Palacio Real de Aranjuez is a former Spanish royal residence. It was established around the time Philip II of Spain moved the capital from Toledo to Madrid. Aranjuez became one of four seasonal seats of government, occupied during the springtime (from about holy week). Thereafter, the court moved successively to Rascafría, El Escorial and wintered in Madrid. Aranjuez Cultural Landscape is an UNESCO World Heritage Site.
After the Christian conquest, Aranjuez was owned by the Order of Santiago and a palace was built for its Grand Masters where the Royal Palace stands today. When the Catholic Monarchs assumed the office of Grand Master of the Order of Santiago, Aranjuez became part of the Royal estate. This fertile land, located between the Tajo and Jarama Rivers, was converted into the Spanish monarchy's most lavish country retreat: during Spain's Golden Age, Aranjuez became a symbol for the perfection of nature by mortal hands, as El Escorial was for art.
Such excellence was based on strong Renaissance foundations, as Charles V envisaged this inherited estate as a large Italian-inspired villa, a desire continued by Philip II who appointed Juan Bautista de Toledo to design leafy avenues that ran through the gardens and farming land. A series of dams was constructed in the 16th century to control the course of the Tajo River and create a network of irrigation canals.
The splendour of the estate was only enhanced by the Bourbon monarchs, who would spend the whole spring, from Easter to July, at the Palace. Phillip V added new gardens and Ferdinand VI designed a new system of tree-lined streets and created a small village within the estate, which was further developed by Charles III and Charles IV. As Ferdinand VII and Isabella II continued to visit Aranjuez during the spring, the splendour of this site was maintained until 1870.
The Royal Palace, built by Phillip II on the site of the old palace of the Grand Masters of Santiago, was designed by the architect Juan Bautista de Toledo –under whom construction began in 1564– and later Juan Herrera, who only managed to finish half the project. Although glimpses of the original layout still remain, the building itself is more characteristic of the classicism favoured by the Hapsburg monarchs, with alternating white stone and brick. The original design was continued by Phillip V in 1715 but not finished until 1752 under Ferdinand VI. The rectangular layout that Juan Bautista de Toledo had planned, and that took two centuries to complete, was only maintained for 20 years, since in 1775 Charles III added two wings onto the Palace.
As the Prince of Asturias, Charles IV was a frequent visitor to the pier pavilions built by Ferdinand VI and grew up playing in the Prince’s Garden. When he became King, he decided to build a new country house at the far end of these gardens, known as the Casa del Labrador (the labourer's house) due to its modest exterior that was designed to heavily contrast the magnificent internal decor. It was built by chief architect Juan de Villanueva and his pupil Isidro González Velázquez, who designed some of the interior spaces. These rooms, developed in various stages until 1808, are the greatest example of the lavish interior decor favoured by this monarch in his palaces and country retreats. Highlights at this Site include the combination of different types of art and the luxurious textiles, in particular the silks from Lyon, as well as wealth of original works on the main floor, where Ferdinand VII added various paintings and landscapes by Brambilla.
Phillip II, a great lover of gardens, paid special attention to this feature of the Aranjuez Palace: during his reign, he maintained both the Island Garden, designed by the architect Juan Bautista de Toledo, and the King's Garden, immediately adjacent to the Palace and whose current layout was designed by Philip IV. The majority of the fountains on this island were commissioned by Phillip IV, while the Bourbons added other features such as the Charles III benches.
Phillip V made two French-style additions to the existing gardens: the Parterre Garden in front of the palace and the extension at the far end of the Island Garden, known as the Little Island, where he installed the Tritons Fountain that was later moved to the Campo del Moro park by Isabella II.
The Prince's Garden owes its name and creation to the son and heir of Charles III who, in the 1770s, began to use Ferdinand VI's old pier for his own enjoyment. He also created a landscaped garden in the Anglo-French style that was in fashion at the time and which was directly influenced by Marie Antoinette's gardens at the Petit Trianon. Both Juan de Villanueva and Pablo Boutelou collaborated in the design of this garden.References:
The Porta Nigra (Latin for black gate) is the largest Roman city gate north of the Alps. It is designated as part of the Roman Monuments, Cathedral of St. Peter and Church of Our Lady in Trier UNESCO World Heritage Site. The name Porta Nigra originated in the Middle Ages due to the darkened colour of its stone; the original Roman name has not been preserved. Locals commonly refer to the Porta Nigra simply as Porta.
The Porta Nigra was built in grey sandstone between 186 and 200 AD. The original gate consisted of two four-storied towers, projecting as near semicircles on the outer side. A narrow courtyard separated the two gate openings on either side. For unknown reasons, however, the construction of the gate remained unfinished. For example, the stones at the northern (outer) side of the gate were never abraded, and the protruding stones would have made it impossible to install movable gates. Nonetheless, the gate was used for several centuries until the end of the Roman era in Trier.
In Roman times, the Porta Nigra was part of a system of four city gates, one of which stood at each side of the roughly rectangular Roman city. The Porta Nigra guarded the northern entry to the Roman city, while the Porta Alba (White Gate) was built in the east, the Porta Media (Middle Gate) in the south, and the Porta Inclyta (Famous Gate) in the west, next to the Roman bridge across the Moselle. The gates stood at the ends of the two main streets of the Roman Trier, one of which led north-south and the other east-west. Of these gates, only the Porta Nigra still exists today.
In the early Middle Ages the Roman city gates were no longer used for their original function and their stones were taken and reused for other buildings. Also iron and lead braces were broken out of the walls of the Porta Nigra for reuse. Traces of this destruction are still clearly visible on the north side of the gate.
After 1028, the Greek monk Simeon lived as a hermit in the ruins of the Porta Nigra. After his death (1035) and sanctification, the Simeonstift monastery was built next to the Porta Nigra to honor him. Saving it from further destruction, the Porta Nigra was transformed into a church: The inner court of the gate was roofed and intermediate ceilings were inserted. The two middle storeys of the former gate were converted into church naves: the upper storey being for the monks and the lower storey for the general public. The ground floor with the large gates was sealed, and a large outside staircase was constructed alongside the south side (the town side) of the gate, up to the lower storey of the church. A small staircase led further up to the upper storey. The church rooms were accessible through former windows of the western tower of the Porta Nigra that were enlarged to become entrance doors (still visible today). The top floor of the western tower was used as church tower, the eastern tower was leveled, and an apse added at its east side. An additional gate - the much smaller Simeon Gate - was built adjacent to the East side of the Porta Nigra and served as a city gate in medieval times.
In 1802 Napoleon Bonaparte dissolved the church in the Porta Nigra and the monastery beside it, along with the vast majority of Trier"s numerous churches and monasteries. On his visit to Trier in 1804, Napoleon ordered that the Porta Nigra be converted back to its Roman form. Only the apse was kept; but the eastern tower was not rebuilt to its original height. Local legend has it that Napoleon originally wanted to completely tear down the church, but locals convinced him that the church had actually been a Gaulish festival hall before being turned into a church. Another version of the story is that they told him about its Roman origins, persuading him to convert the gate back to its original form.
In 1986 the Porta Nigra was designated a World Heritage Site, along with other Roman monuments in Trier and its surroundings. The modern appearance of the Porta Nigra goes back almost unchanged to the reconstruction ordered by Napoleon. At the south side of the Porta Nigra, remains of Roman columns line the last 100 m of the street leading to the gate. Positioned where they had stood in Roman times, they give a slight impression of the aspect of the original Roman street that was lined with colonnades. The Porta Nigra, including the upper floors, is open to visitors.