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When Philip
II moved his court to Madrid in 1561, a series of reforms began, reforms that
aimed to transform the town into a capital city worthy of the name. These
reforms were embodied in the Plaza Mayor, designed by Juan de Herrera (author
of El Escorial) and Juan Gómez de Mora, characterized by its symmetry and
austerity, as well as the new Alcázar, who would become the second most
impressive royal palace of the kingdom.
Plaza Mayor
Madrid's
grand central square, a rare but expansive opening in the tightly packed
streets of central Madrid, is one of the prettiest open spaces in Spain, a
winning combination of imposing architecture, picaresque historical tales and
vibrant street life. At once beautiful in its own right and a reference point
for so many Madrid days, it also hosts the city's main tourist office, a
Christmas market in December and arches leading to laneways out into the
labyrinth.
The origins
of the Plaza go back to 1577 when Philip II asked Juan de Herrera, a renowned
Classical architect, to discuss a plan to remodel the busy and chaotic area of
the old Plaza del Arrabal. Juan de Herrera was the artist who designed the
first project in 1560 to remodel the old Plaza del Arrabal but construction did
not start until 1617, during Philip III's reign. The king asked Juan Gómez de
Mora to continue with the project, and he finished the porticoes in 1619.
Nevertheless, the Plaza Mayor as we know it today is the work of the architect
Juan de Villanueva who was given the glorious, albeit difficult task of its
reconstruction in 1790 after a series of enormous fires. Giambologna's
equestrian statue of Philip III dates to 1616, but it was not placed in the
centre of the square until 1848.
Ah, the
history the plaza has seen! Designed in 1619 by Juan Gómez de Mora and built in
typical Herrerian style, of which the slate spires are the most obvious
expression, its first public ceremony was suitably auspicious – the
beatification of San Isidro Labrador (St Isidro the Farm Labourer), Madrid’s
patron saint. Thereafter it was as if all that was controversial about Spain
took place in this square. Bullfights, often in celebration of royal weddings
or births, with royalty watching on from the balconies and up to 50,000 people
crammed into the plaza, were a recurring theme until 1878. Far more notorious
were the autos-da-fé (the ritual condemnations of heretics during the Spanish
Inquisition), followed by executions – burnings at the stake and deaths by
garrotte on the northern side of the square, hangings to the south. These
continued until 1790 when a fire largely destroyed the square, which was
subsequently reproduced under the supervision of Juan de Villanueva, who lent
his name to the building that now houses the Museo del Prado. These days, the
plaza is an epicentre of Madrid life.
The
grandeur of the plaza is due in large part to the warm colours of the uniformly
ochre apartments, with 237 wrought-iron balconies offset by the exquisite
frescoes of the 17th-century Real Casa de la Panadería. The present frescoes
date to just 1992 and are the work of artist Carlos Franco, who chose images
from the signs of the zodiac and gods (eg Cybele) to provide a stunning
backdrop for the plaza. The frescoes were inaugurated to coincide with Madrid’s
1992 spell as European Capital of Culture.
Many of the historic buildings of Madrid were
built during the reign of the Habsburgs. The material used was mostly brick and
the humble façades contrast with the elaborate interiors. Juan Gómez de Mora
built notable buildings such as Casa de la Villa, Prison of the Court, the Palace of the Councils and Royal Convent of La Encarnación.
Palacio de Santa Cruz
is a baroque
building in central Madrid. It was used as a jail until the reign of Philip IV
of Spain, when it was converted into a palace. In 1767 it changed from jail to the Palacio
de Santa Cruz, due to its proximity to the church of Santa Cruz. A fire destroyed all but the facade in
1791.
Palace of the Councils
The palace
is representative of Spanish baroque architecture, and was commissioned by
Cristóbal Gómez de Sandoval-Rojas, first Duke of Uceda, and powerful minister
or valido of King Philip III of Spain. It was designed by Francisco de Mora,
although works was directed by Juan Gómez de Mora and executed by Captain
Alonso Turrillo from 1608 to 1613. The palace stands before the Church of Santa
María de la Almudena.
When it was
built, decorated with the heraldic arms of the Sandoval family flanked by
lions, it was judged too ostentatious for a nobleman. After the Duke's fall
from grace, it became property of the Royal family, and housed the mother of
Charles II of Spain, the queen mother, Mariana of Austria. She died there on
the night of May 16, 1696.
Upon his
arrival to Madrid in 1701, the Bourbon king Philip V of Spain transferred many
of the royal offices or councils from the then extant Real Alcázar of Madrid to
the Palacio de Uceda, and since then, it has been known as the Palacio de los
Consejos. The main council, however, remained in the palace. In the 19th
century, the council of state and the Capitanía General were moved here.
Royal Monastery of the
Incarnation
is a
convent of the order of Recolet Augustines located in Madrid, Spain. The
institution mainly interned women from noble families, and was founded by the
Queen Margaret of Austria, wife of Philip III, and thus was well endowed with
wealth. Although it belongs to an enclosed religious order, the building is
open to the public under the administration of the Patrimonio Nacional.
he impulse
for the founding of the monastery by Queen Margaret, and sometimes the nuns are
called las Margaritas, was to celebrate her husband's expulsion of the
Moriscos, resident Moors. The queen had the prioress of the monastery of
discalced nuns of San Agustín in Valladolid, Mother Mariana de San José,
accompanied by Francisca de San Ambrosio (sister of the marquesa de Pozas),
Catalina de la Encarnación, and Isabel de la Cruz. First lodged in the Convent
of Santa Isabel while they awaited the completion, they received donations from
the king and queen, including jewels, to finance the monastery. The monastery
was built adjacent to the then extant Real Alcázar, and had a passageway to
allow the royals direct access. The monastery was inaugurated in the 2nd of
July 1616, a few years after the queen had died.
The
architect and friar Alberto de la
Madre de Dios designed and built the monastery between 1611-1616.
The facade has a sobriety recalling the style of Juan de
Herrera. The monastery, now partly a museum, has a wealth of works
of art and relics including tubes with the blood of St. Januarius
and of St. Pantaleon.
During the
reign of Charles IV of Spain, his prime minister, Manuel Godoy,
would attend daily mass here, walking from his nearby Palace of Marqués de Grimaldi. When Joseph
Bonaparte entered Madrid as king, a hanged cat was found on the
monastery gate with the writing: Si no lías pronto el hato,/ te verás como este
gato. ("If you don't leave this town soon/ you'll end up like this
cat"). In the 19th century, the composer Lorenzo Román Nielfa was
professor of music here. The monastery was open to the public in 1965.
The
interior of the church was redecorated in the 18th century, including frescoes
in the ceiling of the main chapel by Francisco Bayeu. In the center of the
retablor of the main altar is an Annunciation by Vincenzo Carducci. On the
sides of the altar are the sculptures of Augustine of Hippo and his mother
Saint Monica by Gregorio Fernández. The tabernacle was completed by Ventura
Rodríguez. The small statues of the Doctors of the Church and the bas-relief of
the Savior are by Isidro Carnicero.
The
monastery features paintings and sculptures by Luca Giordano, Juan van der
Hamen, Pedro de Mena, José de Mora (Mater Dolorosa), and Gregorio Fernández
(Dead Christ and Christ at the
column).
Buen Retiro Palace
Philip IV used to
stay occasionally in some rooms annexed to the monastery of San Jerónimo el
Real (close to the current location of the Prado Museum, which received the
name of the Royal Quarters. The reason for these frequent visits could be that
the so-called Planet King particularly enjoyed walking in the attached farm, property
of the Count-Duke of Olivares, his royal favourite and minister.
Olivares, with
the intention of pleasing the monarch, planned in 1629 and started in 1630 the
construction of a series of offices and pavilions as an extension of the Royal
Quarters, which ended up forming the Buen Retiro Palace. The building of the
palace was not something planned from the start, but occurred over a period of
seven years (until 1640 during which further additions were built
successively). Once finished, the palace consisted of more than 20 buildings
and two large open squares used for court entertainments and various other
acts. The palace complex was surrounded by a large expanse of gardens and
ponds, giving it a playful character.
The king only
used to spend a few days per year, usually in the summer, in his second home,
but a large campaign was still carried out to provide the palace with an
artistic ornamental level that would match that of the Royal Alcazar of Madrid,
his main residence. The lack of antique paintings in the market led to the
commission of a series of paintings from Rome and Naples, which required the
management of ambassadors and others of Philip IV's workers. Several of these
pictures remain in the Prado Museum; some highlights are the landscapes of
Claude Lorrain, Nicolas Poussin and Gaspard Dughet, Biblical and mythological
scenes by Massimo Stanzione and several paintings of ancient Rome by Giovanni Lanfranco,
among other artists.
For the Salón de
Reinos (royal reception room; until recently the Army Museum) a commemorative
series of Spanish military triumphs was commissioned, including Diego
Velázquez' famous painting The Surrender of Breda. Other paintings of the
series are due to Francisco Zurbarán, Antonio de Pereda, Juan Bautista Maíno
and Vicente Carducho.
The palace
remained a royal residence until the late 18th century. After the fire of the
Royal Alcazar of Madrid in December 1734, the Buen Retiro Palace became the
main seat of the royal court until the construction of the new Royal Palace of
Madrid, which was finished in 1764.
Due to its hasty
design and construction, the building of the palace was low-quality, including
the materials used, and this was the cause of its end. During the Peninsular
War, in 1808 French troops stationed in Madrid used the palace and its annexes
as barracks. Powder kegs were stored in the gardens and a bunker was built for
them, causing irreparable damage to the area. Furthermore, the buildings were
seriously damaged, so much so that when Isabella II tried to begin its
restoration, it was decided that nothing could be done but to demolish it
almost totally.
Today
The main
remaining trace of the Palace complex is the gardens of Retiro Park, although
these have no resemblance to the original design of the gardens, and encompass
only half the original extent. Two other buildings remain, much altered from
their original exteriors, both now destined to become part of the Prado Museum
complex:
- The
Salón de Reinos (originally the royal reception room), which for decades housed
the Museo del Ejército (Army Museum) until it moved to the Alcázar de Toledo in
2010–12.
- The
Salón de Baile (originally the ballroom), now known as the Casón del Buen
Retiro, once housing the 19th-century Prado collections, now hosts the Study
Center of the Prado Museum. The ceiling of the main room is decorated by a
magnificent fresco by the Italian artist Luca Giordano, painted around
1696–1697 for King Charles II of Spain and depicting The Apotheosis of the
Spanish Monarchy.
Laid out in
the 17th century by Felipe IV as the preserve of kings, queens and their
intimates, the park was opened to the public in 1868, and ever since, when the
weather’s fine and on weekends in particular, madrileños (people from Madrid)
from all across the city gather here to stroll, read the Sunday papers in the
shade, take a boat ride or nurse a cool drink at the numerous outdoor terrazas
(open-air cafes).
The focal
point for so much of El Retiro’s life is the artificial estanque (lake), which
is watched over by the massive ornamental structure of the Monument to Alfonso
XII on the east side, complete with marble lions. As sunset approaches on a
Sunday afternoon in summer, the crowd grows, bongos sound out across the park
and people start to dance. Row boats can be rented from the lake's northern
shore – an iconic Madrid experience. On the southern end of the lake, the odd
structure decorated with sphinxes is the Fuente Egipcia; legend has it that an
enormous fortune buried in the park by Felipe IV in the mid-18th century rests
here. Hidden among the trees south of the lake is the Palacio de Cristal, a
magnificent metal-and-glass structure that is arguably El Retiro’s most
beautiful architectural monument. It was built in 1887 as a winter garden for
exotic flowers and is now used for temporary exhibitions organised by the
Centro de Arte Reina Sofía. Just north of here, the 1883 Palacio de Velázquez
is also used for temporary exhibitions.
At the
southern end of the park, near La Rosaleda with its more than 4000 roses, is a
statue of El Ángel Caído (The Fallen Angel). Strangely, it sits 666m above sea
level… The Puerta de Dante, in the extreme southeastern corner of the park, is
watched over by a carved mural of Dante’s Inferno. Occupying much of the
southwestern corner of the park is the Jardín de los Planteles, one of the
least-visited sections of El Retiro, where quiet pathways lead beneath an
overarching canopy of trees. West of here is the moving Bosque del Recuerdo, an
understated memorial to the 191 victims of the 11 March 2004 train bombings.
For each victim stands an olive or cypress tree. To the north, just inside the
Puerta de Felipe IV, stands what is thought to be Madrid’s oldest tree, a
Mexican conifer (ahuehuete) planted in 1633.
In the
northeastern corner of the park is the Ermita de San Isidro, a small country
chapel noteworthy as one of the few, albeit modest, examples of Romanesque
architecture in Madrid. When it was built, Madrid was a small village more than
2km away.
Colegio Imperial de Madrid
The foundation of the school can be attributed
to the decision taken by the king Phillip II of Spain to move the Court to the
city of Madrid and make it Spain's permanent capital, which occurred in 1561.
Shortly before, the Jesuit Order already knew such measures due to some inside
information that had been given to them by the duke of Feria in London. Given
this news, Saint Francis Xavier, General of the Order at that time, believed
necessary to establish a school in the future capital of the Kingdom. Being close
to his majesty and the Court was always beneficial, considering that the new
Court did not have its own educational infrastructure at the standards that it
would acquire. Thus, in 1566 the Jesuits founded a small school in what would
become, later on, the Plaza Mayor in Madrid.
Despite the
benefits this would bring to Madrid, the City Council was unwilling to grant
the required permission to open the school because the capital already had the
"Villa Studies", under the council and founded in 1346 by a Royal
Charter of king Alfonso XI of Castile. Hence, there was going to be a clear
competition between both. However, it was the power of the Jesuits which led to
the City Council giving its consent. A few years later, the actual "Villa
Studies" would be absorbed by the College of the Jesuits.
In the
early 17th century, with the death of Mary of Austria and Portugal in 1603, the
school becomes increasingly important thanks to her will in favor of the Jesuit
school. However, it was not until 1609 that the College acquires the title of
"Imperial" due to disputes there existed with the successors of the
Empress because of that heritage, claiming Mary of Austria should be proclaimed
as benefactress and patroness of the college. From then onwards, the school
became known as the "Imperial College of the Society of Jesus".
The college
gained fame and importance so that the very same Crown desired to intervene in
this phenomenon not to miss the moment that could give them prestige and
greater popular support, especially since the author of this intervention, the
Count-duke of Olivares, was quite an unpopular character. The Count-duke's plan
was to turn the college into a university. Madrid, to regain the title of
capital, had grown in importance and needed to have studies at university
level, to not depend on the neighboring University of Alcalá and University of
Salamanca.
It was
during this time that universities became more important. The cities that
harbored these institutions quickly saw themselves enriched in every way thanks
to businesses that appeared around them. San Isidro had also
"popularized" and the nobility had understood what it meant to have
university graduates in their families; being thus the reason why they sent
their children to these higher educational institutions.
It is
because of all the above, that the Universities of Salamanca and Alcalá were
led to fight against the creation of a new university in Madrid, where the
school was, from which most of their students came. Their struggle had been so
hard that, finally, they successfully got Philip IV to found a "Royal
Studies" in 1625, but depriving the right to grant official titles and
lowering its annual budget. Furthermore, many students began their studies at
San Isidro, but would then leave to universities for their higher studies; such
as Lope de Vega and Quevedo among others.
In 1725,
Philip V, founded the Imperial College (an imitation of the College of Louis le
Grand in Paris), where a small number of nobles could learn all the way from
the alphabet, to Classical and Modern languages, Religion, Philosophy, Law or
Science.
In the 20th century
In 1912,
San Isidro and Eton College instituted the "Continental schools'
derby", a yearly Association football fixture between the two, considered
by many as an epitome of the rivalry that had previously existed amidst the British
and Spanish Empires.
In the wake
of the Spanish Civil War, much of the school's cloister was destroyed, and,
like the rest of the education in Spain, entered a period of misery.
The college
remained unchanged until the end of the 1960s, when there was a reform that
would end with the old classrooms and the construction of a new building,
conserving the old facade, the cloister, and the staircase. The lack of
admiration and respect for the history of the ancient school had not yet been
developed and led to part of the heritage treasured inside it to eventually be
destroyed.
The arrival
of the new education law after Franco's regime marked a radical change, from
which thereafter the school would face new and unfamiliar problems. After some
difficulties, the college was incorporated to the teaching of new technologies
and languages, without neglecting its classical education. Also, the school
opened its doors for the first time to girls, and became owned and run by the
state.
Heritage
The current
building includes: the baroque cloister (1672), a baroque staircase and an
elegant chapel (1723) amongst other ancient works of art. It is on the stairs
where a small museum is situated and dedicated to Science and education.[11]
Designed by
Ventura de la Vega, the ancient library still has important and relevant books
in its interior, which is located on the top floor and has been renovated.
The school
also has a museum on the ground floor, recreating a School class, dozens of
stuffed animals and four floors of multiple interest.
Notable alumni
Former pupils of San Isidro are known as Old
Franciscans, in memory of the re-establisher, Saint Francis Xavier. The school has educated a wide range of historical
figures including 8 Spanish prime ministers, 4 Nobel Prize laureates, 15
Laureate Cross of Saint Ferdinand recipients and 23 Knights of the Order of the
Golden Fleece.
***
Pedro de Ribera was one of the most important
architects in Madrid of the pre-Bourbon era. Ribera introduced Churrigueresque
architecture to Madrid, characterized by ornamental overload on their covers,
as an altarpiece. The History Museum, the Cuartel del Conde-Duque, the church
of Montserrat and the Bridge of Toledo are the best examples.
Church of Our Lady of Montserrat
is a Baroque-style,
Roman Catholic church. The church was founded by King Philip IV of Spain to accommodate the
Castillian monks from the Benedictine monastery of Montserrat, displaced by the
insurrection in Catalonia in 1640. The Catalan monks of the monastery had expelled
the Castillian monks.
The Church
construction began in 1668, under the architect Sebastián Herrera Barnuevo. The
facade was inspired by the Church of the Gesú in Rome by Jacopo Barozzi da Vignola.
The
Desamortización de Mendizábal of 1836 suppressed the monastic order, and in
1837, the structure became part of a women's prison called La Casa Galera. The
Interior was never completed. Only one highly decorative tower was constructed.
The interior once held Alonso Cano's wooden statue of Christ de Burgos, now in
the Academia de Bellas Artes de San Fernando.
Bridge
of Toledo.
It was
built in a Baroque style between 1718 and 1732 by architect Pedro de
Ribera and spans the Manzanares River, linking the Pyramids
roundabout on the east bank with Marqués de Vadillo Square on the west bank.
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