The Royal Site of San Lorenzo de El Escorial, commonly known as El Escorial, is a historical residence of the King of Spain about 45 kilometres northwest of Madrid. It is one of the Spanish royal sites and has functioned as a monastery, basilica, royal palace, pantheon, library, museum, university and hospital.
El Escorial comprises two architectural complexes of great historical and cultural significance: the royal monastery itself and La Granjilla de La Fresneda, a royal hunting lodge and monastic retreat about five kilometres away. These sites have a dual nature; that is to say, during the 16th and 17th centuries, they were places in which the power of the Spanish monarchy and the ecclesiastical predominance of the Roman Catholic religion in Spain found a common architectural manifestation. El Escorial was, at once, a monastery and a Spanish royal palace. Originally a property of the Hieronymite monks, it is now a monastery of the Order of Saint Augustine. It is also a boarding school.
Philip II of Spain, reacting to the changes of the 16th century, dedicated much of his lengthy reign (1556–1598) and much of his seemingly inexhaustible supply of New World gold to stemming the tide. His protracted efforts were, in the long run, partly successful; however, the same impulse had a much more benign expression thirty years earlier in Philip's decision to build the complex at El Escorial.
Philip engaged the Spanish architect, Juan Bautista de Toledo, to be his collaborator in the design of El Escorial. Juan Bautista had spent the greater part of his career in Rome, where he had worked on the basilica of St. Peter's, and in Naples, where he had served the king's viceroy, whose recommendation brought him to the king's attention. Philip appointed him architect-royal in 1559, and together they designed El Escorial as a monument to Spain's role as a center of the Christian world.
In 1984 UNESCO declared The Royal Seat of San Lorenzo of El Escorial a World Heritage Site. It is a popular tourist attraction, often visited by day-trippers from Madrid – more than 500,000 visitors come to El Escorial every year.
The royal site includes the monastery, a stone complex of extraordinary dimensions surrounded by formal gardens and the monks’ gardens, the House of Trades, and the Company Quarters where the palace and monastery services were accommodated. In the 18th century, the new Houses of Trades were built, completing the Lonja (the stone esplanade), and, consequently, a small town arose around the monastery, becoming a model of the Enlightenment, accommodating the court as well as the two country villas for Charles III’s sons.
Within the monastery’s massive volume, there is an ensemble of different buildings: the monastery, the church, the royal palace, the school, the seminary, and the royal library, brilliantly organised around eleven main courtyards and three service courtyards. Some say, the design is similar to that of the grill, the instrument used for St Lawrence’s martyrdom. Its austere architecture, a sparsely ornate style, known as herreriano, was a break with previous styles, and had a deep influence on Spanish architecture for more than half a century. Notwithstanding, several rooms do have a very rich and sublime decoration. Contemporary writers praised it as one of greatest paradigms of the arts.References:
Monastery of São Vicente de Fora (Monastery of St. Vincent Outside the Walls) is a 17th-century church and monastery in the city of Lisbon. It is one of the most important monasteries and mannerist buildings in the country. The monastery also contains the royal pantheon of the Braganza monarchs of Portugal.
The original Monastery of São Vicente de Fora was founded around 1147 by the first Portuguese King, Afonso Henriques, for the Augustinian Order. The Monastery, built in Romanesque style outside the city walls, was one of the most important monastic foundations in mediaeval Portugal. It is dedicated to Saint Vincent of Saragossa, patron saint of Lisbon, whose relics were brought from the Algarve to Lisbon in the 12th century.
The present buildings are the result of a reconstruction ordered by King Philip II of Spain, who had become King of Portugal (as Philip I) after a succession crisis in 1580. The church of the monastery was built between 1582 and 1629, while other monastery buildings were finished only in the 18th century. The author of the design of the church is thought to be the Italian Jesuit Filippo Terzi and/or the Spaniard Juan de Herrera. The plans were followed and modified by Leonardo Turriano, Baltazar Álvares, Pedro Nunes Tinoco and João Nunes Tinoco.
The church of the Monastery has a majestic, austere façade that follows the later Renaissance style known as Mannerism. The façade, attributed to Baltazar Álvares, has several niches with statues of saints and is flanked by two towers (a model that would become widespread in Portugal). The lower part of the façade has three arches that lead to the galilee (entrance hall). The floorplan of the church reveals a Latin cross building with a one-aisled nave with lateral chapels. The church is covered by barrel vaulting and has a huge dome over the crossing. The general design of the church interior follows that of the prototypic church of Il Gesù, in Rome.
The beautiful main altarpiece is a Baroque work of the 18th century by one of the best Portuguese sculptors, Joaquim Machado de Castro. The altarpiece has the shape of a baldachin and is decorated with a large number of statues. The church also boasts several fine altarpieces in the lateral chapels.
The Monastery buildings are reached through a magnificent baroque portal, located beside the church façade. Inside, the entrance is decorated with blue-white 18th century tiles that tell the history of the Monastery, including scenes of the Siege of Lisbon in 1147. The ceiling of the room has an illusionistic painting executed in 1710 by the Italian Vincenzo Baccarelli. The sacristy of the Monastery is exuberantly decorated with polychromed marble and painting. The cloisters are also notable for the 18th century tiles that recount fables of La Fontaine, among other themes.
In 1834, after the religious orders were dissolved in Portugal, the monastery was transformed into a palace for the archbishops of Lisbon. Some decades later, King Ferdinand II transformed the monks' old refectory into a pantheon for the kings of the House of Braganza. Their tombs were transferred from the main chapel to this room.