Royal Palace of Aranjuez
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Royal Palace of Aranjuez | |
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Palacio Real de Aranjuez | |
General information | |
Architectural style | Renaissance |
Location | Aranjuez (Madrid). Spain |
Opened | Exclusive property for the monarch: 1523 |
Management | Patrimonio Nacional |
Design and construction | |
Architect(s) |
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Europe and North America | |
Official name | Palacio de Aranjuez con sus dependencias |
Type | Non-movable |
Criteria | Monument |
Designated | 3 June 1931 |
Reference no. | RI-51-0001063 |
The Royal Palace of Aranjuez (Spanish: Palacio Real de Aranjuez) is one of the official residences of the Spanish royal family. It is located in the town of Aranjuez (Madrid), Spain. Established in the 16th century as a royal hunting lodge, the palace was built by order of Philip II. Under his reign it became one of four seasonal seats of the court along Rascafría, El Escorial and the Royal Alcázar of Madrid. The royal estate comprises a set of landscaped and ornate gardens and woodlands that house an extensive botanical collection.
Several international treaties were signed there and several members of the royal family died in the palace, including: Elisabeth of Valois[a] in 1568, Barbara of Portugal[b] in 1758, Elisabeth Farnese[c] in 1766, Maria Antonia of Naples[d] in 1806, Maria Isabel of Braganza[e] in 1818 and Maria Josepha Amalia of Saxony[f] in 1828.
In 1931, during the Second Spanish Republic, the royal estate was declared an Artistic Historical Monument and opened to the public. From 1977 to 1983, the palace served as a state guest house. The palace, gardens and associated buildings are part of the Aranjuez Cultural Landscape, which was declared a UNESCO World Heritage Site in 2001. Currently it houses a museum on the ground floor, the royal rooms and gardens are open to the public and its management is entrusted to the public agency Patrimonio Nacional.
History
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In the 12th century the
.Its history as a royal site began in the 16th century, when the order's grandmaster
In 1523
In 1551, he established a botanical garden to catalog the newly catalogued species of plants brought from the Americas. Owing to distractions elsewhere, this mission was not entirely successful.
Philip II became aware of the fertile meadows of Aranjuez, and designated that a portion of land to the north of the river Tagus should be devoted to pottager and general agriculture in 1561.
In an adjacent plot to the south of the river, the King began construction of the first palace, on the same site as the existing building. Philip engaged the services of architect Juan Bautista de Toledo and later Juan de Herrera. They were also responsible for the palace and monastery of El Escorial. The site also included exotic animals such as dromedaries (camellos in the period sources): about 10 in 1583 and about 40 in 1598.[1]
After Philip's death in 1598, the works were still in progress with only the royal apartments, the chapel, the south tower and part of the western facade completed. An economic and political crisis, along with eventual extinction of the
In 1700, the first Bourbon king of Spain, Philip V, decided to resume the work, intending to make Aranjuez a rival to the grand palace of Versailles. Subsequently, this imposing style would be applied to the Royal Palace of La Granja de San Ildefonso. Philip V added a new north tower, completed the west façade and defined the structure that would shape the current palace. The royal dromedaries were about 200, surviving even the occupation of the palace by the troops of Archduke Charles in 1710. They were not kept in a menagerie as in Versalles, but grazed around or were employed as beasts of burden. Bulls and exotic animals were also used in the royal pastimes, such as dumping them into the Ontígola reservoir to be shot by the royal musket.[1] Little used, the palace was almost destroyed by fire in 1748.
The building is mainly due to Charles III in his reforming work for the capital city (he is sometimes called the Mayor of Madrid) and modernization of the Spanish state.
The architect of the modern palace was the Italian Francesco Sabatini. He designed the two west wings, which provide the main building enclosing the courtyard, thus defining three sides of the cour d'honneur square that faces the original entrance. It is near the Raso de Estrella at the confluence of the two rivers. At one end of this complex was the chapel and opposite was designated as a theater, although it was never completed.
The decoration was enriched in the 18th and 19th centuries with paintings by various artists; in the halls hardwood furniture and several collections of tapestries, clocks, lamps and sculptures were installed. Many of these unique pieces adorn the halls, chambers and spaces. The Salón de Porcelana was the favorite retreat of Charles III.
Charles III took refuge there from Spanish politics for some time following the Esquilache Riots. He chose Aranjuez to be his spring and summer residence at a period of history when the royal court used to move from Madrid in the spring and did not return to the capital until October.
The King embraced physiocracy (an early form of economics in which the wealth of a nation supposedly lay in its soil and people rather than its treasury). Charles, who enjoyed the palace and its rural environment, established the Cortijo de San Isidro as an experimental farm and divided the palace gardens into the intimate Jardín del Parterre and the wider Jardín de la Isla. He held lavish parties and sometimes sailed along stretches of the Tagus in rich artistically decorated and gilded falúas.
Charles' son, Charles IV and his wife Maria Luisa of Parma erected a pavilion known as the Casa del Labrador (farmhouse), which is today open to the public and an important example of European Neoclassical architecture.
In 1807,
In September 1808, in a formal ceremony held in the Chapel of the Royal Palace of Aranjuez before Monsignor Don Juan de la Vera, the Archbishop of Laodicea, the Supreme, central Junta was officially constituted.
After the Bourbon
This was the last grand event to be held in Aranjuez, as Maria Christina of Austria the monarch's second wife, his son Alfonso XIII and his wife Victoria Eugenie of Battenberg all preferred the Palacio de la Magdalena and Miramar Palace for their royal holidays.
Design
The palace is the centerpiece set of a royal estate. To the north are former potager gardens, now agricultural land intersected by geometric tree-lined "royal rides" which are now open to the public and mostly pedestrian walkways. To the east are a trident of paved roads (Reina, Principe & Infantas) along which the nobility erected family residences. To the west are a matching trident of rural tracks, one of which was the royal access road lined by barracks (now ruined).[citation needed]
Furthest from the palace is an open area, the Raso de Estrella, the site of the original hunting lodge and now a festival ground. The original railway station was also here, before it was relocated further west of the current site. Some of the former railway sidings – now a car park for commuters – are also still discernible. Directly in front of the palace is the oval lawn surrounded by monumental stone benches. The tourist mini-train stop is near there. To the south is the Plaza de Parejas, an open sandy area surrounded by various palace dependencies described below.
Plaza de Parejas
The south of the palace is a large open square known as Plaza de las Parejas in reference to equestrian events formerly held there. (The nobility competed or paraded in pairs or parejas). It is defined on the east by a Renaissance style two-story building, which was the auxiliary dependence of the palace (Casa de Caballeros y Oficios – now the local law courts and tax offices). To the west a warehouse area, servant halls and (after the fire) a separate kitchen-house (Casa de Fogones). In front – facing the palace (later a hotel) is the Casa del Principe de Paz, intended to be the residence of Manuel Godoy.
The palace consists of two floors. The ground level is lit by windows crowned by semicircular arches, while the upper floor opens onto balconies with iron railings. The central body of the palace rises to a third level surmounted by a pediment bearing the shield of
Structure
The entire structure is built in red brick with white limestone details from Colmenar de Oreja.
Entrance
Public access is to the east, via the M-305 road and boat-bridge. For royalty, the traditionally formal access to the Palace is to cross the river Tagus by the (now closed) road to the west near the confluence and then travel eastwards, entering via the Plaza de Armas and through the portico of the central body.
The central rise in the elevation of the building is to emphasise the main portico that is framed by five symmetrical exterior arches. On the ledge are statues carved by Pedro Martinengo portraying Philip II, Philip V and Ferdinand VI.
On either side of the portico, the wings have three grand terminal arches to further emphasise the grandeur of this royal access. Above the portico is a large balcony with stone parapets overlooking the courtyard.
The portico provides access to the interior through a hall that in turn leads to a grand central staircase made by
Interior
Behind the palace's main body is an interior courtyard around which are distributed the various halls. In both corners can be seen two small towers surmounted by domes resting on shallow circular drums with small windows that illuminate the interior, in one of which is set a clock.
The lobby is decorated with sculptures and on the top floor are three marble busts inside alcoves representing
In almost all halls of are clocks of all sizes and characteristics, as King Charles IV was a collector of clocks and an
Salón de Guardias de la Reina (Space for the guards of the Queen)
This salon is decorated with three mural scenes from the life of King Solomon, painted by Italian Luca Giordano. The furniture is of olive wood from the time of King Charles IV, and the clocks are from the collection of Charles IV.
Salón de la Reina Isabel II (the room of Queen Isabel II)
This salon is decorated with mythological scenes painted by
Antecámara de Música (Musical antechamber)
Popularly known as Salón del tranvía, it was nicknamed "the tram-station". This space was used for reception of important personalities. It is decorated with biblical scenes of the 17th-century Italian school and religious paintings by Francesco Solimena.
Sala de Música de la Reina (The music room of the Queen)
An olive wood piano made in England was a gift of Empress
Salón de Billar (The billiard room)
Anteoratorio de la Reina (The ante-oratory of the Queen)
This room features a mosaic made from tessera produced in the Vatican workshop. It was a gift from Pope Leo XIII to King Alfonso XII on the occasion of his marriage to Maria Christina of Austria.
Oratorio de la Reina (Queen's oratory)
The windows overlook the central courtyard. Rebuilt in the time of King
Salón del Trono (Throne Room)
The recessed dome is decorated with Pompeian style frescoes attributed to Vicente Camarón in 1851 and represent the Monarchy. The royal crown is supported by figures of Venus and Industry. To the right stands Arts and left Abundance and Prudence. Around the hall runs a stucco base that simulates marble with green serpentine tones. In this hall kings officiated during formal visits. The walls are lined with red velvet. The furniture is mostly from the period of Isabella II, except for the decorative French Louis XVI style royal thrones that were used by Alfonso XII and his wife.
Despacho de la Reina (Queen's office)
This room was used by Isabel II as an office, after it was a bedroom. Paintings decorate its walls, including the Vase by
Gabinete de Porcelana (Porcelain room)
This room was commissioned by Charles III. It is a work by the Royal Porcelain Factory of the Buen Retiro in Madrid. A medium-sized hall, its walls and ceilings are completely lined by plaques of white porcelain and reliefs with Rococo decoration of chinoiserie motifs (garlands of flowers, fruits, monkeys, vases, mandarins, parrots, samurais, birds and dragons). The ceramic plaques are attached to timber walls by screws. They were made between 1760 and 1765 by Giuseppe Gricci. The floor is marble. Eight large mirrors against the walls multiply the effect of the decorations. Interspersed with the above-described decoration are human groups in everyday scenes. In the center of the ceiling arises a lamp taking the form of a palm, while a Chinese with a hand fan and a monkey on his shoulders climbs the trunk. The purpose of this room was as a games room and playground.
Dormitorio de la Reina (Queen's bedroom)
The dome is decorated with tempera frescoes by
Tocador de la Reina (Queen's boudoir)
The walls of this room are covered with silk curtains of Valencian factories. The boudoir is of palo santo wood, with mirrors on both sides and a chair with mother of pearl and gold inlay. The furniture is of Isabella II, while the vault is painted by Vicente Camarón with representations of the seasons.
Salón de Baile (Ballroom)
Serves as a dividing hall between the private rooms of King and Queen. The furniture is of late-19th century Isabella II style decoration, but is unrelated to the original furniture, which disappeared in a fire in late-19th century.
Comedor de gala (Formal dining room)
Formerly a
Dormitorio del Rey (King's bedroom)
The Empire style wooden bed is mahogany with bronze applications. The vault was frescoed by Jacopo Amigoni and Bartolomé Rusca, highlighting in them allegories of Peace, Justice and Abundance made by Bartolomé Rusca. On the bed is a canvas of christ Cristo en la Cruz by Anton Raphael Mengs of 1761. Also a canvas of 1825 the Madonna and Child by José de Madrazo y Agudo. This room adjoins a small hall.
Salón de espejos (Mirrors's room)
The room is called Salón de espejos because its walls are decorated completely with mirrors from the
Salón árabe (Moorish room)
This hall was made for Queen Isabella II between 1847 and 1851, decorated with a Moorish fantasy (neo-Nasrid) based in mozarabs, similar to the Sala de Dos Hermanas of the Alhambra in Granada. Work by Rafael Contreras Muñoz, along with the Gabinete de Porcelana, are the two most admired sights. Its furniture consists of a porcelain central table and a bronze and crystal lamp. It was used as a smoking room mainly for men. The decoration of the walls is made of brightly colored plaster work.
Despacho del Rey (King's office)
This vault with frescoes of Pompeian style was by Juan de Mata Duque and offers allegories of the Liberal Arts. An olive desk decorated with bronze and marble. The
Sala de estudio del Rey (King's study room)
This Pompeian style vault was painted by Juan de Mata Duque and the furniture is of Carlos IV style.
Sala China (Chinese room)
Inside is a collection of two hundred and three small paintings that the Emperor of China gifted to Queen Isabella II. They are made with ink on rice paper and depict scenes from the court, parties, theater, animals etc. The vault was frescoed by Zacarías González Velázquez and represent mythological scenes in the roof's center and at both sides countryside scenes. From the ceiling hangs a globe lamp with chinoiserie motifs.
Sala de guardias del Rey (King's guardroom)
This hall is one of the oldest. It is built in the Philip II's time. It has six large paintings by Luca Giordano, three of biblical themes: The death of Absalom, David wearing the breastplate and Construction of Solomon's Temple and three other of military issues. The 18th-century chairs are in mahogany.
Paintings of the palace
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View of the Royal Palace of Aranjuez by Francesco Battaglioli in 1756. Museo del Prado
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View of the Royal Palace of Aranjuez from the east side by Fernando Brambila published in the work View of the Royal Sites and of Madrid in 1830
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View of the Royal Site of Aranjuez, of the Grande Falls and the Palace; from the east side by Fernando Brambila published in the work View of the Royal Sites and of Madrid in 1830