A short trip to El Escorial on a windy morning in May has given me the opportunity to make a brief visit to the Library of the Monastery, where they stay a truly monumental remember having been before.
Access is available through the entrance hall to the Patio de Los Reyes, right, as you go up several flights of stone stairs. Once up the effort was worthwhile. The room that we have the impressive view of both their input proportions (54 feet long by 9 wide) as the paintings that completely covers roof and walls. The room is well lit by natural light it receives from the balconies and windows on both sides. Penetrating
inside left and right we see an impressive shelf classic Doric order as I read later was executed by " Arrow, Gamboa, Serrano and other teachers carvers " 1 in wood and cost a whopping. I called attention to the placement of books on the shelves with the spine in and out sheets, wire racks guarded with so-called "chicken coop."
With regard to the placement of books, writes Zurbitu following:
"All have gold edges and prints on the respective titles. Thus, not only offering better light gold with elegant cuts and dedication and prints labels on them but are placed and take more find the books by entering it on the back, less prominent than the leaves song. " 2
is time to remember, as we contemplate this elegant library, Philip II, its promoter and patron, came to gather up to 10,000 volumes that were ranked and sorted by Arias Montano, with the help of P. Siguenza, whose portrait hangs on the headwall Carducho fronting on exit, and Fray Juan de San Jerónimo, who was its first librarian. Later this wealth of books would increase even more during the reign of Philip III, including "the famous library Arab Muley Zidan, Emperor of Morocco, It consists of 3,000 volumes, the most prized booty they collected our galleys, commanded by D. Luis Fajardo, defeating the Sultan of the Straits " 3 .
Unfortunately, the passage of time also brought considerable losses to the library caused by fire and neglect. Among the former, those that occurred in 1671, which consumed more than 4,000 manuscripts and a large number of forms, and 1763. As a sign of intolerable neglect by their leaders the authority granted to the "thief, cuckoo, porter, biblio-pirate" Bartolomé José Gallardo in 1820-23, librarian of the Parliament, to take library books and manuscripts that she never again 4 .
Among the pillars of the library there are four portraits hung enormous, the quality rather than by the size of the kings of the House of Austria. Without doubt the best of them, at which I stop for a moment is that of Philip II by Pantoja de la Cruz. Include the elderly monarch, full body, dressed in black and wearing his trademark hat loop, showing the color of their skin and the eyes dull signs of the disease soon led him to the grave.
Time is now for us to look at the paintings. His disposition is as follows: the room is shared divided into three sections by pilasters, which support arches decorated with grotesques. Each section has a similar iconography. In the vault, foreshortening of a female figure representing each of the seven liberal arts and Quatrivium medieval Trivium (astronomy, geometry, music, arithmetic, dialectic, rhetoric and grammar), in the lunettes, four of the most illustrious men cultivated for discipline and in the frieze on the shelves, a couple of scenes encountered in relating facts alluding to each of these arts. Finally, in the media points of both side walls, Theology and Philosophy. It is disputed who the "ideator" This "concerted symbolism", which is great visual impact. Gaya Nuño 5 writes that " was undoubtedly the father who was running Siguenza stories, but I have read elsewhere 6 this iconographic program as a precedent might have the Chapter Library and the Cathedral Colombina Seville.
What is not in doubt is the Italianate character of the paintings due to a pupil of Michelangelo, the painter and architect Pellegrino Tibaldi (1527-1596), who when run, felt strong enough in spirit and not only to imitate the teacher but to try to overcome even poses and foreshortening risked forcing in the figures, even with the forced foot space. The scenes are well drawn and colored, no doubt, an air "Michelangelo" are comparable to this piece, saving all distances, with the Sistine Chapel.
Before leaving, he can not pass unnoticed the armillary sphere, as the Ptolemaic system, supported by a mermaid-shaped foot, pine wood worked by Antonio Santucci in Florenia cosmographer and dated 1536.
The visit has been swift but enough to appreciate the richness of this room and left wanting to know the detail of the printed manuscripts and codices containing as an example, one of the three that exist, Beatus of Liebana, the one that reached to contemplate.
© Manuel Martínez Bargueño
May, 2010
Access is available through the entrance hall to the Patio de Los Reyes, right, as you go up several flights of stone stairs. Once up the effort was worthwhile. The room that we have the impressive view of both their input proportions (54 feet long by 9 wide) as the paintings that completely covers roof and walls. The room is well lit by natural light it receives from the balconies and windows on both sides. Penetrating
inside left and right we see an impressive shelf classic Doric order as I read later was executed by " Arrow, Gamboa, Serrano and other teachers carvers " 1 in wood and cost a whopping. I called attention to the placement of books on the shelves with the spine in and out sheets, wire racks guarded with so-called "chicken coop."
With regard to the placement of books, writes Zurbitu following:
"All have gold edges and prints on the respective titles. Thus, not only offering better light gold with elegant cuts and dedication and prints labels on them but are placed and take more find the books by entering it on the back, less prominent than the leaves song. " 2
is time to remember, as we contemplate this elegant library, Philip II, its promoter and patron, came to gather up to 10,000 volumes that were ranked and sorted by Arias Montano, with the help of P. Siguenza, whose portrait hangs on the headwall Carducho fronting on exit, and Fray Juan de San Jerónimo, who was its first librarian. Later this wealth of books would increase even more during the reign of Philip III, including "the famous library Arab Muley Zidan, Emperor of Morocco, It consists of 3,000 volumes, the most prized booty they collected our galleys, commanded by D. Luis Fajardo, defeating the Sultan of the Straits " 3 .
Unfortunately, the passage of time also brought considerable losses to the library caused by fire and neglect. Among the former, those that occurred in 1671, which consumed more than 4,000 manuscripts and a large number of forms, and 1763. As a sign of intolerable neglect by their leaders the authority granted to the "thief, cuckoo, porter, biblio-pirate" Bartolomé José Gallardo in 1820-23, librarian of the Parliament, to take library books and manuscripts that she never again 4 .
Among the pillars of the library there are four portraits hung enormous, the quality rather than by the size of the kings of the House of Austria. Without doubt the best of them, at which I stop for a moment is that of Philip II by Pantoja de la Cruz. Include the elderly monarch, full body, dressed in black and wearing his trademark hat loop, showing the color of their skin and the eyes dull signs of the disease soon led him to the grave.
Time is now for us to look at the paintings. His disposition is as follows: the room is shared divided into three sections by pilasters, which support arches decorated with grotesques. Each section has a similar iconography. In the vault, foreshortening of a female figure representing each of the seven liberal arts and Quatrivium medieval Trivium (astronomy, geometry, music, arithmetic, dialectic, rhetoric and grammar), in the lunettes, four of the most illustrious men cultivated for discipline and in the frieze on the shelves, a couple of scenes encountered in relating facts alluding to each of these arts. Finally, in the media points of both side walls, Theology and Philosophy. It is disputed who the "ideator" This "concerted symbolism", which is great visual impact. Gaya Nuño 5 writes that " was undoubtedly the father who was running Siguenza stories, but I have read elsewhere 6 this iconographic program as a precedent might have the Chapter Library and the Cathedral Colombina Seville.
What is not in doubt is the Italianate character of the paintings due to a pupil of Michelangelo, the painter and architect Pellegrino Tibaldi (1527-1596), who when run, felt strong enough in spirit and not only to imitate the teacher but to try to overcome even poses and foreshortening risked forcing in the figures, even with the forced foot space. The scenes are well drawn and colored, no doubt, an air "Michelangelo" are comparable to this piece, saving all distances, with the Sistine Chapel.
Before leaving, he can not pass unnoticed the armillary sphere, as the Ptolemaic system, supported by a mermaid-shaped foot, pine wood worked by Antonio Santucci in Florenia cosmographer and dated 1536. The visit has been swift but enough to appreciate the richness of this room and left wanting to know the detail of the printed manuscripts and codices containing as an example, one of the three that exist, Beatus of Liebana, the one that reached to contemplate.
© Manuel Martínez Bargueño
May, 2010
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NOTES
1. " the Monastery of El Escorial and the Casita del Príncipe ." By P. Fr Julián Zarco Cuevas, Sixth Edition. El Escorial. Tip. Augustine, PP, 1943, p-108.
2. " San Lorenzo de El Escorial. artistic and descriptive guide" by D. Zurbitu, Reason and Faith SI Editorial Madrid, 1929. pp.188-89.
3. San Lorenzo ... op.cit. p. 208.
4 . Taken note of "historical and descriptive guide Monastery of San Lorenzo de El Escorial " by Don Andrés Marín Perez and Don Ildefonso Fernández Sánchez, Fourth Edition. Madrid. Establishment of the Children of R. Alvarez, 1912, p-98.
5. JA Gaya Nuño. El Escorial. Monuments cardinal of Spain. Editorial Plus Ultra (undated), p.104.
6. Juan Miguel Serrera. " A precedent of the iconographic program of the Library of El Escorial: The Library and Columbine Chapter of the Cathedral of Seville " in " Real Monasterio de El Escorial. Unpublished Studies the fourth centenary of the completion of the works . "Diego Velázquez Art Department of the Center for Historical Studies. National Research Council. Madrid, 1987, p.157-166
1. " the Monastery of El Escorial and the Casita del Príncipe ." By P. Fr Julián Zarco Cuevas, Sixth Edition. El Escorial. Tip. Augustine, PP, 1943, p-108.
2. " San Lorenzo de El Escorial. artistic and descriptive guide" by D. Zurbitu, Reason and Faith SI Editorial Madrid, 1929. pp.188-89.
3. San Lorenzo ... op.cit. p. 208.
4 . Taken note of "historical and descriptive guide Monastery of San Lorenzo de El Escorial " by Don Andrés Marín Perez and Don Ildefonso Fernández Sánchez, Fourth Edition. Madrid. Establishment of the Children of R. Alvarez, 1912, p-98.
5. JA Gaya Nuño. El Escorial. Monuments cardinal of Spain. Editorial Plus Ultra (undated), p.104.
6. Juan Miguel Serrera. " A precedent of the iconographic program of the Library of El Escorial: The Library and Columbine Chapter of the Cathedral of Seville " in " Real Monasterio de El Escorial. Unpublished Studies the fourth centenary of the completion of the works . "Diego Velázquez Art Department of the Center for Historical Studies. National Research Council. Madrid, 1987, p.157-166
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