If left, as usual, in the body of the church, it would have seriously
impaired that solemn and simple grandeur which distinguishes this above
all other temples. There is nothing to break the effect of the three
great naves, divided by immense square-clustered columns, and surmounted
by the vast dome that rises with all the easy majesty of a mountain more
than three hundred feet from the decent black and white pavement. I know
of nothing so simple and so imposing as this royal chapel, built purely
for the glory of God and with no thought of mercy or consolation for
human infirmity. The frescos of Luca Giordano show the attempt of a
later and degenerate age to enliven with form and color the sombre
dignity of this faultless pile. But there is something in the blue and
vapory pictures which shows that even the unabashed Luca was not free
from the impressive influence of the Escorial.
A flight of veined marble steps leads to the beautiful retable of the
high altar. The screen, over ninety feet high, cost the Milanese Trezzo
seven years of labor. The pictures illustrative of the life of our Lord
are by Tibaldi and Zuccaro. The gilt bronze tabernacle of Trezzo and
Herrera, which has been likened with the doors of the Baptistery of
Florence as worthy to figure in the architecture of heaven, no longer
exists. It furnished a half hour's amusement to the soldiers of France.
On either side of the high altar are the oratories of the royal family,
and above them are the kneeling effigies of Charles, with his wife,
daughter, and sisters, and Philip with his successive harem of wives.
Pages:
189
190
191
192
193
194
195
196
197
198
199
200
201
202
203
204
205
206
207
208
209
210
211
212
213