathes the atmosphere, so to speak, of the
-private life of the kings of Spain.’</p></div>
-
-<p>The Jardines de la Reina are of minor importance, but the Jardines de la
-Isla, comprising the four divisions which are known as Parterre, La
-Estatuas, Isla, and Emparrado, are filled with natural and created
-beauties. In the Isabel <span class="pagenum"><a name="page_61" id="page_61">{61}</a></span><small>II.</small> Garden is a bronze statue of the queen,
-erected to commemorate the political events of 1834. It is surrounded by
-a handsome iron railing, and completed by eight stone seats and as many
-marble vases mounted on pedestals. The Jardines de Principe, a much more
-modern preserve, are divided into four departments, and bisected by
-avenues that lead to the various small squares and to the Princesa,
-Apollo, Blanco, and Embajadores Avenues, the last of which terminates in
-the little Pabellones Garden of the time of Ferdinand <small>VI.</small> In addition to
-these princely gardens there are the English Garden, remarkable for its
-carved rock supporting a well-modelled swan; the Chinese Garden with its
-banana plantations; and the Garden of the Princess, acquired in 1535,
-and adorned in 1616 with a mechanical clock, decorated with twelve
-bronze figures that play on bronze trumpets. On the banks of the swiftly
-flowing river are the paddocks of the Crown, where camels and llamas
-roam, and a stud farm, where are bred English and Spanish blood horses
-and the beautiful cream-coloured animals of the Aranjuez stock.</p>
-
-<p>The auxiliary palace called the Casa del Labrador, or Labourer’s
-Cottage, built by Charles <small>IV.</small>, is a remarkable structure, being a<span class="pagenum"><a name="page_62" id="page_62">{62}</a></span>
-series of boudoirs, <i>à petit Trianon</i>, worthy of a Pompadour. The
-ceilings are painted by Zacarias Velazquez, Lopez, Maella, and other
-artists, and the walls of the back staircase are decorated with scenes
-and figures of the time of Charles <small>I.</small> At the top of the staircase is
-figured a balcony, on which are leaning the handsome wife and children
-of the painter, Z. Velazquez. The gilded bronze balustrade of the main
-staircase contains gold to the value of £3000, and the marbles over the
-doors are very fine. On the ground-floor of the building, which is
-composed of three stories, are thirteen statues by Spanish sculptors. In
-the centre of the hall is a marble figure representing Envy, and around
-the apartment are twenty busts of Carrara marble. Among the treasures of
-the palace are many Japanese vases and bronzes of great artistic value,
-marble busts of Minerva and Mars, a group representing a sacrifice in
-honour of Venus, and an enormous, beautifully carved mahogany fountain.
-The decorations consist of platinum, artistically worked pavements of
-Buen Retiro porcelain, and the most gorgeous silk embroideries and
-tapestries bordered with gold; while the furniture includes priceless
-chandeliers, Sèvres vases, candelabra, and clocks. A chair and table in<span class="pagenum"><a name="page_63" id="page_63">{63}</a></span>
-malachite, a present from Prince Demidoff to the ex-Queen Isabella of
-Spain, is valued at about £1500. The apartment known as <i>Retrete</i> is
-adorned with a composition resembling marble in the Moorish style and
-Etruscan low relief, and furnished with crimson coverings bordered with
-gold, while all the appointments of the hall, the capricious clocks and
-floral stands of bronze and glass, the table of rock crystal, and the
-wealth of marbles, all contribute to the magnificence of this so-called
-<i>Casa del Labrador</i>.<span class="pagenum"><a name="page_64" id="page_64">{64}</a></span></p>
-
-<h2><a name="V" id="V"></a>V<br /><br />
-<span class="chead">MIRAMAR</span></h2>
-
-<p class="nind"><span class="smcap">The</span> most modern of the many royal residences in Spain is the palace
-which the queen-mother built for herself and her young family in the
-most easterly province on the northern coast of the Peninsula. Queen
-Maria Cristina had been Regent for three years when in 1889 she
-determined to make a home between the mountains and the sea in a spot
-far removed from the etiquette and stress of the capital and from the
-sad memories which were associated with the ancient palaces of Castile.
-Her Majesty spent her first summer holiday at Miramar, the capital of
-Guipuzcoa in 1894, and here, overlooking the Bay of Biscay, Alfonso
-<small>XIII.</small> was brought up among and in the heart of his own people. Here he
-was prepared by a rigorous course of study to assume the duties of the
-high destiny to which he was born, and here also he learnt to ride and
-shoot, to swim and handle a boat, and to excel<span class="pagenum"><a name="page_65" id="page_65">{65}</a></span> in every form of manly
-sport. At San Sebastian the dignity and restraint of royalty is largely
-relaxed, and the English visitor realises more clearly than in any other
-part of the country how intensely democratic is the Spaniard at heart.
-The King of Spain is more in touch with the masses of his people than
-the ruler of any other European nation. He is an anointed sovereign and
-the most august personage in the land; but he is a Spaniard, he belongs
-to his people, he is one of themselves. In Madrid court etiquette keeps
-the sovereign at a different altitude from his subjects, but here he
-rides and drives abroad, generally unattended, and sets an example of
-princely amiability and unaffected kindliness which distinguishes all
-ranks of the Spanish nobility. The line of demarkation between the
-nobles and the people is so clearly defined that it never has to be
-emphasised. In their relations there is no unbending on the one side,
-there is no servility on the other. A grandee of Spain does not imperil
-his dignity by joining the cotillon at the Casino; a duchess can drink
-tea at the crowded tables of a public café without taking thought of
-appearances.</p>
-
-<p>In San Sebastian the sovereign is not the High and Mighty Señor Don
-Alfonso <small>XIII.</small> of Bourbon<span class="pagenum"><a name="page_66" id="page_66">{66}</a></span> and Austria, Catholic King of Spain, but
-rather is he ‘<i>le chevalier Printemps</i>,’ and the respect with which he
-is everywhere greeted is based as much in affection for his person as in
-deference to his exalted station. In all the festivities and social
-functions of the fashionable watering-place, His Majesty takes a
-prominent part; and although roulette is forbidden at the Casino while
-Royalty is at Miramar, no other restriction is imposed upon the gaiety
-of the town by the king’s presence. Don Alfonso is president of the
-Yacht Club and of the Horse Show; he distributes the athletic
-championship prizes, and is among the guns at every important shoot; the
-homely, merry festival of the Urumea would be incomplete without him;
-his attendance in the Avenida de la Libertad is as necessary as the
-sunshine to the Carnival of Flowers. The queen-mother’s handsome team of
-four Spanish mules is to be met with every day in the neighbouring
-country, and the king’s motor car is a familiar object of the landscape
-between San Sebastian and Biarritz. It was from San Sebastian that he
-motored to the bright little French town to make his formal request for
-the hand of Victoria Eugénie of Battenberg, and it was to Miramar that
-he brought his affianced bride to<span class="pagenum"><a name="page_67" id="page_67">{67}</a></span> present her to the queen-mother and
-the Spanish people.</p>
-
-<p>If the Spanish coast had been searched from one end to the other, it
-would have been impossible to have found a more picturesque spot than
-the bay of San Sebastian, where the blue billows from the North Atlantic
-bring their long journey to an end on a stretch of the most golden sands
-in Europe. During the summer months the crested rollers, following one
-another with the regularity and precision of Highland regiments at the
-quickstep, sweep through the narrow channel between Santa Clara and
-Mount Orgullo, and, making the semicircle of the Concha, break their
-formation at the private landing-stage beneath the royal palace of
-Miramar, and fall out about the rocky base of Mount Igueldo. Seen from
-the royal yacht, the <i>Giralda</i>, which always lies in the bay when the
-royal family are in residence at Miramar, the town of San Sebastian lies
-in the base of a crescent, the horns of which are tipped with the old
-light tower at one extremity and the castle of La Mota at the other.
-Behind the town Mount Ulia raises its wooded height in the middle
-distance, and beyond it, as far as the eye can see, the white-capped
-sentinels of the Pyrenees complete the view. One can sip<span class="pagenum"><a name="page_68" id="page_68">{68}</a></span> one’s
-chocolate on the terrace of the restaurant which crowns Mount Ulia, and
-gaze on San Sebastian spread out like a panorama in the valley, or watch
-the sunlight reflected from the white cliffs of France, or try to make
-out the sword-cut in the coast-line by which the tide flows, as through
-the neck of a bottle, into the inland sea, which laps the very
-door-steps of Pasajes and divides it into the two sections of San Juan
-and San Pedro. There are seasons when the Bay of Biscay is the
-incarnation of elemental fury, when the inviting natural harbour of San
-Sebastian is a death trap for any vessel that flies to it for shelter.
-When the south and south-west winds are blowing at the end of September,
-and the hurricane is driving the raging billows of the Atlantic before
-it; when even whales are caught by the stampeding waters and tossed like
-weeds on the sandy bosom of the Concha; when the roof of the Royal
-Nautical Club is swept by the waves, and the breakwater at the mouth of
-the Urumea crumbles before the ferocity of the gale; then is this
-north-east coast of Spain <i>anathema maranatha</i> to those that go down to
-the sea in ships. But by the end of September, the holiday season in San
-Sebastian is over, and the holiday-makers are distributed<span class="pagenum"><a name="page_69" id="page_69">{69}</a></span> over every
-country in Europe. The Court is removed to Madrid, the Palace of Miramar
-and the Casino are closed, the <i>Giralda</i> seeks a surer anchorage, and
-the fishing-fleet is safely berthed in the land-locked harbours of
-Pasajes.</p>
-
-<p>The construction of the Royal Palaces of Madrid absorbed over a quarter
-of a century, and a whole army of labourers were twenty years on the
-Escorial before it was ready for occupation by Philip <small>II.</small> Five hundred
-men built the royal residence of Miramar in four years. Two architects
-collaborated in its construction&mdash;Mr. Selden Wornum, who laid down the
-general plan, and Señor Goicoa, who was in charge of the building
-operations and revised the plans as the work proceeded. The materials
-used, with the exception of some special tiles, which had to be brought
-from England, are Spanish, the marble and stone having been brought from
-the provinces of Guipuzcoa, Valladolid, and Burgos; the iron for the
-different stages from the ‘Altos Hornos’ and ‘Vizcaya’ factories of
-Bilbao, and the metal work from Eibar.</p>
-
-<p>The real Casa de Campo de Miramar is composed of three departments: the
-palace, the offices, and the stables and coach-houses. The palace is a
-three-storied building, in the style of<span class="pagenum"><a name="page_70" id="page_70">{70}</a></span> an English country house. On
-the ground-floor, at the entrance, is a spacious central gallery, which
-extends nearly the whole length of the palace, dividing it into two
-parts. On the right are the king’s study, the library, the oratory, the
-reading-room and the dining-room, which is rectangular, and boasts a
-magnificent balcony. On the left are the hall, the official reception
-rooms, and the billiard-room. Between the study and the library is a
-large drawing-room. On the first floor are the apartments of the king
-and queen and the old playroom of his Majesty, all communicating with
-each other by a terrace which overlooks the sea and the garden. From the
-king’s room a tower is reached, which is surmounted by a flag-staff. The
-rooms occupied by the royal servants are on the upper floor. A long
-gallery connects the main building with the house in which are lodged
-the chief officials of the palace, and the stables, which are fashioned
-on the most modern English pattern, form a separate building.</p>
-
-<p>Over the principal entrance are three beautifully carved shields: one
-with the arms of Spain, another with those of the king, and the third
-with those of the queen. In the construction of the palace, the chief
-considerations have been<span class="pagenum"><a name="page_71" id="page_71">{71}</a></span> comfort and convenience. Every most modern
-improvements, both scientific and æsthetic, have been employed to attain
-this end. The furniture is elegant, and harmonises perfectly with the
-decoration of the rooms; the tapestries, paintings, porcelains, all the
-objects of art, in fact, which are found there in great profusion, are
-in the most exquisite taste; while the park by which Miramar is
-surrounded is probably the best cultivated domain in the possession of
-the Crown. The telegraph links up the palace with the whole world; and
-the telephone connects it with the royal palace and the Government
-Offices at Madrid. At the extremity of the grounds of the Royal
-residence, which have been built over the road, and continued to the
-water’s edge, is the private landing-stage which his Majesty always uses
-in going to and from the <i>Giralda</i>. On most days during the San
-Sebastian season, the king is to be seen in the Bay, and he is always
-one of the most interested spectators of the races during the regatta
-week.</p>
-
-<p>In a little volume of this kind, which is intended as an album and
-pictorial souvenir of the palaces of which it treats rather than an
-illustrated handbook, little attention has been given to the cities in
-which these royal residences are<span class="pagenum"><a name="page_72" id="page_72">{72}</a></span> situated, or the country by which they
-are surrounded. But a few lines may be added here about San Sebastian,
-which in most respects is different from other Spanish cities, even from
-the capitals of the other Basque provinces. San Sebastian is kept
-spotlessly clean, its municipal management is perfect, and its beggars
-are conspicuous by their absence. The modernity of the town is due to
-the firing of the place after the siege of 1813, when the only part that
-escaped was the bit of old town, situated near the little <i>Port des
-Pêcheurs</i>, under the shadow of Mount Urgull. The broad, even, regular
-streets of the new town, which is bisected by the handsome Avenida de la
-Libertad, are flanked by splendid shops and hotels that would do credit
-to any European city. The whole place wears an aspect of smiling
-prosperity, and its life during the holiday season is one continuous
-round of hearty, innocent gaiety. Cricket, it must be admitted, has not
-yet been naturalised in Spain, and the golfer must cross the border to
-Biarritz to indulge in his favourite game, but every other sport that
-the average Englishman affects can be enjoyed here. The bathing from the
-beach is the best and safest in the world, and the lover of picturesque
-scenery has a paradise of varied<span class="pagenum"><a name="page_73" id="page_73">{73}</a></span> landscapes and sea pieces within
-walking distance of the town. There is lawn tennis in the new recreation
-grounds, and pelota matches, at one or other of the courts, are played
-daily; while, for those who care for bull fighting, there is a <i>corrida</i>
-every Sunday afternoon during the season.<span class="pagenum"><a name="page_74" id="page_74">{74}</a></span></p>
-
-<h2><a name="VI" id="VI"></a>VI<br /><br />
-<span class="chead">EL ALCAZAR</span><br /><br />
-<span class="chead1">SEVILLE</span></h2>
-
-<p class="nind"><span class="smcap">The</span> beautiful Moorish palace of the Alcazar at Seville, unlike the more
-famous Alhambra of Granada, is still a royal palace, though only
-occasionally the residence of their Catholic Majesties. The upper floor,
-containing the royal apartments, is always kept ready for these
-illustrious tenants, and in consequence is rarely accessible by the
-tourist and sight-seer. The palace proper is one of a group of buildings
-known as the Alcazares, which is surrounded by an embattled wall, and
-includes several open spaces and numerous private dwellings. Immediately
-inside the wall are two squares called the Patio de las Banderas and
-Patio de la Monteria. At the far end of the former is the office of the
-governor of the palace, and to the right of this is an entrance whence a
-colonnaded passage called the Apeadero leads straight<span class="pagenum"><a name="page_75" id="page_75">{75}</a></span> through to the
-gardens, or, by turning to the right, to the Patio del Leon. On one side
-this latter square communicates with the Patio de la Monteria; on the
-other side is the palace of the Alcazar itself. I hope this will make
-the rather puzzling topography of the place a little more intelligible.</p>
-
-<p>Whether or not the Roman ‘Arx’ stood on this spot, as tradition avers, I
-cannot pretend to say. But there is no room for doubt that a palace
-stood here in the days of the Abbadite amirs, and that this building was
-restored and remodelled by the Almohades. To outward seeming the Alcazar
-is as Moorish a monument as the Alhambra. In reality, few traces remain
-of the palace raised by the Moslem rulers of either dynasty, and the
-present building was mainly the work of the Castilian kings&mdash;especially
-of Pedro the Cruel. But though built under and for a Christian monarch,
-it is practically certain that the architects were Moors and good
-Moslems, and that their instructions and intentions were to build a
-Moorish palace. Historically, you may say, the Alcazar is a Christian
-work; artistically, Mohammedan.</p>
-
-<p>The actual palace occupies only a small part of the site of the older
-structures, and incorporates<span class="pagenum"><a name="page_76" id="page_76">{76}</a></span> but a few fragments of their fabrics.
-Since Pedro the Cruel’s day, so many sovereigns have restored,
-remodelled, and added to the building, that it is far from being
-homogeneous, though we can hardly agree with Contreras that it is ‘far
-from being a monument of Oriental art.’</p>
-
-<p>Pedro built more than one palace, or, more correctly, two or three wings
-of the same palace, in this enclosure. Traces of his Stucco Palace
-(Palacio del Yeso) remain. Pedro looms very large in the history of
-Seville. He plays the same part here as Harûn-al-Rashid in the story of
-Bagdad. He was fond of the Moors, and affected their costumes and
-customs. He also favoured the Jews, and was alleged by his enemies to be
-the changeling child of a Jewess. His treasurer and trusted adviser was
-an Israelite named Simuel Ben Levi. He served the king long and
-faithfully, till one day it was whispered that half the wealth that
-should fill the royal coffers had been diverted into his own. Ben Levi
-was seized without warning and placed on the rack, whereupon he expired,
-not of pain, but of sheer indignation. Under his house&mdash;so the story
-goes&mdash;was found a cavern in which were three piles of gold and silver,
-twice as high as a man. Pedro on beholding these was much<span class="pagenum"><a name="page_77" id="page_77">{77}</a></span> affected.
-‘Had Simuel surrendered a third of the least of these piles,’ he
-exclaimed, ‘he should have gone free. Why would he rather die than
-speak?’</p>
-
-<p>Stories innumerable are told of this king, a good many, no doubt, being
-pure inventions. There is no reason to question the account of his
-treatment of Abu Saïd, the Moorish Sultan of Granada. This prince had
-usurped his throne, and being solicitous of Pedro’s alliance, came to
-visit him at the Alcazar with a magnificent retinue. The costliest
-presents were offered to the Castilian king, whose heart, however, was
-bent on possessing the superb ruby in the regalia of his guest. Before
-many hours had passed, the Moors were seized in their apartments and
-stripped of their raiment and valuables. Abu Saïd, ridiculously tricked
-out, was mounted on a donkey, and with thirty-six of his courtiers,
-hurried to a field outside the town, where they were bound to posts. A
-train of horsemen appeared, Don Pedro at their head, and transfixed the
-helpless men with darts, the king shouting, as he hurled his missiles at
-his luckless guest: ‘This for the treaty you made me conclude with
-Aragon! This for the castle you took from me!’ The ruby which had been
-the<span class="pagenum"><a name="page_78" id="page_78">{78}</a></span> cause of the Moor’s death was presented by his murderer to the
-Black Prince, and now adorns the crown of England.</p>
-
-<p>Nor did Pedro confine his fury to the sterner sex. Doña Urraca Osorio,
-because her son was concerned in Don Enrique’s uprising, was burned at
-the stake on the Alameda. Her faithful servant, Leonor Dávalos, seeing
-that the flames had consumed her mistress’s clothing, threw herself into
-the pyre to cover her nakedness, and was likewise burnt to ashes. Having
-conceived a passion for Doña Maria Coronel, the king caused the husband
-to be executed in the Torre del Oro. The widow, far from yielding to his
-entreaties and threats, took the veil and destroyed her beauty by means
-of vitriol. Pedro at once transferred his attentions to her sister, Doña
-Aldonza, and met with more success. If a chronicler is to be believed,
-he threw his brother Enrique’s young daughter naked to the lions, like
-some Christian virgin martyr. The generous (or possibly overfed) brutes
-refused the proffered prey, and the whimsical tyrant ever afterwards
-treated the maiden kindly. In memory of her experience, she was known as
-‘Leonor de los Leones.’</p>
-
-<p>Crossing the Plaza del Triunfo, which lies<span class="pagenum"><a name="page_79" id="page_79">{79}</a></span> between the Cathedral and
-the old Moorish walls, we enter the Patio de las Banderas, so called
-either because a flag was hoisted here when the royal family was in
-residence, or on account of the trophy, composed of the arms of Spain
-with crossed flags, displayed over one of the arches. Pedro was
-accustomed to administer justice, tempered with ferocity, after the
-Oriental fashion, seated on a stone bench in a corner of this square.
-The surrounding private houses occupy the site of the old Palace of the
-Almohades, and one of the halls&mdash;the Sala de Justicia&mdash;is still visible.
-It is entered from the Patio de la Monteria. Contreras assigns an
-earlier date to this room even than the advent of Almohades. It is
-square, and measures nine metres across. The stucco ceiling is adorned
-with stars and wreaths, and bordered by a painted frieze. The
-decorations consist chiefly of inscriptions in Cufic characters. The
-right-angled apertures in the walls were closed either by screens of
-translucent stucco or by tapestries, ‘which must,’ says Gestoso y Perez,
-‘have made the hall appear a miracle of wealth and splendour.’ It was in
-this hall, often overlooked by visitors, that Don Pedro overheard four
-judges discussing the division of a bribe they had received. The
-question was<span class="pagenum"><a name="page_80" id="page_80">{80}</a></span> abruptly solved by the division of the disputants’ heads
-and bodies. Thanks to its isolation, the Sala de Justicia escaped the
-dreadful ‘restoration’ effected in the middle of the nineteenth century
-by the Duc de Montpensier. The house No. 3, Patio de las Banderas,
-formed part, in the opinion of Gestoso y Perez, of the Palacio del Yeso,
-or Stucco Palace, of Don Pedro.</p>
-
-<p>Passing through the colonnaded Apeadero, built by Philip <small>III.</small> in 1607,
-and once used as an armoury, we reach the Patio del Leon, where
-tournaments used to be held, and stand in front of the Palace of the
-Alcazar. The façade is gorgeous yet elegant, of a gaudiness that in this
-brilliant city of golden sunshine and white walls is not obtrusive. Yet,
-despite the Moorish character of the decoration, the Arabic capitals and
-pilasters, and the square entrance ‘in the Persian style,’ the front is
-not that of an eastern palace; and it is without surprise that we read
-over the portal, in quaint Gothic characters, the legend: ‘The most
-high, the most noble, the most powerful, and the most victorious Don
-Pedro, commanded these Palaces, these Alcazares, and these entrances to
-be made in the year (of Cæsar) 1402’ (1364). Elsewhere on the façade are
-the oft-repeated Cufic inscriptions: ‘There is no con<span class="pagenum"><a name="page_81" id="page_81">{81}</a></span>queror but Allah,’
-‘Glory to our lord the Sultan’ (Don Pedro), ‘Eternal glory to Allah,’
-etc., etc.</p>
-
-<p>This is a very different entrance from that of the Alhambra, the
-building on the model of which the Alcazar was undoubtedly planned. From
-the entrance a passage leads from your left to one extremity of the
-Patio de las Doncellas, the central and principal court of the palace.
-How this patio came to be so named I have never been able to ascertain.
-There is an absurd story to the effect that here were collected the
-girls fabled to have been sent by way of annual tribute by Mauregato to
-the Khalifa. Had such a transaction taken place, the tribute would have
-been payable, of course, at Cordova, not at Seville. Moreover this court
-was among the works executed in the fourteenth century.</p>
-
-<p>The Alcazar strikes us (if we have come from Granada) as being on a much
-smaller scale than the Alhambra. It is very much better preserved, as it
-should be, seeing that it is a century younger; and if it vaguely
-strikes one as being fitter for the abode of a court favourite than of a
-monarch, it impresses one as being fresher, more elegant&mdash;in a word,
-more artistic&mdash;than the older building.<span class="pagenum"><a name="page_82" id="page_82">{82}</a></span></p>
-
-<p>The Patio de las Doncellas is an oblong, and surrounded by an arcade of
-pointed and dentated arches which spring from the capitals of white
-marble columns placed in pairs. The middle arch on each side is higher
-than the others, and springs from oblong imposts resting on the twin
-columns and flanked by the miniature pillars characteristic of the
-Grenadine architecture. The spandrels are beautifully adorned with
-stucco work of the trellis pattern. On the frieze above runs a flowing
-scroll with Arabic inscriptions, among them being ‘Glory to our lord,
-the Sultan Don Pedro,’ and this very remarkable text: ‘There is but one
-God; He is eternal; He was not begotten and has never begotten, and He
-has no equal.’ This inscription, opposed to the tenets of Christianity,
-was evidently designed by a Moslem artificer, who relied (and safely
-relied) on the ignorance of his employers. The frieze is decorated also,
-at intervals, by the escutcheons of Don Pedro and of Ferdinand and
-Isabella, and by the well-known devices of Charles <small>V.</small>, the Pillars of
-Hercules with the motto ‘Plus Oultre.’ The inside of the arcade is
-ornamented with a high dado of glazed tile mosaic (<i>azulejo</i>),
-brilliantly coloured, and with the highly prized metallic<span class="pagenum"><a name="page_83" id="page_83">{83}</a></span> glint. The
-combinations and variations of the designs are very ingenious and
-interesting. This decoration probably dates from Don Pedro’s time.
-Behind each central arch is a round-arched doorway, flanked by twin
-windows. These are framed in rich conventional ornamental work. Through
-little oblong windows above the doors light falls and illumines the
-ceilings of the apartments opening into the court. The ceiling of the
-arcade dates from the reign of Ferdinand and Isabella, but was restored
-in 1856. A deep cornice marks the division of the lower part of the
-court from the upper story, the front of which, with its white marble
-arches, columns and balustrades, was the work of Don Luis de Vega, a
-sixteenth-century architect.</p>
-
-<p>Three recesses in the wall to the left of the entrance are pointed out
-as the audience closets of King Pedro; but they are much more likely to
-be walled-up entrances to formerly existing corridors and chambers
-behind.</p>
-
-<p>The door facing this wall gives access to the Hall of the Ambassadors
-(Salon de los Embajadores), the finest apartment in this fairy palace.
-The doors are magnificent examples of inlay work, and were, according to
-the inscription<span class="pagenum"><a name="page_84" id="page_84">{84}</a></span> on them, made by Moorish carpenters from Toledo in the
-year 1364. The hall is about thirty-three feet square, and exhibits a
-splendid combination of the various styles with the Gothic and
-Renaissance. The ornamentation is rich and elaborate almost beyond the
-possibility of description. The magnificent ‘half-orange’ ceiling of
-carved wood rests on a frieze decorated with the Tower and Lion. Then
-come Cufic inscriptions on a blue ground and ugly female heads of the
-sixteenth century. Then, below another band of decoration, is a row of
-fifty-six busts of the Kings of Spain, from Receswinto the Goth to
-Philip <small>III.</small> These date, at earliest, from the sixteenth century. The
-wrought-iron balconies were made by Francisco Lopez in 1592. The
-decoration of this splendid chamber is completed by a high dado of blue,
-white, and green ‘azulejos.’ It was in this hall that Abu Saïd is said
-to have been received by his treacherous host.</p>
-
-<p>The Hall of the Ambassadors communicates on each side with the patio and
-adjoining halls by entrances composed of three horseshoe arches,
-supported by graceful pillars and enclosed in a circular arch.</p>
-
-<p>Through the arch facing the entrance from the<span class="pagenum"><a name="page_85" id="page_85">{85}</a></span> patio we pass into a long
-narrow apartment, known as the Comedor, where the late Comtesse de Paris
-was born in 1848. To the north of the salon is a small square chamber,
-called the ‘Cuarto del Techo de Felipe Segundo,’ with a coffered ceiling
-dating from the time of that king. North of this room is the exquisite
-little Patio de las Muñecas (Court of the Dolls) purely Grenadine in
-treatment. The rounded arches are separated by cylindrical pillars&mdash;I
-call them so for want of a better word&mdash;which rest on slender columns of
-different colours, reminding one of the early or Cordovan style. The
-capitals are rich, the pillars they uphold decorated with vertical lines
-of Cufic inscriptions, many of which, says Contreras, are placed upside
-down. The walls and spandrels are tastefully adorned with stucco work of
-the trellis pattern, tiling and mosaic. This court, though still
-harmonious and beautiful, suffered rather than benefited by its
-restoration in 1843; but the architecture has been not unsuccessfully
-reproduced in the upper story.</p>
-
-<p>This charming spot is by no means suggestive of deeds of blood and
-violence; yet, just as they point out the Salon de los Embajadores as
-the scene of the arrest of the Red Sultan by Don Pedro, so here do the
-guides place the scene of<span class="pagenum"><a name="page_86" id="page_86">{86}</a></span> the murder of Don Fadrique by the truculent
-monarch&mdash;a fratricide to be avenged by another fratricide at Montiel.
-The Master of Santiago, to give the Don his usual title, after a
-successful campaign in Murcia, had been graciously received by his
-brother the king, and presently went to pay his respects in another part
-of the palace to the royal favourite, Maria de Padilla. It is said that
-she warned him of his impending fate; perhaps by her manner, if not by
-words, she tried to arouse in him a sense of danger, but the soldier
-prince returned to the king’s presence. With a shout, Pedro gave the
-fatal signal. ‘Kill the Master of Santiago!’ he cried. Guards fell upon
-the prince. His sword was entangled in his scarf, and he was butchered
-without mercy. His retainers fled in all directions, pursued by Pedro’s
-guards. One took refuge in Maria de Padilla’s own apartment, and tried
-to screen himself by holding her little daughter, Doña Beatriz, before
-him. Pedro tore the child away, and dispatched the unfortunate man with
-his own hand. The murder took place on May 19, 1358.</p>
-
-<p>To the west of the court is a little room, elegantly decorated, and
-named after the Catholic Sovereigns, by whom it was restored. Their
-well-known devices appear, together with the Towers<span class="pagenum"><a name="page_87" id="page_87">{87}</a></span> and Lions, among
-the decorations, which reveal the influence of the plateresque style.
-The north side of the patio is occupied by the Cuarto de los Principes,
-not to be confounded with a similarly named apartment on the floor
-above. At either end of this room is an arch, adorned with stucco work,
-admitting to a cabinet or alcove. That to the right has a fine
-artesonado ceiling, and that to the left is decorated in a species of
-Moorish plateresque style. An inscription states that the frieze was
-made in the year 1543 by Juan de Simancas, master carpenter.</p>
-
-<p>East of the Patio de las Muñecas, and occupying the north side of the
-Patio de las Doncellas, is the long room called the Dormitorio de los
-Reyes Moros. All the apartments in the Alcazar are fancifully named, but
-the designation of none is quite so stupid and misleading as this. The
-columns of the twin windows on either side of the door appear to date
-from the time of the Khalifate. The doors themselves are richly inlaid
-and painted with geometrical patterns. The three horseshoe arches
-leading to the <i>al hami</i>, or alcove, also seem to belong to the early
-period of Spanish-Arabic art. The room is so richly decorated that
-scarce a handbreadth of the surface is free from ornament.<span class="pagenum"><a name="page_88" id="page_88">{88}</a></span></p>
-
-<p>On the opposite side of the central court is the sumptuous Salon de
-Carlos <small>V.</small>, the ceiling of which was constructed by order of the emperor,
-and is adorned with classical heads. The tile and stucco work is the
-finest in the palace. There is a legend to the effect that St. Ferdinand
-died in this room&mdash;on his knees, with a cord round his neck and a taper
-in his hand&mdash;but it is unlikely that this part of the palace existed in
-his time. The guide pointed out the room to the west of this salon as
-the chamber of Maria de Padilla, but this again is, to put it mildly,
-doubtful.</p>
-
-<p>The upper chambers of the Alcazar, which are not accessible to the
-general public, are very handsome. The floor overlooking the Patio del
-Leon is occupied by the Sala del Principe, with its beautiful spring
-windows, polychrome tiling, and columns brought from the old Moorish
-Palace at Valencia. Adjacent is the Oratory, built by order of Ferdinand
-and Isabella in 1504. The tile work is of extraordinary beauty, and
-shows that the Moors had not a monopoly of talent in this kind of
-decoration. The fine Visitation over the altar is signed by Francesco
-Nicoloso the Italian. On the same floor is the reputed bed-chamber of
-Don Pedro. Over the<span class="pagenum"><a name="page_89" id="page_89">{89}</a></span> door may be seen four death’s-heads, and over
-another entrance the curious figure of a man who looks back over his
-shoulder at a grinning skull. These gruesome designs commemorate the
-summary execution by the king of four judges whom he overheard
-discussing the division of a bribe. The royal apartments on this floor
-contain some precious works of art; but I abstain from mentioning the
-most remarkable of these, as pictures are so often transferred in Spain
-from one royal residence to another that such indications are often out
-of date before they are printed.</p>
-
-<p>The gardens are really the most pleasing spot within the Alcazares. They
-form a delicious pleasaunce, where the orange and citron diffuse their
-fragrance, and magic fountains spring up suddenly beneath the
-passenger’s feet, sprinkling him with a cooling dew. I noticed some
-flower beds shaped like curiously formed crosses, which the gardener
-told me were the crosses of the orders of Calatrava, Santiago,
-Alcantara, and Montesa. You are also shown the baths of Maria de
-Padilla, which are approached through a gloomy arched entrance. In the
-favourite’s time they had no other roof than the sky, and no further
-protection from prying eyes than that<span class="pagenum"><a name="page_90" id="page_90">{90}</a></span> afforded by a screen of orange
-and lemon trees. In Mohammedan times the baths were probably used by the
-ladies of the harem.</p>
-
-<p>The Alcazar, I think, disappoints most foreigners. The architectural and
-decorative work of the Spanish Moors and their descendants pleases
-people quite inexperienced in the arts by its mere prettiness, its
-brilliance, its originality, and its colour; and it delights still more
-those who are able to appreciate its marvellous combinations of
-geometrical forms, its exquisite epigraphy, and all its subtle details.
-But the average traveller stands between these two classes of observers.
-He looks for grandeur where he should expect only beauty, and his eye is
-wearied by the wealth of conventional ornamentation. What I think is
-conspicuously lacking in the Alcazar, and to a much less extent in the
-Alhambra, is atmosphere. Memories do not haunt you in these gilded
-halls. There is nothing about them to suggest that anything ever
-happened here. The legends tell us the contrary; but assuredly no one
-was ever less successful in impressing his personality on his abode than
-were the founders and inhabitants of the Alcazar.<span class="pagenum"><a name="page_91" id="page_91">{91}</a></span></p>
-
-<h2><a name="VII" id="VII"></a>VII<br /><br />
-<span class="chead">ROYAL PALACE</span><br /><br />
-<span class="chead1">MADRID</span></h2>
-
-<p class="nind"><span class="smcap">The</span> Palacio Real, which towers high above the ‘most noble, loyal,
-imperial, crowned and heroic city’ of Madrid, dominating the bleak
-table-land, and reflecting in the rays of southern sunshine the gleaming
-whiteness of the distant, snow-capped Guadarramas, occupies a site which
-has been royal since the eleventh century. In 1466 an earthquake
-partially destroyed the Moorish Alcazar, and on the ruins Henry <small>IV.</small>
-constructed a palace of mediæval splendour, which was enlarged by
-Charles <small>V.</small>, embellished by Philip <small>II.</small> and completed by Philip <small>III.</small>, who
-added a façade&mdash;the joint work of Toledos, Herrera, Moras, Luis and
-Gaspar de Vega&mdash;which was acclaimed as a masterpiece of architecture. In
-the time of Philip <small>II.</small>, the palace is described as having five hundred
-rooms. On the ground-floor was the grand reception-room, an apartment
-170 feet long, in which the ten state councillors held<span class="pagenum"><a name="page_92" id="page_92">{92}</a></span> their meetings.
-Behind the tapestry hangings the walls were lined with marble, and
-guards were stationed at the outer and inner portals. There was a
-theatre in the building, in which some of the great comedies of Philip’s
-reign were first produced, and in an adjoining saloon was held, in 1622,
-the famous Poetic Tournament of which Lope de Vega has left us such a
-sprightly account. The rooms were hung with the richest Flemish
-tapestries, the picture gallery was filled with priceless works of art,
-and the treasury of the king’s, the <i>Guarda Joyas</i>&mdash;that store of untold
-gold and silver, of jewels and precious stones&mdash;was contained in a
-carefully guarded suite of apartments. Gil Gonzalez Davila in his
-<i>Teatro de las Grandezas de Madrid</i> tells us that included in the royal
-treasure were a diamond valued at 200,000 ducats, a pearl as large as a
-nut&mdash;which is impressive but indefinite&mdash;called <i>La Huerfana</i> (the
-Orphan), because of its unique size, and a golden lily, which was
-recovered from the French by Charles <small>V.</small>, who made its return a condition
-in the agreement by which they obtained the deliverance of Francis <small>I.</small> A
-maze of subterranean passages was constructed beneath the old palace,
-some of which exist beneath the present building.<span class="pagenum"><a name="page_93" id="page_93">{93}</a></span></p>
-
-<p>On Christmas night, 1734, the Royal Palace of the Alcazar was on fire,
-and the building and all its treasures were utterly destroyed. This
-disaster afforded Philip <small>V.</small> the opportunity to display his powers as a
-master builder. He had already created the Palace of San Ildefonso at La
-Granja, he had rebuilt the palace at Aranjuez, he had tinkered at the
-Alcazar at Seville. Now he would create a marble monument that should
-surpass the magnitude and magnificence of Philip the Second’s Escorial
-and outstrip in splendour the Versailles palace of Louis <small>XIV.</small> Such a
-work was beyond the art of the followers of Churriguera: he sent to the
-Court of Turin for the Abbé Felipe de Juvara, the Sicilian, and confided
-to him the scheme of the palace that he would raise on the heights of
-San Bernardino. It was to be a square edifice of the composite order,
-having four façades, each 1700 feet long, it was to contain twenty-three
-courts, approached by thirty-four entrances from the exterior, and be
-completed with gardens, churches, public offices, and a theatre. It was
-to be a collection of palaces under one roof, and the colossal model of
-the building, which is preserved in the Galeria Topografica of the
-Madrid Museum, conveys some idea of the marvel of architecture which the
-king<span class="pagenum"><a name="page_94" id="page_94">{94}</a></span> and his designer had conceived between them. But the palace on the
-San Bernardino hill was never begun. The ruling ambition of the
-masterful Elizabeth Farnese was to advance the interests of her
-children, and she begrudged the expense which the colossal building
-would entail. She raised so many difficulties and delayed so long the
-adoption of the plans that Juvara died of hope deferred, and Giovanoni
-Battista Saccheti came from Turin to carry on the work. The queen by
-this time had exhausted Philip’s resistance to her will, and Sacchetti’s
-less pretentious design, traced among the still smouldering ruins of the
-ancient Alcazar, was adopted on 7th April 1737.</p>
-
-<p>A year later the first stone of the present palace was laid. The
-foundation-stone bore a commemorative description and enclosed a leaden
-casket, containing gold, silver, and copper coins from the mints of
-Madrid, Seville, Mexico, and Peru. The work of ensuring the solidity of
-the foundations by moulding them into the western slope of the hill cost
-an enormous sum of money, entailed an immense amount of labour, and
-occupied a proportionately extensive period of time. In 1808 the palace
-had cost 75,000,000 pesetas, and the subsequent alterations, which
-included<span class="pagenum"><a name="page_95" id="page_95">{95}</a></span> the enclosing of the Campo del Moro with a wall and gilded
-railing, brought up the sum total to the enormous sum of over
-100,000,000 pesetas. Philip died in 1746, long before the palace he had
-projected was near completion. The work went on through the thirteen
-years’ reign of Philip <small>VI.</small>, and when Charles <small>III.</small> came to Madrid in 1759
-he recognised that unless the rate of progress was accelerated he would
-have to occupy the building at the Buen Retiro for the rest of his life.
-Under his resolute authority the work was pushed on with more vigour,
-and it was ready for his occupation on 1st December 1764. It had taken
-over a quarter of a century to build, it had cost Spain three millions
-sterling, but it gained the place that Philip <small>V.</small> anticipated for it
-among the palaces of the world.</p>
-
-<p>It has been said, and the statement is but slightly exaggerated, that
-our own Buckingham Palace looks shabby and insignificant beside this
-vast pile of shimmering, white masonry, this truly royal residence, this
-unique museum, which contains every variety of art treasures. The
-architecture selected is the unpoetical but imposing style of the late
-Renaissance, and the regularity of the exterior is redeemed from
-monotony by Ionic columns, pilasters, and balconies. The<span class="pagenum"><a name="page_96" id="page_96">{96}</a></span> massive
-building, 500 feet square and 100 feet in height, forms a huge
-quadrangle, enclosing a court, while two projecting wings form the Plaza
-de Armas. The base of the building, which is composed of three stories
-above the ground-floor, is of granite, and the upper portion is of the
-beautiful white stone of Colmenar, which gleams like marble. The lower
-portion is plain, massive, and severe, and the appearance of the third
-story is marred by the square port-holes of the entre-súelos. A wide
-cornice runs round the top, and above it a stone balustrade, on the
-pedestals of which stand rococo vases. In accordance with the first
-plans of the palace, the whole of this balustrade was surmounted by
-statues, but these were removed on account of their great weight, and
-are now scattered all over Madrid.</p>
-
-<p>The principal entrance is in the south façade, but the palace is
-approached by five other grand entrances. The east side, which faces on
-to the Plaza de Oriente, is called ‘del Principe,’ from the fact that at
-one time it was always used by the royal family. On the eastern and
-southern sides the height of the edifice is more than doubled by reason
-of the uneven ground where it falls away to the river. The northern side
-faces the Guadarrama mountains, from which the<span class="pagenum"><a name="page_97" id="page_97">{97}</a></span> icy winter blasts have
-frozen to death many unfortunate sentries on guard at the Puerta del
-Diamante. The main southern entrance leads into a huge patio, some 240
-feet square, surrounded by an open portico, composed of thirty-six
-arches, surmounted by another row of arches, forming a gallery with
-glass windows. In this court are four large statues of Trajan, Hadrian,
-Honorius, and Theodosius, the four Roman emperors who were natives of
-Spain. The upper vaulting is decorated with allegorical frescoes, the
-work of Corrado Giaquinto, representing the Spanish monarchy offering
-homage to religion. The famous Grand Staircase, with its three flights
-of black and white marble steps,&mdash;each step a single slab of marble&mdash;and
-its celebrated lions, lead out of this court. Napoleon Bonaparte is
-reported to have said to his brother Joseph as the intrusive king made
-his first ascent of this superb staircase, ‘Vous serez mieux logé que
-moi.’ During the same historic tour of the palace the emperor laid his
-hand on one of the silver lions in the throne-room, and remarked to his
-brother, ‘Je la tiens enfin, cette Espagne si désirée.’</p>
-
-<p>The ground area of the palace is divided into thirty salons,
-magnificently furnished and adorned with a profusion of precious marbles
-and fresco<span class="pagenum"><a name="page_98" id="page_98">{98}</a></span> paintings by Ribera, Gonzalez, Velazquez, Maella, Mengs,
-Bayeu, and Lopez. It would be going outside the province of this sketch
-to describe each apartment in detail, but special reference must be made
-to the Hall of Ambassadors. This magnificent apartment, the largest and
-richest in the Palace, occupies the centre of the principal façade, in
-which it has five balconies. The whole apartment glows with rich
-colouring, and scintillates with a lavish display of precious metals.
-The rock-crystal chandeliers, colossal looking-glasses cast at San
-Ildefonso, the marble tables, the crimson, and the gilding compose a
-spectacle of royal magnificence. Here is the splendid throne of silver,
-made for the husband of Mary of England, and mounting guard on either
-side are the huge lions of the same metal. The ceiling, painted by Juan
-Bautista Tiépolo, represents the Spanish Monarchy, exalted by poetic
-beings, accompanied by the Virtues, and surrounded by its dominions in
-both hemispheres. On a throne, at the sides of which are Apollo and
-Minerva, the Monarchy is majestically seated, supported by the
-allegorical figures representing the science of Government, Peace and
-Justice and Virtue. Another group, on clouds, is formed by Abundance,
-Mercy, and other figures. A<span class="pagenum"><a name="page_99" id="page_99">{99}</a></span> rainbow crosses the whole ceiling, and
-between this and the great circle of clouds circled by angels covering
-is the Monarchy. In the same salon is an allegory in praise of Charles
-<small>III.</small>, which is formed by Magnanimity and Glory, Affability and Counsel.
-Faith, enthroned on clouds, has an altar of fire, and is accompanied by
-Hope, Charity, Prudence, Strength, and Victory; and an angel carries a
-chain with a medal to reward the Noble Arts. Between the cornice Tiépolo
-displayed his masterly hand by delineating the provinces of the Spanish
-Monarchy. Roberto Michel executed in the angles four gilded medallions,
-representing Water and Spring, Air and Summer, Fire and Autumn, and
-Earth and Winter. Over the doors are two ovals, one representing
-Abundance, and the other Merit and Virtue. All the walls of this regal
-hall are covered with crimson velvet bordered with gold. On the right is
-the statue of Prudence, on the left that of Justice, and in the two
-angles traced by the steps are four gilded bronze lions. Before the
-superb mirrors in this apartment are costly tables, and on these marble
-busts and other no less beautiful objects, the whole constituting the
-most beautiful room in the palace, and one of the first in Europe.<span class="pagenum"><a name="page_100" id="page_100">{100}</a></span></p>
-
-<p>In these salons is the wonderful collection of French clocks which
-amused the unproductive leisure of Ferdinand <small>VII.</small>, who spent his time in
-a profitless endeavour to make them chime simultaneously. The glorious
-pictures, now in the Prado, that once adorned these walls were removed
-by Ferdinand <small>VII.</small> to make room for his beloved silk hangings. At his
-death vaults and store-rooms were emptied of a forgotten accumulation of
-fine old furniture, and much portable treasure was removed from the
-palace. Much of this has vanished beyond recovery, but during the
-redecoration of the building for the reception of the king’s bride,
-Alfonso <small>XIII.</small> was successful in recovering a number of splendid bronzes,
-clocks, and porcelain vases, which now adorn the principal apartments.</p>
-
-<p>The Guard Room, occupied by the Royal Halberdiers, is at the head of the
-Royal Staircase, and opens into the enormous Hall of Columns. The
-columns which support the corner medallions are similar to those on the
-staircase, and the ceiling is painted by Conrado Giaquinto. The paving
-is of variegated marbles; the only decorations of the apartments are its
-medallions, its cornices of trophies, and its four great allegorical
-figures. For its impressiveness the room depends solely on its
-architectural merits and<span class="pagenum"><a name="page_101" id="page_101">{101}</a></span> its simplicity, and forms a striking contrast
-to the other salons of the palace with their superb tapestries,
-upholstered furniture, brocades, and ornaments. The Banqueting Hall is
-of magnificent proportions, and the Ball Room, to the splendour of which
-all the arts and manufactures appear to have contributed, is the largest
-in Europe. The Chinese Room, the Charles <small>III.</small> Room, hung with blue
-brocade starred with silver, and the Giardini Room, which is upholstered
-in ivory satin, embroidered in gold and coloured flowers, and roofed
-with porcelain from the Buen Retiro factory, are among the many marvels
-of this marvellous palace.</p>
-
-<p>The Royal Chapel, which was depleted in 1808 by General Belliard, who
-carried off the pictures painted for Philip <small>II.</small> by Michael Coxis, is
-still splendid in its profusion of rich marbles, gilt, and stucco, and
-its beautiful ceiling painted by Giaquinto. Many of the exquisite
-altar-cloths and vestments were embroidered by Queen Cristina. Here also
-is an immensely valuable collection of fine ecclesiastical objects; and
-here at Epiphany, Easter, and Corpus Christi the galleries leading from
-the royal chapel are hung with the magnificent and unique tapestries
-which belong to the crown of Spain.</p>
-
-<p>The private library of his Majesty is on the<span class="pagenum"><a name="page_102" id="page_102">{102}</a></span> ground-floor of the
-palace. It was formed by Philip <small>V.</small> about 1714, and has since been
-increased by the acquisition of several notable collections, including
-those of the dean of Teruel, Counts Mansilla and Gondomar, and Judge
-Bruna of Seville. The manuscripts are for the most part from the extinct
-colleges. The king’s library, which occupies ten rooms and two passages,
-is composed of eighty thousand volumes in magnificent mahogany cases
-with beautiful glass from La Granja. Books issued prior to the sixteenth
-century, beautiful copies on vellum, very rare editions by Spanish
-printers, and rich bindings, make this library one of the most important
-in Europe. Among the illustrated missals is a prayer-book said to have
-belonged to Ferdinand and Isabella or their daughter, Juana la Loca,
-whose portrait it contains. The building is adorned with exquisite
-ornaments and the arms of Leon and Castile in enamel. The correspondence
-of Gondomar, the Spanish ambassador in London during the reign of James
-<small>I.</small>, is also to be seen here.</p>
-
-<p>The general Archive of the crown of Spain was created in virtue of a
-royal decree of Ferdinand <small>VII.</small>, dated May 22, 1814. The organisation and
-classification of all the documents since<span class="pagenum"><a name="page_103" id="page_103">{103}</a></span> the reign of Charles <small>I.</small> until
-that of Isabella <small>II.</small> were based on chronology; but Alfonso <small>XII.</small> thought
-the classification of subjects more scientific, and the Keeper of the
-Archives has, since 1876, had the whole of the documents divided into
-four large sections, namely, administrative, juridical, historical, and
-according to their sources. This Archive also has a reference library
-composed of seven hundred volumes. At present the Archive of the Crown
-consists of thirty rooms, containing nearly ten thousand bundles of
-papers and two thousand volumes. The administrative documents date from
-1479; the juridical ones from 1598; the historical from 1558; there
-being also some property deeds dating from the eleventh century relating
-to the celebrated monastery of El Escorial, founded by Philip <small>II.</small>, which
-from the paleographic point of view, and even from the historical, are
-of great interest.</p>
-
-<p>The Royal Pharmacy, situated in the part of the palace known as Los
-Arcos Nuevos (the New Arches), has an origin which is closely bound up
-with the history of national pharmacy. In the beginning of the
-pharmaceutical profession, when it became a faculty, the Royal Pharmacy
-was the centre of the profession in all its phases. It contains a rich
-collection of<span class="pagenum"><a name="page_104" id="page_104">{104}</a></span> utensils of all periods, curious examples of
-pharmaceutical materials used in olden times, and a well-filled library,
-consisting of more than two thousand five hundred volumes.</p>
-
-<p>The stables of the ancient Alcazar were situated in the space now
-occupied by the large Armoury Court; those of the present palace were
-built in the reign of Charles <small>III.</small>, in accordance with the plans and
-under the direction of the notable architect, Francisco Sabatini. The
-plan of the edifice is an irregular polygon, the longest side of which,
-at the Cuesta de San Vicente, is nearly 700 feet in length. The
-principal façade is in the Calle Bailen, and is adorned by a simple
-granite portal, over which are the royal arms. This door leads to a fine
-court surrounded by arches, and on the west side is a small chapel,
-dedicated to St. Anthony, Abbot.</p>
-
-<p>The principal part of these buildings consists in the large and
-magnificent galleries, sustained by double rows of pillars, which
-constitute the stables. These consist of a spacious stable for the
-horses used by royalty. There is another stable for Spanish horses,
-another for foreign horses and mares, and yet another for mules. More
-than three hundred animals can be accommodated in the stables. There are
-at present one<span class="pagenum"><a name="page_105" id="page_105">{105}</a></span> hundred saddle-horses, all of which, with the exception
-of sixty foreign animals, come from the royal stud at Aranjuez.</p>
-
-<p>The general harness-room is a large nave, consisting of three halls.
-Preserved in many cases are the magnificent sets of harness and saddles,
-the liveries of footmen and coachmen, crests, fly-traps, whips and
-ancient horse-cloths, bridles, and other curiosities. The Royal Riding
-School is built on one of the esplanades facing the Campo del Moro.</p>
-
-<p>In order to form some idea of the size of the edifice, it may be
-mentioned that, besides the coach-houses, stables, harness-rooms, etc.,
-there are apartments for the accommodation of the six hundred and
-thirty-seven people and their families who are employed in this
-department of the palace.</p>
-
-<p>The Royal Coach-house is situated in the Campo del Moro. Its plan is a
-rectangular parallelogram, the longest sides of which are 278 feet in
-length, and the shortest 101 feet. This great coach-house was built in
-the time of Ferdinand <small>VII.</small>, after the design and under the direction of
-the architect Custodio Moreno, who gave to the exterior a simple and
-severe appearance. In this department are twenty<span class="pagenum"><a name="page_106" id="page_106">{106}</a></span> splendid State
-carriages, which are only used on special occasions, among them being
-that of Juana <i>the Mad</i>, restored a few years since, and one hundred and
-twenty-one carriages of all kinds and shapes for daily use.</p>
-
-<p>Kings of three dynasties have made their homes in the Royal Palace of
-Madrid since the nineteenth century brought in with it so much havoc and
-disruption to Spain. The Bourbons, Joseph Buonaparte, and Amadeo of
-Savoy, each ‘abode his hour or two and went his way,’ and in 1873 and
-1874 the palace windows looked out upon a city which for the first time
-since its foundation was the capital of a republic. Nearly all the
-culminating incidents in the stormy history which has been enacted in
-Spain since the abdication of Charles <small>IV.</small> occurred in the Royal Palace.
-From this not too secure eminence Ferdinand the Desired saw his guards
-slaughtered by the frenzied mob. ‘Serve the fools right,’ he exclaimed;
-‘at all events I am inviolable.’ But the king had a fit of terror when
-he found his palace was left without guards to protect it from the
-crowd, and Riego, the man he hated, was taken into favour, in order that
-he might appease the populace.</p>
-
-<p>Through the terrible night of 7th October<span class="pagenum"><a name="page_107" id="page_107">{107}</a></span> 1841, when Generals Concha
-and Leon made their determined attempt to kidnap Queen Isabella and her
-little sister, the Infanta Maria Luisa, the valiant eighteen halberdiers
-of the guard, commanded by Colonel Dalee, held the grand staircase of
-the palace against an army of revolutionists until the National Militia
-arrived to relieve them. Truly that night the halberdiers wrote a
-magnificent page of fidelity in the records of the guards.</p>
-
-<p>After a hopeless struggle to reduce Spanish affairs into something like
-order, Amadeo of Savoy issued from the Royal Palace his valedictory
-address to his people, and on the following day, 12th February 1873, he
-left Madrid, as he had entered it, a chevalier <i>sans peur et sans
-reproche</i>. In the same palace Alfonso <small>XIII.</small> was born and baptized, from
-the palace he set out to the church of San Jeronimo to be married to
-Victoria Eugénie of Battenberg, and here was born and baptized the
-Prince of the Asturias, the heir to the throne of Spain.</p>
-
-<p><span class="pagenum"><a name="page_108" id="page_108">{108}</a></span>&nbsp; </p>
-
-<p><span class="pagenum"><a name="page_109" id="page_109">{109}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_001" id="plt_001"></a><br /><span class="captiont">Plate 1</span><br />
-<a href="images/plt_001.jpg">
-<img src="images/plt_001.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. VIEW OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_110" id="page_110">{110}</a></span></p>
-
-<div class="figcenter"><br />
-<a name="plt_002" id="plt_002"></a><br />
-<span class="captiont">Plate 2</span><br />
-<a href="images/plt_002.jpg">
-<img src="images/plt_002.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. VIEW OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_111" id="page_111">{111}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_003" id="plt_003"></a><br /><span class="captiont">Plate 3</span><br /><span class="captiont">Plate 3</span><br />
-<a href="images/plt_003.jpg">
-<img src="images/plt_003.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. VIEW OF THE PALACE (EAST SIDE)</span></div>
-
-<p><span class="pagenum"><a name="page_112" id="page_112">{112}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_004" id="plt_004"></a><br /><span class="captiont">Plate 4</span><br />
-<a href="images/plt_004.jpg">
-<img src="images/plt_004.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. NORTH-WEST ANGLE OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_113" id="page_113">{113}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_005" id="plt_005"></a><br /><span class="captiont">Plate 5</span><br />
-<a href="images/plt_005.jpg">
-<img src="images/plt_005.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. PRINCIPAL FAÇADE AND ANGLE OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_114" id="page_114">{114}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_006" id="plt_006"></a><br /><span class="captiont">Plate 6</span><br />
-<a href="images/plt_006.jpg">
-<img src="images/plt_006.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. VIEW OF THE PRINCIPAL STAIRCASE OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_115" id="page_115">{115}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_007" id="plt_007"></a><br /><span class="captiont">Plate 7</span><br />
-<a href="images/plt_007.jpg">
-<img src="images/plt_007.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. HALL OF AMBASSADORS</span></div>
-
-<p><span class="pagenum"><a name="page_116" id="page_116">{116}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_008" id="plt_008"></a><br /><span class="captiont">Plate 8</span><br />
-<a href="images/plt_008.jpg">
-<img src="images/plt_008.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. RECEPTION HALL</span></div>
-
-<p><span class="pagenum"><a name="page_117" id="page_117">{117}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_009" id="plt_009"></a><br /><span class="captiont">Plate 9</span><br />
-<a href="images/plt_009.jpg">
-<img src="images/plt_009.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. VIEW OF THE DINING HALL</span></div>
-
-<p><span class="pagenum"><a name="page_118" id="page_118">{118}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_010" id="plt_010"></a><br /><span class="captiont">Plate 10</span><br />
-<a href="images/plt_010.jpg">
-<img src="images/plt_010.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. POMPEIAN HALL</span></div>
-
-<p><span class="pagenum"><a name="page_119" id="page_119">{119}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_011" id="plt_011"></a><br /><span class="captiont">Plate 11</span><br />
-<a href="images/plt_011.jpg">
-<img src="images/plt_011.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. LIBRARY</span></div>
-
-<p><span class="pagenum"><a name="page_120" id="page_120">{120}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_012" id="plt_012"></a><br /><span class="captiont">Plate 12</span><br />
-<a href="images/plt_012.jpg">
-<img src="images/plt_012.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. CHAPTER ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_121" id="page_121">{121}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_013" id="plt_013"></a><br /><span class="captiont">Plate 13</span><br />
-<a href="images/plt_013.jpg">
-<img src="images/plt_013.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. “THE HOLY FAMILY,” BY RAPHAEL</span></div>
-
-<p><span class="pagenum"><a name="page_122" id="page_122">{122}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_014" id="plt_014"></a><br /><span class="captiont">Plate 14</span><br />
-<a href="images/plt_014.jpg">
-<img src="images/plt_014.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. “THE LAST SUPPER,” BY TITIAN</span></div>
-
-<p><span class="pagenum"><a name="page_123" id="page_123">{123}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_015" id="plt_015"></a><br /><span class="captiont">Plate 15</span><br />
-<a href="images/plt_015.jpg">
-<img src="images/plt_015.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. “A SMOKER,” BY TENIERS</span></div>
-
-<p><span class="pagenum"><a name="page_124" id="page_124">{124}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_016" id="plt_016"></a><br /><span class="captiont">Plate 16</span><br />
-<a href="images/plt_016.jpg">
-<img src="images/plt_016.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. “COUNTRY DANCE,” BY GOYA</span></div>
-
-<p><span class="pagenum"><a name="page_125" id="page_125">{125}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_017" id="plt_017"></a><br /><span class="captiont">Plate 17</span><br />
-<a href="images/plt_017.jpg">
-<img src="images/plt_017.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. “CHILDREN PICKING FRUIT,” BY GOYA. TAPESTRY</span></div>
-
-<p><span class="pagenum"><a name="page_126" id="page_126">{126}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_018" id="plt_018"></a><br /><span class="captiont">Plate 18</span><br />
-<a href="images/plt_018.jpg">
-<img src="images/plt_018.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. “THE GRAPE-SELLERS,” BY GOYA. TAPESTRY</span></div>
-
-<p><span class="pagenum"><a name="page_127" id="page_127">{127}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_019" id="plt_019"></a><br /><span class="captiont">Plate 19</span><br />
-<a href="images/plt_019.jpg">
-<img src="images/plt_019.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ESCORIAL. “THE CHINA MERCHANT,” BY GOYA. TAPESTRY</span></div>
-
-<p><span class="pagenum"><a name="page_128" id="page_128">{128}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_020" id="plt_020"></a><br />
-<a href="images/plt_020.jpg">
-<img src="images/plt_020.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">
-“THE STORY OF THE PASSION.” DIPTYCH, IN IVORY, OF THE THIRTEENTH CENTURY
-<br />
-(<span class="smcap">From the Camarin of St. Theresa, Escorial</span>)
-</span></div>
-
-<p><span class="pagenum"><a name="page_129" id="page_129">{129}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_021" id="plt_021"></a><br /><span class="captiont">Plate 21</span><br />
-<a href="images/plt_021.jpg">
-<img src="images/plt_021.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_130" id="page_130">{130}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_022" id="plt_022"></a><br /><span class="captiont">Plate 22</span><br />
-<a href="images/plt_022.jpg">
-<img src="images/plt_022.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE AND THE CASCADE</span></div>
-
-<p><span class="pagenum"><a name="page_131" id="page_131">{131}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_023" id="plt_023"></a><br /><span class="captiont">Plate 23</span><br />
-<a href="images/plt_023.jpg">
-<img src="images/plt_023.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO, LA GRANJA. GENERAL VIEW OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_132" id="page_132">{132}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_024" id="plt_024"></a><br /><span class="captiont">Plate 24</span><br />
-<a href="images/plt_024.jpg">
-<img src="images/plt_024.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE AND FOUNTAIN OF FAMA</span></div>
-
-<p><span class="pagenum"><a name="page_133" id="page_133">{133}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_025" id="plt_025"></a><br /><span class="captiont">Plate 25</span><br />
-<a href="images/plt_025.jpg">
-<img src="images/plt_025.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. VIEW OF THE PALACE FROM THE FOUNTAIN OF FAMA</span></div>
-
-<p><span class="pagenum"><a name="page_134" id="page_134">{134}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_026" id="plt_026"></a><br /><span class="captiont">Plate 26</span><br />
-<a href="images/plt_026.jpg">
-<img src="images/plt_026.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO, LA GRANJA. VIEW OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_135" id="page_135">{135}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_027" id="plt_027"></a><br /><span class="captiont">Plate 27</span><br />
-<a href="images/plt_027.jpg">
-<img src="images/plt_027.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. THE PALACE IN PERSPECTIVE</span></div>
-
-<p><span class="pagenum"><a name="page_136" id="page_136">{136}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_028" id="plt_028"></a><br /><span class="captiont">Plate 28</span><br />
-<a href="images/plt_028.jpg">
-<img src="images/plt_028.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO, LA GRANJA. ENTRANCE TO THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_137" id="page_137">{137}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_029" id="plt_029"></a><br />
-<a href="images/plt_029.jpg">
-<img src="images/plt_029.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">
-SAN ILDEFONSO, LA GRANJA. GENERAL
-VIEW OF THE COLLEGIATE CHURCH AND THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_138" id="page_138">{138}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_030" id="plt_030"></a><br /><span class="captiont">Plate 30</span><br />
-<a href="images/plt_030.jpg">
-<img src="images/plt_030.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ENVIRONS OF LA GRANJA. PALACE OF RIO FRIO</span></div>
-
-<p><span class="pagenum"><a name="page_139" id="page_139">{139}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_031" id="plt_031"></a><br /><span class="captiont">Plate 31</span><br />
-<a href="images/plt_031.jpg">
-<img src="images/plt_031.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO, LA GRANJA. THE CASCADE</span></div>
-
-<p><span class="pagenum"><a name="page_140" id="page_140">{140}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_032" id="plt_032"></a><br /><span class="captiont">Plate 32</span><br />
-<a href="images/plt_032.jpg">
-<img src="images/plt_032.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. THE PALACE, AND FOUNTAIN OF FAMA</span></div>
-
-<p><span class="pagenum"><a name="page_141" id="page_141">{141}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_033" id="plt_033"></a><br /><span class="captiont">Plate 33</span><br />
-<a href="images/plt_033.jpg">
-<img src="images/plt_033.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. THE FOUNTAIN OF FAMA</span></div>
-
-<p><span class="pagenum"><a name="page_142" id="page_142">{142}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_034" id="plt_034"></a><br /><span class="captiont">Plate 34</span><br />
-<a href="images/plt_034.jpg">
-<img src="images/plt_034.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF FAMA</span></div>
-
-<p><span class="pagenum"><a name="page_143" id="page_143">{143}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_035" id="plt_035"></a><br /><span class="captiont">Plate 35</span><br />
-<a href="images/plt_035.jpg">
-<img src="images/plt_035.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO, LA GRANJA. FOUNTAIN OF THE HORSE-RACE</span></div>
-
-<p><span class="pagenum"><a name="page_144" id="page_144">{144}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_036" id="plt_036"></a><br /><span class="captiont">Plate 36</span><br />
-<a href="images/plt_036.jpg">
-<img src="images/plt_036.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF THE THREE GRACES</span></div>
-
-<p><span class="pagenum"><a name="page_145" id="page_145">{145}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_037" id="plt_037"></a><br /><span class="captiont">Plate 37</span><br />
-<a href="images/plt_037.jpg">
-<img src="images/plt_037.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF THE THREE GRACES</span></div>
-
-<p><span class="pagenum"><a name="page_146" id="page_146">{146}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_038" id="plt_038"></a><br /><span class="captiont">Plate 38</span><br />
-<a href="images/plt_038.jpg">
-<img src="images/plt_038.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF NEPTUNE</span></div>
-
-<p><span class="pagenum"><a name="page_147" id="page_147">{147}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_039" id="plt_039"></a><br /><span class="captiont">Plate 39</span><br />
-<a href="images/plt_039.jpg">
-<img src="images/plt_039.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF NEPTUNE</span></div>
-
-<p><span class="pagenum"><a name="page_148" id="page_148">{148}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_040" id="plt_040"></a><br /><span class="captiont">Plate 40</span><br />
-<a href="images/plt_040.jpg">
-<img src="images/plt_040.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. PART OF THE FOUNTAIN OF NEPTUNE</span></div>
-
-<p><span class="pagenum"><a name="page_149" id="page_149">{149}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_041" id="plt_041"></a><br /><span class="captiont">Plate 41</span><br />
-<a href="images/plt_041.jpg">
-<img src="images/plt_041.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF NEPTUNE</span></div>
-
-<p><span class="pagenum"><a name="page_150" id="page_150">{150}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_042" id="plt_042"></a><br /><span class="captiont">Plate 42</span><br />
-<a href="images/plt_042.jpg">
-<img src="images/plt_042.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF THE BATHS OF DIANA</span></div>
-
-<p><span class="pagenum"><a name="page_151" id="page_151">{151}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_043" id="plt_043"></a><br /><span class="captiont">Plate 43</span><br />
-<a href="images/plt_043.jpg">
-<img src="images/plt_043.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. THE FOUNTAIN OF DRAGONS</span></div>
-
-<p><span class="pagenum"><a name="page_152" id="page_152">{152}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_044" id="plt_044"></a><br /><span class="captiont">Plate 44</span><br />
-<a href="images/plt_044.jpg">
-<img src="images/plt_044.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF LATONA</span></div>
-
-<p><span class="pagenum"><a name="page_153" id="page_153">{153}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_045" id="plt_045"></a><br /><span class="captiont">Plate 45</span><br />
-<a href="images/plt_045.jpg">
-<img src="images/plt_045.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF ESLO, OR OF THE WINDS</span></div>
-
-<p><span class="pagenum"><a name="page_154" id="page_154">{154}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_046" id="plt_046"></a><br /><span class="captiont">Plate 46</span><br />
-<a href="images/plt_046.jpg">
-<img src="images/plt_046.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF ANDROMEDA</span></div>
-
-<p><span class="pagenum"><a name="page_155" id="page_155">{155}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_047" id="plt_047"></a><br /><span class="captiont">Plate 47</span><br />
-<a href="images/plt_047.jpg">
-<img src="images/plt_047.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF THE CANASTILLO</span></div>
-
-<p><span class="pagenum"><a name="page_156" id="page_156">{156}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_048" id="plt_048"></a><br /><span class="captiont">Plate 48</span><br />
-<a href="images/plt_048.jpg">
-<img src="images/plt_048.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF THE CUP</span></div>
-
-<p><span class="pagenum"><a name="page_157" id="page_157">{157}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_049" id="plt_049"></a><br /><span class="captiont">Plate 49</span><br />
-<a href="images/plt_049.jpg">
-<img src="images/plt_049.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. FOUNTAIN OF THE CUP</span></div>
-
-<p><span class="pagenum"><a name="page_158" id="page_158">{158}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_050" id="plt_050"></a><br /><span class="captiont">Plate 50</span><br />
-<a href="images/plt_050.jpg">
-<img src="images/plt_050.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. MOUTH OF THE ASNO, UNDERGROUND RIVER</span></div>
-
-<p><span class="pagenum"><a name="page_159" id="page_159">{159}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_051" id="plt_051"></a><br /><span class="captiont">Plate 51</span><br />
-<a href="images/plt_051.jpg">
-<img src="images/plt_051.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. THE RIVER</span></div>
-
-<p><span class="pagenum"><a name="page_160" id="page_160">{160}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_052" id="plt_052"></a><br /><span class="captiont">Plate 52</span><br />
-<a href="images/plt_052.jpg">
-<img src="images/plt_052.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. THE RESERVOIR</span></div>
-
-<p><span class="pagenum"><a name="page_161" id="page_161">{161}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_053" id="plt_053"></a><br /><span class="captiont">Plate 53</span><br />
-<a href="images/plt_053.jpg">
-<img src="images/plt_053.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. THE RESERVOIR</span></div>
-
-<p><span class="pagenum"><a name="page_162" id="page_162">{162}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_054" id="plt_054"></a><br /><span class="captiont">Plate 54</span><br />
-<a href="images/plt_054.jpg">
-<img src="images/plt_054.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">LA GRANJA. CASCADE OF THE RESERVOIR</span></div>
-
-<p><span class="pagenum"><a name="page_163" id="page_163">{163}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_055" id="plt_055"></a><br /><span class="captiont">Plate 55</span><br />
-<a href="images/plt_055.jpg">
-<img src="images/plt_055.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. THE LAKE</span></div>
-
-<p><span class="pagenum"><a name="page_164" id="page_164">{164}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_056" id="plt_056"></a><br /><span class="captiont">Plate 56</span><br />
-<a href="images/plt_056.jpg">
-<img src="images/plt_056.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. GROUP OF VASES IN THE PARTERRE OF ANDROMEDA</span></div>
-
-<p><span class="pagenum"><a name="page_165" id="page_165">{165}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_057" id="plt_057"></a><br /><span class="captiont">Plate 57</span><br />
-<a href="images/plt_057.jpg">
-<img src="images/plt_057.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. THREE VASES IN THE PARTERRE OF ANDROMEDA</span></div>
-
-<p><span class="pagenum"><a name="page_166" id="page_166">{166}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_058" id="plt_058"></a><br /><span class="captiont">Plate 58</span><br />
-<a href="images/plt_058.jpg">
-<img src="images/plt_058.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. VASE IN THE PARTERRE DE LA FAMA</span></div>
-
-<p><span class="pagenum"><a name="page_167" id="page_167">{167}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_059" id="plt_059"></a><br /><span class="captiont">Plate 59</span><br />
-<a href="images/plt_059.jpg">
-<img src="images/plt_059.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. VASE IN THE PARTERRE DE LA FAMA</span></div>
-
-<p><span class="pagenum"><a name="page_168" id="page_168">{168}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_060" id="plt_060"></a><br /><span class="captiont">Plate 60</span><br />
-<a href="images/plt_060.jpg">
-<img src="images/plt_060.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. VASE IN THE PARTERRE DE LA FAMA</span></div>
-
-<p><span class="pagenum"><a name="page_169" id="page_169">{169}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_061" id="plt_061"></a><br /><span class="captiont">Plate 61</span><br />
-<a href="images/plt_061.jpg">
-<img src="images/plt_061.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. VASE OF THE BATHS OF DIANA</span></div>
-
-<p><span class="pagenum"><a name="page_170" id="page_170">{170}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_062" id="plt_062"></a><br /><span class="captiont">Plate 62</span><br />
-<a href="images/plt_062.jpg">
-<img src="images/plt_062.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. VASE IN THE PARTERRE OF ANDROMEDA</span></div>
-
-<p><span class="pagenum"><a name="page_171" id="page_171">{171}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_063" id="plt_063"></a><br /><span class="captiont">Plate 63</span><br />
-<a href="images/plt_063.jpg">
-<img src="images/plt_063.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. VASE IN THE PARTERRE OF ANDROMEDA</span></div>
-
-<p><span class="pagenum"><a name="page_172" id="page_172">{172}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_064" id="plt_064"></a><br /><span class="captiont">Plate 64</span><br />
-<a href="images/plt_064.jpg">
-<img src="images/plt_064.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SAN ILDEFONSO. VASE IN THE PARTERRE OF ANDROMEDA</span></div>
-
-<p><span class="pagenum"><a name="page_173" id="page_173">{173}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_065" id="plt_065"></a><br /><span class="captiont">Plate 65</span><br />
-<a href="images/plt_065.jpg">
-<img src="images/plt_065.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. VIEW OF THE PALACE FROM THE GROUNDS</span></div>
-
-<p><span class="pagenum"><a name="page_174" id="page_174">{174}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_066" id="plt_066"></a><br /><span class="captiont">Plate 66</span><br />
-<a href="images/plt_066.jpg">
-<img src="images/plt_066.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_175" id="page_175">{175}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_067" id="plt_067"></a><br /><span class="captiont">Plate 67</span><br />
-<a href="images/plt_067.jpg">
-<img src="images/plt_067.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_176" id="page_176">{176}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_068" id="plt_068"></a><br /><span class="captiont">Plate 68</span><br />
-<a href="images/plt_068.jpg">
-<img src="images/plt_068.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_177" id="page_177">{177}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_069" id="plt_069"></a><br /><span class="captiont">Plate 69</span><br />
-<a href="images/plt_069.jpg">
-<img src="images/plt_069.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_178" id="page_178">{178}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_070" id="plt_070"></a><br /><span class="captiont">Plate 70</span><br />
-<a href="images/plt_070.jpg">
-<img src="images/plt_070.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. HALL OF AMBASSADORS</span></div>
-
-<p><span class="pagenum"><a name="page_179" id="page_179">{179}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_071" id="plt_071"></a><br /><span class="captiont">Plate 71</span><br />
-<a href="images/plt_071.jpg">
-<img src="images/plt_071.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. HALL OF AMBASSADORS</span></div>
-
-<p><span class="pagenum"><a name="page_180" id="page_180">{180}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_072" id="plt_072"></a><br /><span class="captiont">Plate 72</span><br />
-<a href="images/plt_072.jpg">
-<img src="images/plt_072.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. DINING-ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_181" id="page_181">{181}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_073" id="plt_073"></a><br /><span class="captiont">Plate 73</span><br />
-<a href="images/plt_073.jpg">
-<img src="images/plt_073.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. AN ANTE-ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_182" id="page_182">{182}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_074" id="plt_074"></a><br /><span class="captiont">Plate 74</span><br />
-<a href="images/plt_074.jpg">
-<img src="images/plt_074.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. ANTE-ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_183" id="page_183">{183}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_075" id="plt_075"></a><br /><span class="captiont">Plate 75</span><br />
-<a href="images/plt_075.jpg">
-<img src="images/plt_075.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. PRIVATE ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_184" id="page_184">{184}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_076" id="plt_076"></a><br /><span class="captiont">Plate 76</span><br />
-<a href="images/plt_076.jpg">
-<img src="images/plt_076.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. PRIVATE ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_185" id="page_185">{185}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_077" id="plt_077"></a><br /><span class="captiont">Plate 77</span><br />
-<a href="images/plt_077.jpg">
-<img src="images/plt_077.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. PROSCENIUM AND SET-SCENE OF THE ROYAL THEATRE</span></div>
-
-<p><span class="pagenum"><a name="page_186" id="page_186">{186}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_078" id="plt_078"></a><br /><span class="captiont">Plate 78</span><br />
-<a href="images/plt_078.jpg">
-<img src="images/plt_078.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. ROYAL BOX IN THE THEATRE</span></div>
-
-<p><span class="pagenum"><a name="page_187" id="page_187">{187}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_079" id="plt_079"></a><br /><span class="captiont">Plate 79</span><br />
-<a href="images/plt_079.jpg">
-<img src="images/plt_079.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">EL PARDO. “CASETA DEL PRINCIPE<span class="pagenum"><a name="page_188" id="page_188">{188}</a></span>”</span></div>
-
-<div class="figcenter"><br />
-<a name="plt_080" id="plt_080"></a><br /><span class="captiont">Plate 80</span><br />
-<a href="images/plt_080.jpg">
-<img src="images/plt_080.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. PRINCIPAL FAÇADE OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_189" id="page_189">{189}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_081" id="plt_081"></a><br /><span class="captiont">Plate 81</span><br />
-<a href="images/plt_081.jpg">
-<img src="images/plt_081.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. SOUTHERN FAÇADE OF THE ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_190" id="page_190">{190}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_082" id="plt_082"></a><br /><span class="captiont">Plate 82</span><br />
-<a href="images/plt_082.jpg">
-<img src="images/plt_082.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. THE ROYAL PALACE FROM THE PARTERRE</span></div>
-
-<p><span class="pagenum"><a name="page_191" id="page_191">{191}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_083" id="plt_083"></a><br /><span class="captiont">Plate 83</span><br />
-<a href="images/plt_083.jpg">
-<img src="images/plt_083.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. THE ROYAL PALACE FROM THE GARDENS</span></div>
-
-<p><span class="pagenum"><a name="page_192" id="page_192">{192}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_084" id="plt_084"></a><br /><span class="captiont">Plate 84</span><br />
-<a href="images/plt_084.jpg">
-<img src="images/plt_084.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. THE ROYAL PALACE AND THE SUSPENSION BRIDGE OVER THE TAJO</span></div>
-
-<p><span class="pagenum"><a name="page_193" id="page_193">{193}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_085" id="plt_085"></a><br /><span class="captiont">Plate 85</span><br />
-<a href="images/plt_085.jpg">
-<img src="images/plt_085.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. THE GRAND STAIRCASE</span></div>
-
-<p><span class="pagenum"><a name="page_194" id="page_194">{194}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_086" id="plt_086"></a><br /><span class="captiont">Plate 86</span><br />
-<a href="images/plt_086.jpg">
-<img src="images/plt_086.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. PORCELAIN ROOM, JAPANESE STYLE</span></div>
-
-<p><span class="pagenum"><a name="page_195" id="page_195">{195}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_087" id="plt_087"></a><br /><span class="captiont">Plate 87</span><br />
-<a href="images/plt_087.jpg">
-<img src="images/plt_087.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE</span></div>
-
-<p><span class="pagenum"><a name="page_196" id="page_196">{196}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_088" id="plt_088"></a><br /><span class="captiont">Plate 88</span><br />
-<a href="images/plt_088.jpg">
-<img src="images/plt_088.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE</span></div>
-
-<p><span class="pagenum"><a name="page_197" id="page_197">{197}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_089" id="plt_089"></a><br /><span class="captiont">Plate 89</span><br />
-<a href="images/plt_089.jpg">
-<img src="images/plt_089.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE</span></div>
-
-<p><span class="pagenum"><a name="page_198" id="page_198">{198}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_090" id="plt_090"></a><br /><span class="captiont">Plate 90</span><br />
-<a href="images/plt_090.jpg">
-<img src="images/plt_090.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. DETAIL OF THE PORCELAIN ROOM, JAPANESE STYLE</span></div>
-
-<p><span class="pagenum"><a name="page_199" id="page_199">{199}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_091" id="plt_091"></a><br /><span class="captiont">Plate 91</span><br />
-<a href="images/plt_091.jpg">
-<img src="images/plt_091.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. LA CASA DEL LABRADOR</span></div>
-
-<p><span class="pagenum"><a name="page_200" id="page_200">{200}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_092" id="plt_092"></a><br /><span class="captiont">Plate 92</span><br />
-<a href="images/plt_092.jpg">
-<img src="images/plt_092.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. CONVENT OF SAN ANTONIO</span></div>
-
-<p><span class="pagenum"><a name="page_201" id="page_201">{201}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_093" id="plt_093"></a><br /><span class="captiont">Plate 93</span><br />
-<a href="images/plt_093.jpg">
-<img src="images/plt_093.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. ENTRANCE TO THE GARDENS OF THE ISLAND</span></div>
-
-<p><span class="pagenum"><a name="page_202" id="page_202">{202}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_094" id="plt_094"></a><br /><span class="captiont">Plate 94</span><br />
-<a href="images/plt_094.jpg">
-<img src="images/plt_094.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. FOUNTAIN IN THE PLAZA DE SAN ANTONIO</span></div>
-
-<p><span class="pagenum"><a name="page_203" id="page_203">{203}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_095" id="plt_095"></a><br />
-<a href="images/plt_095.jpg">
-<img src="images/plt_095.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">
-ARANJUEZ. JUPITER, BRONZE GROUP IN THE
-GARDENS OF THE ISLAND</span></div>
-
-<p><span class="pagenum"><a name="page_204" id="page_204">{204}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_096" id="plt_096"></a><br /><span class="captiont">Plate 96</span><br />
-<a href="images/plt_096.jpg">
-<img src="images/plt_096.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. JUPITER, BRONZE GROUP IN THE GARDENS OF THE ISLAND</span></div>
-
-<p><span class="pagenum"><a name="page_205" id="page_205">{205}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_097" id="plt_097"></a><br /><span class="captiont">Plate 97</span><br />
-<a href="images/plt_097.jpg">
-<img src="images/plt_097.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. THE GODDESS CERES, BRONZE GROUP IN THE GARDENS OF THE ISLAND</span></div>
-
-<p><span class="pagenum"><a name="page_206" id="page_206">{206}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_098" id="plt_098"></a><br /><span class="captiont">Plate 98</span><br />
-<a href="images/plt_098.jpg">
-<img src="images/plt_098.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. THE GODDESS JUNO, BRONZE GROUP IN THE GARDENS OF THE ISLAND</span></div>
-
-<p><span class="pagenum"><a name="page_207" id="page_207">{207}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_099" id="plt_099"></a><br /><span class="captiont">Plate 99</span><br />
-<a href="images/plt_099.jpg">
-<img src="images/plt_099.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. PAVILIONS OF THE RIVER, IN THE GARDEN OF THE PRINCE</span></div>
-
-<p><span class="pagenum"><a name="page_208" id="page_208">{208}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_100" id="plt_100"></a><br /><span class="captiont">Plate 100</span><br />
-<a href="images/plt_100.jpg">
-<img src="images/plt_100.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. FOUNTAIN OF APOLLO, IN THE GARDEN OF THE PRINCE</span></div>
-
-<p><span class="pagenum"><a name="page_209" id="page_209">{209}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_101" id="plt_101"></a><br /><span class="captiont">Plate 101</span><br />
-<a href="images/plt_101.jpg">
-<img src="images/plt_101.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. FOUNTAIN OF CERES, IN THE GARDEN OF THE PRINCE</span></div>
-
-<p><span class="pagenum"><a name="page_210" id="page_210">{210}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_102" id="plt_102"></a><br /><span class="captiont">Plate 102</span><br />
-<a href="images/plt_102.jpg">
-<img src="images/plt_102.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. FOUNTAIN OF NARCISSUS, IN THE GARDEN OF THE PRINCE</span></div>
-
-<p><span class="pagenum"><a name="page_211" id="page_211">{211}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_103" id="plt_103"></a><br /><span class="captiont">Plate 103</span><br />
-<a href="images/plt_103.jpg">
-<img src="images/plt_103.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. FOUNTAIN OF THE SWAN, IN THE GARDEN OF THE PRINCE</span></div>
-
-<p><span class="pagenum"><a name="page_212" id="page_212">{212}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_104" id="plt_104"></a><br /><span class="captiont">Plate 104</span><br />
-<a href="images/plt_104.jpg">
-<img src="images/plt_104.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. GENERAL VIEW OF THE TAGO AND THE PARTERRE</span></div>
-
-<p><span class="pagenum"><a name="page_213" id="page_213">{213}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_105" id="plt_105"></a><br /><span class="captiont">Plate 105</span><br />
-<a href="images/plt_105.jpg">
-<img src="images/plt_105.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. FOUNTAIN OF HERCULES, IN THE GARDENS OF THE ISLAND</span></div>
-
-<p><span class="pagenum"><a name="page_214" id="page_214">{214}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_106" id="plt_106"></a><br /><span class="captiont">Plate 106</span><br />
-<a href="images/plt_106.jpg">
-<img src="images/plt_106.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. FOUNTAIN OF HERCULES, IN THE GARDENS OF THE ISLAND</span></div>
-
-<p><span class="pagenum"><a name="page_215" id="page_215">{215}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_107" id="plt_107"></a><br /><span class="captiont">Plate 107</span><br />
-<a href="images/plt_107.jpg">
-<img src="images/plt_107.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">ARANJUEZ. FOUNTAIN OF APOLLO, IN THE GARDENS OF THE ISLAND</span></div>
-
-<p><span class="pagenum"><a name="page_216" id="page_216">{216}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_108" id="plt_108"></a><br /><span class="captiont">Plate 108</span><br />
-<a href="images/plt_108.jpg">
-<img src="images/plt_108.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MIRAMAR. SIDE VIEW OF PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_217" id="page_217">{217}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_109" id="plt_109"></a><br /><span class="captiont">Plate 109</span><br />
-<a href="images/plt_109.jpg">
-<img src="images/plt_109.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MIRAMAR. RECEPTION ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_218" id="page_218">{218}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_110" id="plt_110"></a><br /><span class="captiont">Plate 110</span><br />
-<a href="images/plt_110.jpg">
-<img src="images/plt_110.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MIRAMAR. BILLIARD ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_219" id="page_219">{219}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_111" id="plt_111"></a><br /><span class="captiont">Plate 111</span><br />
-<a href="images/plt_111.jpg">
-<img src="images/plt_111.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. FAÇADE OF THE ALCAZAR</span></div>
-
-<p><span class="pagenum"><a name="page_220" id="page_220">{220}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_112" id="plt_112"></a><br /><span class="captiont">Plate 112</span><br />
-<a href="images/plt_112.jpg">
-<img src="images/plt_112.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. ALCAZAR&mdash;GATES OF THE PRINCIPAL ENTRANCE</span></div>
-
-<p><span class="pagenum"><a name="page_221" id="page_221">{221}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_113" id="plt_113"></a><br /><span class="captiont">Plate 113</span><br />
-<a href="images/plt_113.jpg">
-<img src="images/plt_113.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. INTERIOR OF THE HALL OF AMBASSADORS</span></div>
-
-<p><span class="pagenum"><a name="page_222" id="page_222">{222}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_114" id="plt_114"></a><br /><span class="captiont">Plate 114</span><br />
-<a href="images/plt_114.jpg">
-<img src="images/plt_114.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. INTERIOR OF THE HALL OF AMBASSADORS</span></div>
-
-<p><span class="pagenum"><a name="page_223" id="page_223">{223}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_115" id="plt_115"></a><br /><span class="captiont">Plate 115</span><br />
-<a href="images/plt_115.jpg">
-<img src="images/plt_115.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. INTERIOR OF THE HALL OF AMBASSADORS</span></div>
-
-<p><span class="pagenum"><a name="page_224" id="page_224">{224}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_116" id="plt_116"></a><br /><span class="captiont">Plate 116</span><br />
-<a href="images/plt_116.jpg">
-<img src="images/plt_116.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. HALL OF AMBASSADORS</span></div>
-
-<p><span class="pagenum"><a name="page_225" id="page_225">{225}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_117" id="plt_117"></a><br /><span class="captiont">Plate 117</span><br />
-<a href="images/plt_117.jpg">
-<img src="images/plt_117.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. HALL OF AMBASSADORS</span></div>
-
-<p><span class="pagenum"><a name="page_226" id="page_226">{226}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_118" id="plt_118"></a><br /><span class="captiont">Plate 118</span><br />
-<a href="images/plt_118.jpg">
-<img src="images/plt_118.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. COURT OF THE HUNDRED VIRGINS</span></div>
-
-<p><span class="pagenum"><a name="page_227" id="page_227">{227}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_119" id="plt_119"></a><br /><span class="captiont">Plate 119</span><br />
-<a href="images/plt_119.jpg">
-<img src="images/plt_119.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. COURT OF THE DOLLS</span></div>
-
-<p><span class="pagenum"><a name="page_228" id="page_228">{228}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_120" id="plt_120"></a><br /><span class="captiont">Plate 120</span><br />
-<a href="images/plt_120.jpg">
-<img src="images/plt_120.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. COURT OF THE DOLLS, FROM THE ROOM OF THE PRINCE</span></div>
-
-<p><span class="pagenum"><a name="page_229" id="page_229">{229}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_121" id="plt_121"></a><br /><span class="captiont">Plate 121</span><br />
-<a href="images/plt_121.jpg">
-<img src="images/plt_121.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. COURT OF THE DOLLS</span></div>
-
-<p><span class="pagenum"><a name="page_230" id="page_230">{230}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_122" id="plt_122"></a><br /><span class="captiont">Plate 122</span><br />
-<a href="images/plt_122.jpg">
-<img src="images/plt_122.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. COURT OF THE DOLLS</span></div>
-
-<p><span class="pagenum"><a name="page_231" id="page_231">{231}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_123" id="plt_123"></a><br /><span class="captiont">Plate 123</span><br />
-<a href="images/plt_123.jpg">
-<img src="images/plt_123.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. COURT OF THE DOLLS</span></div>
-
-<p><span class="pagenum"><a name="page_232" id="page_232">{232}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_124" id="plt_124"></a><br /><span class="captiont">Plate 124</span><br />
-<a href="images/plt_124.jpg">
-<img src="images/plt_124.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. UPPER PART OF THE COURT OF THE DOLLS</span></div>
-
-<p><span class="pagenum"><a name="page_233" id="page_233">{233}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_125" id="plt_125"></a><br /><span class="captiont">Plate 125</span><br />
-<a href="images/plt_125.jpg">
-<img src="images/plt_125.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. DORMITORY OF THE MOORISH KINGS</span></div>
-
-<p><span class="pagenum"><a name="page_234" id="page_234">{234}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_126" id="plt_126"></a><br /><span class="captiont">Plate 126</span><br />
-<a href="images/plt_126.jpg">
-<img src="images/plt_126.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. SLEEPING SALOON OF THE MOORISH KINGS</span></div>
-
-<p><span class="pagenum"><a name="page_235" id="page_235">{235}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_127" id="plt_127"></a><br /><span class="captiont">Plate 127</span><br />
-<a href="images/plt_127.jpg">
-<img src="images/plt_127.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. ENTRANCE TO THE DORMITORY OF THE MOORISH KINGS</span></div>
-
-<p><span class="pagenum"><a name="page_236" id="page_236">{236}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_128" id="plt_128"></a><br /><span class="captiont">Plate 128</span><br />
-<a href="images/plt_128.jpg">
-<img src="images/plt_128.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. ALCAZAR&mdash;VIEW OF THE GALLERY FROM THE SECOND FLOOR</span></div>
-
-<p><span class="pagenum"><a name="page_237" id="page_237">{237}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_129" id="plt_129"></a><br /><span class="captiont">Plate 129</span><br />
-<a href="images/plt_129.jpg">
-<img src="images/plt_129.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. ALCAZAR&mdash;HALL IN WHICH KING ST. FERDINAND DIED</span></div>
-
-<p><span class="pagenum"><a name="page_238" id="page_238">{238}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_130" id="plt_130"></a><br /><span class="captiont">Plate 130</span><br />
-<a href="images/plt_130.jpg">
-<img src="images/plt_130.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. INTERIOR OF THE HALL OF ST. FERDINAND</span></div>
-
-<p><span class="pagenum"><a name="page_239" id="page_239">{239}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_131" id="plt_131"></a><br /><span class="captiont">Plate 131</span><br />
-<a href="images/plt_131.jpg">
-<img src="images/plt_131.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">SEVILLE. FRONT OF THE HALL OF ST. FERDINAND</span></div>
-
-<p><span class="pagenum"><a name="page_240" id="page_240">{240}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_132" id="plt_132"></a><br /><span class="captiont">Plate 132</span><br />
-<a href="images/plt_132.jpg">
-<img src="images/plt_132.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_241" id="page_241">{241}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_133" id="plt_133"></a><br /><span class="captiont">Plate 133</span><br />
-<a href="images/plt_133.jpg">
-<img src="images/plt_133.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE ROYAL PALACE FROM THE PLAZA DE ORIENTE</span></div>
-
-<p><span class="pagenum"><a name="page_242" id="page_242">{242}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_134" id="plt_134"></a><br /><span class="captiont">Plate 134</span><br />
-<a href="images/plt_134.jpg">
-<img src="images/plt_134.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_243" id="page_243">{243}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_135" id="plt_135"></a><br /><span class="captiont">Plate 135</span><br />
-<a href="images/plt_135.jpg">
-<img src="images/plt_135.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. PRINCIPAL FAÇADE OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_244" id="page_244">{244}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_136" id="plt_136"></a><br /><span class="captiont">Plate 136</span><br />
-<a href="images/plt_136.jpg">
-<img src="images/plt_136.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE ROYAL PALACE FROM THE PLAZA DE ORIENTE</span></div>
-
-<p><span class="pagenum"><a name="page_245" id="page_245">{245}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_137" id="plt_137"></a><br /><span class="captiont">Plate 137</span><br />
-<a href="images/plt_137.jpg">
-<img src="images/plt_137.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_246" id="page_246">{246}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_138" id="plt_138"></a><br /><span class="captiont">Plate 138</span><br />
-<a href="images/plt_138.jpg">
-<img src="images/plt_138.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_247" id="page_247">{247}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_139" id="plt_139"></a><br /><span class="captiont">Plate 139</span><br />
-<a href="images/plt_139.jpg">
-<img src="images/plt_139.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. PALACE FROM THE PLAZA DE LA ARMERIA</span></div>
-
-<p><span class="pagenum"><a name="page_248" id="page_248">{248}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_140" id="plt_140"></a><br /><span class="captiont">Plate 140</span><br />
-<a href="images/plt_140.jpg">
-<img src="images/plt_140.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE GRAND STAIRCASE OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_249" id="page_249">{249}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_141" id="plt_141"></a><br /><span class="captiont">Plate 141</span><br />
-<a href="images/plt_141.jpg">
-<img src="images/plt_141.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. PRINCIPAL STAIRCASE OF THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_250" id="page_250">{250}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_142" id="plt_142"></a><br /><span class="captiont">Plate 142</span><br />
-<a href="images/plt_142.jpg">
-<img src="images/plt_142.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. GRAND STAIRCASE IN THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_251" id="page_251">{251}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_143" id="plt_143"></a><br /><span class="captiont">Plate 143</span><br />
-<a href="images/plt_143.jpg">
-<img src="images/plt_143.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE GRAND STAIRCASE</span></div>
-
-<p><span class="pagenum"><a name="page_252" id="page_252">{252}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_144" id="plt_144"></a><br /><span class="captiont">Plate 144</span><br />
-<a href="images/plt_144.jpg">
-<img src="images/plt_144.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. HALL OF COLUMNS</span></div>
-
-<p><span class="pagenum"><a name="page_253" id="page_253">{253}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_145" id="plt_145"></a><br /><span class="captiont">Plate 145</span><br />
-<a href="images/plt_145.jpg">
-<img src="images/plt_145.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. GENERAL VIEW OF THE THRONE ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_254" id="page_254">{254}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_146" id="plt_146"></a><br /><span class="captiont">Plate 146</span><br />
-<a href="images/plt_146.jpg">
-<img src="images/plt_146.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE THRONE, ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_255" id="page_255">{255}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_147" id="plt_147"></a><br /><span class="captiont">Plate 147</span><br />
-<a href="images/plt_147.jpg">
-<img src="images/plt_147.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE THRONE, ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_256" id="page_256">{256}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_148" id="plt_148"></a><br /><span class="captiont">Plate 148</span><br />
-<a href="images/plt_148.jpg">
-<img src="images/plt_148.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. DETAIL OF THRONE ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_257" id="page_257">{257}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_149" id="plt_149"></a><br /><span class="captiont">Plate 149</span><br />
-<a href="images/plt_149.jpg">
-<img src="images/plt_149.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. CEILING OF THE THRONE ROOM, BY TIEPOLO</span></div>
-
-<p><span class="pagenum"><a name="page_258" id="page_258">{258}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_150" id="plt_150"></a><br /><span class="captiont">Plate 150</span><br />
-<a href="images/plt_150.jpg">
-<img src="images/plt_150.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. CEILING IN THE THRONE ROOM, BY TIEPOLO</span></div>
-
-<p><span class="pagenum"><a name="page_259" id="page_259">{259}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_151" id="plt_151"></a><br /><span class="captiont">Plate 151</span><br />
-<a href="images/plt_151.jpg">
-<img src="images/plt_151.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. CEILING OF THE THRONE ROOM, BY TIEPOLO</span></div>
-
-<p><span class="pagenum"><a name="page_260" id="page_260">{260}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_152" id="plt_152"></a><br /><span class="captiont">Plate 152</span><br />
-<a href="images/plt_152.jpg">
-<img src="images/plt_152.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. ROYAL PALACE. THE KING’S PRIVY COUNCIL CHAMBER</span></div>
-
-<p><span class="pagenum"><a name="page_261" id="page_261">{261}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_153" id="plt_153"></a><br /><span class="captiont">Plate 153</span><br />
-<a href="images/plt_153.jpg">
-<img src="images/plt_153.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. ROYAL PALACE. THE QUEEN’S ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_262" id="page_262">{262}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_154" id="plt_154"></a><br /><span class="captiont">Plate 154</span><br />
-<a href="images/plt_154.jpg">
-<img src="images/plt_154.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE MUSIC ROOM, ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_263" id="page_263">{263}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_155" id="plt_155"></a><br /><span class="captiont">Plate 155</span><br />
-<a href="images/plt_155.jpg">
-<img src="images/plt_155.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE ROOM OF MIRRORS, ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_264" id="page_264">{264}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_156" id="plt_156"></a><br /><span class="captiont">Plate 156</span><br />
-<a href="images/plt_156.jpg">
-<img src="images/plt_156.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. RECEPTION ROOM, ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_265" id="page_265">{265}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_157" id="plt_157"></a><br /><span class="captiont">Plate 157</span><br />
-<a href="images/plt_157.jpg">
-<img src="images/plt_157.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. BRONZE URN IN THE RECEPTION ROOM, ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_266" id="page_266">{266}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_158" id="plt_158"></a><br /><span class="captiont">Plate 158</span><br />
-<a href="images/plt_158.jpg">
-<img src="images/plt_158.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. ROOM OF CHARLES III.</span></div>
-
-<p><span class="pagenum"><a name="page_267" id="page_267">{267}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_159" id="plt_159"></a><br /><span class="captiont">Plate 159</span><br />
-<a href="images/plt_159.jpg">
-<img src="images/plt_159.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. CHINESE ROOM BY GASPARINI, ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_268" id="page_268">{268}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_160" id="plt_160"></a><br /><span class="captiont">Plate 160</span><br />
-<a href="images/plt_160.jpg">
-<img src="images/plt_160.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. CHINESE ROOM BY GASPARINI, ROYAL PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_269" id="page_269">{269}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_161" id="plt_161"></a><br /><span class="captiont">Plate 161</span><br />
-<a href="images/plt_161.jpg">
-<img src="images/plt_161.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. PORCELAIN ROOM IN THE PALACE</span></div>
-
-<p><span class="pagenum"><a name="page_270" id="page_270">{270}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_162" id="plt_162"></a><br /><span class="captiont">Plate 162</span><br />
-<a href="images/plt_162.jpg">
-<img src="images/plt_162.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. CORNER OF THE PORCELAIN ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_271" id="page_271">{271}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_163" id="plt_163"></a><br /><span class="captiont">Plate 163</span><br />
-<a href="images/plt_163.jpg">
-<img src="images/plt_163.jpg"
-height="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID. THE PORCELAIN ROOM</span></div>
-
-<p><span class="pagenum"><a name="page_272" id="page_272">{272}</a></span>&nbsp; </p>
-
-<div class="figcenter"><br />
-<a name="plt_164" id="plt_164"></a><br /><span class="captiont">Plate 164</span><br />
-<a href="images/plt_164.jpg">
-<img src="images/plt_164.jpg"
-width="650"
-alt="[Image unavailable.]" /></a><br />
-<span class="caption">MADRID, PORCELAIN GROUP IN THE BUEN RETIRO</span></div>
-
-<div class="figcenter">
-<img src="images/back.jpg" width="330" height="650" alt="" />
-</div>
-
-<hr class="full" />
-
-
-
-
-
-
-
-<pre>
-
-
-
-
-
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