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An acclaimed historian of Europe explores one of the world’s most iconic buildings and the monarch who created it 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 travelers 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.

En este libro se intenta reconstruir, a partir de las antiguas fuentes literarias -las cuatro ediciones de la Descripción breve del Monasterio del padre Francisco de los Santos y otras posteriores-, el contenido y la estructura del fastuoso museo o galería de pinturas que durante la segunda mitad del siglo XVII se constituyó en el monasterio de El Escorial por iniciativa de Felipe IV, continuada después por Carlos II, y que tuvo en el pintor y aposentador real don Diego Velázquez un protagonista de excepción. En el primer capítulo se propone una historia de su colección pictórica mueble a través de un itinerario crítico por las fuentes literarias y documentales, mientras que en el segundo capítulo, mucho más extenso y de carácter topográfico, se describe con detalle la forma y evolución de esa decoración hasta 1809, cuando la rapacidad de los invasores franceses y en concreto de Frédéric Quilliet liquidaron el orden del montaje seiscentista que hasta entonces se había conservado con escasos cambios en la mayor parte de los espacios monacales. La investigación realizada puede verse en la reconstrucción gráfica de la estructura decorativa que presentaban en el siglo XVII los once espacios más destacados del monasterio.

En este libro se intenta reconstruir, a partir de las antiguas fuentes literarias -las cuatro ediciones de la Descripción breve del Monasterio del padre Francisco de los Santos y otras posteriores-, el contenido y la estructura del fastuoso museo o galería de pinturas que durante la segunda mitad del siglo XVII se constituyó en el monasterio de El Escorial por iniciativa de Felipe IV, continuada después por Carlos II, y que tuvo en el pintor y aposentador real don Diego Velázquez un protagonista de excepción. En el primer capítulo se propone una historia de su colección pictórica mueble a través de un itinerario crítico por las fuentes literarias y documentales, mientras que en el segundo capítulo, mucho más extenso y de carácter topográfico, se describe con detalle la forma y evolución de esa decoración hasta 1809, cuando la rapacidad de los invasores franceses y en concreto de Frédéric Quilliet liquidaron el orden del montaje seiscentista que hasta entonces se había conservado con escasos cambios en la mayor parte de los espacios monacales. La investigación realizada puede verse en la reconstrucción gráfica de la estructura decorativa que presentaban en el siglo XVII los once espacios más destacados del monasterio.

Idioma español. Ejemplar nuevo. New. Ilustrado. Dimensiones: 24x18 - 711 pp.

23x17. 328 pgs. Fotos y láminas en b/n fuera de texto.

: El Escorial. 24 cm. 711 p. il. col. y n. Encuadernación en tapa blanda de editorial ilustrada. El Escorial. Historia . Este libro es de segunda mano y tiene o puede tener marcas y señales de su anterior propietario. ISBN: 8488517092 EAN: 9788488517098 Tipo: Libros Título: El Escorial: de Comunidad de Aldea a Villa de Realengo Autor: Sanchez Meco, Gregorio Editorial: Ayuntamiento de El Escorial Formato: Libro de bolsillo

"Digenis Akritis" is Byzantium's only epic poem, telling of the exploits of a heroic warrior of "double descent" on the frontiers between Byzantine and Arab territory in Asia Minor in the ninth and tenth centuries. It survives partially in six versions, of which the two oldest are edited here. This edition and translation aims to highlight the nature of the lost poem, and to provide a guide through the maze of recent discussions about the epic and its background.

Espasa Calpe. Madrid. 2009. 23 cm. 315 p. Encuadernación en tapa blanda de editorial ilustrada. Colección 'Espasa fórum'. Traducción de Eulalia Alexander. Felipe II. Rey de España. Monasterio de El Escorial. Historia-. 1516-1700 (Casa de Austria) .. Este libro es de segunda mano y tiene o puede tener marcas y señales de su anterior propietario. ISBN: 978-84-670-3121-8

A digital copy of "Crime At El Escorial" by Walker. Download is immediately available upon purchase!

"Digenis Akritis" is Byzantium's only epic poem, telling of the exploits of a heroic warrior of "double descent" on the frontiers between Byzantine and Arab territory in Asia Minor in the ninth and tenth centuries. It survives partially in six versions, of which the two oldest are edited here. This edition and translation aims to highlight the nature of the lost poem, and to provide a guide through the maze of recent discussions about the epic and its background.

A digital copy of "Escorial Bible I.j.4, Volume 1" by Unknown. Download is immediately available upon purchase!

Esemplare in buone condizioni, in cofanetto. Lieve ingiallimento lungo i tagli. Cofanetto con fioriture, ingiallimento e tracce di polvere.

La fundaci-n del Monasterio de El Escorial. Turner 1986. 1 Vol. 454 pp. Tela Editorial con cubiertas

The Decoration of the Royal Basilica of El Escorial examines one of the most important creative endeavours of late sixteenth-century Spain, and indeed, Europe as a whole. Conceived as a mausoleum for the Spanish Habsburgs, designed as both monastery and palace, the Escorial was closely supervised by King Philip II, who wished it to exemplify the spirit of the Counter-Reformation through observance of new decrees relating to church ritual and religious imagery. The basilica itself was the spiritual centre of this royal foundation and the body of art works commissioned by Philip II for it was unique in volume, scale and coherence. On the basis of the extensive documentation related to this unusual structure, Rosemarie Mulcahy provides the first thorough reconstruction of the king's grand design of the basilica, whose altarpieces, murals and sculptures form a seamless iconographic programme. Among the artists whose works are found in the basilica are such Italians as Cambiaso, Zuccaro and Pellegrino Tibaldi; and the Spaniards Navarrete 'el Mudo', Alonso Sánchez Coello and Diego de Urbina. Challenging some of the current views that argue for a definable Counter-Reformation style, The Decoration of The Royal Basilica of El Escorial also raises important questions regarding Philip II's patronage practices, particularly his requirements for religious art and the extent to which they were met by artists.

Madrid. 22 cm. 381 p. Encuadernación en tapa dura de editorial. Quevedo, José n. 1807. Autor tomado de la port. facsímil. Reprod. facsímil de la ed. impresa en: Madrid : Mellado, 1849. Monasterio de El Escorial. Fuentes .. Este libro es de segunda mano y tiene o puede tener marcas y señales de su anterior propietario. ISBN: 84-7120-068-6

During the first half of the fifteenth century, the medieval chanson underwent its greatest flowering in the Court of the Dukes of Burgundy. While maintaining medieval forms and functions, the chanson of this period acquired an eloquence and creative scope which are manifest in the works of its leading composers. Here, Kemp considers the polyphonic chanson within the literary, aesthetic, and social contexts of court culture during the reign of Philip the Good, and by analyzing their structure, is able to establish stylistic criteria for their ascription to Dufay and Binchois, the masters of the period.

Idioma español. Buen estado ( cubierta deslucida). Dimensiones: 24x17 - 502 pp.

Chanel blue and white cashmere and silk knit long cardigan. CC logo buttons. 2 pockets on the front. Composition: 76% Cashmere, 18% Silk, 6% Nylon. Inset: 100% Escorial wool Size: 38 FR Condition A - Excellent Gently used. Minimal pillingdue to normal use. Please check the photos carefully and ask if you need to know more details or if you have any doubts. Details Material: Cashmere Color: Blue Model: n.a. Gender: Women Year Manufactured: 2010-2019 Country OF Manufacture: France Style: Cardigan Fastening: Pendant Shape: Locket Type: Closure: Button Vintage?: No Box?: Measurements: Height: Depth: Width: Item reference: Baruqxx 3016020Gdsthe Condition: Excellent. An excellent item will have been worn a couple of times and will be in almost pristine condition as it has been extremely well maintained. May show slight wear such as scratches or wear on the edges from being used but will have no defects.

Chanel Blue And White Cashmere And Silk Knit Long Cardigan. Cc Logo Buttons. 2 Pockets On The Front. Composition: 76% Cashmere, 18% Silk, 6% Nylon. Inset: 100% Escorial Wool Size: 38 Fr Assured Product Authenticity: This Product Is Supplied By a Renowned And Trusted Partner. With This Purchase, You Are Preserving Iconic Craftsmanship, Celebrating Heritage, And Embracing The Beauty Of Conscious Shopping. Condition: Excellent. An excellent item will have been worn a couple of times and will be in almost pristine condition as it has been extremely well maintained. May show slight wear such as scratches or wear on the edges from being used but will have no defects.

Catalogue containing detailed descriptions and complete cycles of illustrations of all surviving manuscripts of Beatus' commentary on the Apocalypse. These are: the Urgell Beatus; the San Millan Beatus; the Escorial Beatus; the Facundus Beatus (Madrid); the Fanlo Beatus (New York) and the Saint-Sever Beatus (Paris). The catalogue entries discuss the location of production, the work of the scribes and illuminators, and details of codicology; the different influences manifested in the works are also examines. All inscriptions are transcribed, and there is an extensive bibliography.