The
Sacristan Has A Story That When Philip Saw This Ceiling, Which Forms The
Floor Of The High Choir, He Remonstrated Against It As Too Audacious,
And Insisted On A Strong Pillar Being Built To Support It.
The architect
complied, but when Philip came to see the improvement he burst into
lamentation, as the enormous column destroyed the effect of the great
altar.
The canny architect, who had built the pillar of pasteboard,
removed it with a touch, and his majesty was comforted. Walking forward
to the edge of this shadowy vestibule, you recognize the skill and taste
which presided at this unique and intelligent arrangement of the choir.
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.
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