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Real Monasterio de San Lorenzo de El Escorial (Royal Monastery of St. Lawrence of Escorial)
Real Monasterio de San Lorenzo de El Escorial (Royal Monastery of St. Lawrence of Escorial) Review
Outside Madrid in the foothills of the Sierra de Guadarrama, El Escorial is severe, rectilinear, and unforgiving—one of the most gigantic yet simple architectural monuments on the Iberian Peninsula. Felipe II was one of history's most deeply religious and forbidding monarchs—not to mention one of its most powerful—and the great granite monastery that he had constructed in a remarkable 21 years (1563–84) is an enduring testament to his character.
Felipe built the monastery in the village of San Lorenzo de El Escorial to commemorate Spain's crushing victory over the French at Saint-Quentin on August 10, 1557, and as a final resting place for his all-powerful father, the Holy Roman Emperor Carlos V. He filled the place with treasures as he ruled the largest empire the world had ever seen, knowing all the while that a marble coffin awaited him in the pantheon below. The building's vast rectangle, encompassing 16 courts, is modeled on the red-hot grille upon which St. Lawrence was martyred—appropriately, as August 10 is that saint's day. (It's also said that Felipe's troops accidentally destroyed a church dedicated to St. Lawrence during the battle and sought to make amends.)
The building and its adjuncts—a palace, museum, church, and more—can take hours or even days to tour. Easter Sunday's candlelight midnight mass draws crowds, as does the summer tourist season.
The monastery was begun by the architect Juan Bautista de Toledo but finished in 1584 by Juan de Herrera, who would eventually give his name to a major Spanish architectural school. It was completed just in time for Felipe to die here, gangrenous and tortured by the gout that had plagued him for years, in the tiny, sparsely furnished bedroom that resembled a monk's cell more than the resting place of a great monarch. It's in this bedroom—which looks out, through a private entrance, into the royal chapel—that you most appreciate the man's spartan nature. Spain's later Bourbon kings, such as Carlos III and Carlos IV, had clearly different tastes, and their apartments, connected to Felipe's by the Hall of Battles, and which can be visited only by appointment, are far more luxurious.
Perhaps the most interesting part of the entire Escorial is the Panteón de los Reyes (Royal Pantheon), a baroque construction room from the 17th century that contains the body of every king since Carlos I except three—Felipe V (buried at La Granja), Ferdinand VI (in Madrid), and Amadeus of Savoy (in Italy). The body of Alfonso XIII, who died in Rome in 1941, was brought to El Escorial in January 1980. The rulers' bodies lie in 26 sumptuous marble-and-bronze sarcophagi that line the walls (three of which are empty, awaiting future rulers). Only those queens who bore sons later crowned lie in the same crypt; the others, along with royal sons and daughters who never ruled, lie nearby, in the Panteón de los Infantes, built in the latter part of the 19th century. Many of the royal children are in a single circular tomb made of Carrara marble.
Another highlight is the monastery's surprisingly lavish and colorful library, with ceiling paintings by Michelangelo's disciple Pellegrino Tibaldi (1527–96). The imposing austerity of El Escorial's facades makes this chromatic explosion especially powerful; try to save it for last. The library houses 50,000 rare manuscripts, codices, and ancient books, including the diary of St. Teresa of Ávila and the gold-lettered, illuminated Codex Aureus. Tapestries woven from cartoons by Goya, Rubens, and El Greco cover almost every inch of wall space in huge sections of the building, and extraordinary canvases by Velázquez, El Greco, Jacques-Louis David, Ribera, Tintoretto, Rubens, and other masters, collected from around the monastery, are displayed in the Museos Nuevos (New Museums). In the basilica, don't miss the fresco above the choir, depicting heaven, or Titian's fresco The Martyrdom of St. Lawrence, which shows the saint being roasted alive.
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