The Escorial Art and Power in the Renaissance Henry Kamen

Format:
Hardback
Publication date:
07 May 2010
ISBN:
9780300162448
Dimensions:
336 pages: 234 x 156 x 36mm
Illustrations:
36 illustrations

Buy this eBook

Yale eBooks are available in a variety of formats, including Kindle, ePub and ePDF. You can purchase this title from a number of online retailers (see below).

Few buildings have played so central a role in Spain's history as the monastery-palace of San Lorenzo del Escorial. Colossal in size and imposing - even forbidding - in appearance, the Escorial has invited and defied description for four centuries. Part palace, part monastery, part mausoleum, it has also served as a shrine, a school, a repository for thousands of relics, and one of the greatest libraries of its time. Constructed over the course of more than twenty years, the Escorial challenged and provoked, becoming for some a symbol of superstition and oppression, for others a 'wonder of the world'. Now a World Heritage Site, it is visited by thousands of travellers every year. In this intriguing study, Henry Kamen looks at the circumstances that brought the young Philip II to commission construction of the Escorial in 1563. He explores Philip's motivation, the influence of his travels, the meaning of the design, and its place in Spanish culture. It represents a highly engaging narrative of the high point of Spanish imperial dominance, in which contemporary preoccupations with art, religion, and power are analyzed in the context of this remarkable building.

Henry Kamen holds joint appointments as professor of history at Barcelona University, and at the University of Georgia. He is the author of Philip of Spain, The Spanish Inquisition, Philip V, The Duke of Alba and, most recently, Imagining Spain: Historical Myth and National Identity.

"Henry Kamen, renowned for his revisionist histories of the Inquisition and of Philip II, has in The Escorial presented the palace-monastery as it really is: a lovely Renaissance wonder in the humanistic tradition."—Christopher Howse, Spectator