Royal Palace of Madrid
Spain
While the palace is open to the public, visitors are only allowed to see a selection of rooms on the visitor route at any given time, with the route changing every few months due to the palace's enormous size. Admission is €13, but there are times when it is free. The palace is owned by the Spanish state and managed by the Patrimonio Nacional, which is a public agency of the Ministry of the Presidency. It is located on Calle de Bailén in the western part of downtown Madrid, east of the Manzanares River, and can be reached via the Ópera metro station. However, the current Spanish monarch, Felipe VI, and his family reside in the Palace of Zarzuela in El Pardo instead of the Royal Palace of Madrid.
The Royal Palace of Madrid sits on the site of a former Muslim-era fortress that was built by Emir Muhammad I of Córdoba in the 9th century. During the late Middle Ages, the impressive Alcázar of Madrid served as both a safe for the royal treasure and a habitual residence for the Trastámara monarchs. The royal alcázar was expanded during the 16th century, but it burned down on December 24, 1734. In its place, a new palace was built from scratch for the Bourbon dynasty between 1738 and 1755. The construction was led by Filippo Juvarra and Giovanni Battista Sacchetti, who worked in collaboration with Ventura Rodríguez, Francesco Sabatini, and Martín Sarmiento. During the Second Spanish Republic, the building was known as the "Palacio Nacional."
Inside the Royal Palace of Madrid, visitors can admire the wealth of art and the use of many fine materials in the construction and decoration of its rooms. The palace houses paintings by renowned artists such as Caravaggio, Juan de Flandes, Francisco de Goya, and Velázquez, as well as frescoes by Giovanni Battista Tiepolo, Corrado Giaquinto, and Anton Raphael Mengs. The building also houses other collections of great historical and artistic significance, including the Royal Armoury of Madrid, porcelain, watches, furniture, silverware, and the only complete Stradivarius string quintet in the world.
History
Between 860 and 880, the Umayyad Emir of Cordoba, Muhammad I, constructed the palace which later became known as the Alcázar. Although it initially served a defensive purpose, it was later used as a royal residence by John II. The castle suffered significant damage during the War of the Castilian Succession in 1476 when the troops of Joanna la Beltraneja were besieged there. A drawing of the castle from the Middle Ages by Cornelius Vermeyen is the only surviving one.
Emperor Charles V, along with Alonso de Covarrubias and Luis de Vega, extended and renovated the castle in 1537. Subsequently, Philip II continued the renovations and made Madrid his capital in 1561. Philip III and Philip IV added a long southern facade to the building between 1610 and 1636.
In 1700, Philip V of Bourbon renovated the royal apartments. The austere Alcázar of the Habsburgs was redesigned to resemble the opulent Palace of Versailles where the new king had spent his childhood. This involved a series of redesigns primarily planned by Teodoro Ardemans and René Carlier, with the main rooms being redecorated in the style of French palaces by Queen Maria Luisa of Savoy and the Princess of Ursins.
The baroque palace
In 1734, on the night of Christmas Eve, a fire broke out in the quarters of French painter Jean Ranc within the Alcázar, resulting in the destruction of the building. Due to confusion between warning bells and a call to mass, rescue efforts were delayed, and the doors of the building remained closed for fear of looting. Many valuable works of art were lost, including Diego Velázquez's Expulsion of the Moors, while others like Las Meninas were saved by being thrown out of windows. Fortunately, some pieces were saved because the king had ordered part of his collection to be moved to the Buen Retiro Palace shortly before the fire. The fire raged on for four days and ultimately led to the demolition of the remaining walls in 1738.
Filippo Juvarra, an Italian architect, had planned to build a grand palace in Madrid. He worked on a lavish project inspired by Bernini's plans for the Louvre, but his death in March 1736 prevented the realization of his vision. His disciple Giambattista Sacchetti, also known as Juan Bautista Sacchetti or Giovanni Battista Sacchetti, took over the project and resolved sightline issues by creating projecting wings, designed to surround a large square courtyard.
In 1760, Charles III enlisted the services of Francesco Sabatini, a Sicilian Neoclassical architect, to enlarge the building. Sabatini's original plan was to create a series of galleries and arcades around the Plaza de la Armería, by constructing two wings along the square, to accommodate various dependencies. However, only the extension of the southeast tower, known as la de San Gil, was completed. Sabatini also intended to extend the north side with a large wing that echoed the style of the main building, consisting of three square courtyards that would be smaller than the large central courtyard. The expansion work began quickly but was soon halted, leaving the foundations buried under a platform on which the royal stables were later built. In the 20th century, the stables were demolished and replaced by the Sabatini Gardens. Charles III moved into the palace in 1764.
In the 19th century, Ferdinand VII, who had spent many years imprisoned in the Château de Valençay, initiated the most comprehensive renovation of the palace. The goal of this redesign was to transform the old-fashioned Italian-style building into a modern French-style palace. However, his grandson Alfonso XII proposed to convert the palace into a Victorian-style residence. Alfonso's plans were created by the architect José Segundo de Lema and included remodeling several rooms, replacing marble floors with parquet, and adding period furniture.
In the 20th century, restoration work was required to repair the damage caused during the Spanish Civil War. The restoration involved repairing or reinstalling decorations and decorative trim and replacing damaged walls with faithful reproductions of the originals.
Exterior
The palace's primary facade, which faces Plaza de la Armeria, features a two-story rusticated stone base. The windows on the three main floors are framed by Ionic columns on Tuscan pilasters. A cornice encircles the building and conceals the upper story, which is topped with a large balustrade. In the past, statues of saints and kings adorned the balustrade, but they were moved elsewhere during Charles III's reign to give the building a more classical look.
During the 1973 restoration of the facade, some of Sachetti's sculptures were returned, including the Aztec ruler Moctezuma II and the Inca emperor Atahualpa, created by Juan Pascual de Mena and Domingo Martínez, respectively. Additionally, representations of the Roman emperors Honorius, Theodosius I, and Arcadius by G.D. Olivieri and Trajan by Felipe de Castro were placed in the Prince's courtyard. The facade also features the Statues of Philip V, Ferdinand VI, Barbara of Braganza, and Maria Luisa of Savoy interspersed with The Rising Sun Following the Zodiac. Above Sabatini's clock is the royal coat of arms flanked by angels, and above that are bells dating from 1637 and 1761.
Plaza de la Armería
The history of the square, known as Plaza de la Armería, dates back to 1553 when Philip II ordered the construction of a building for the royal stables. In 1878, King Alfonso XII funded the construction of the Almudena Cathedral to house the remains of his wife Mercedes of Orléans. The cathedral's exterior is neo-classical to blend in with the surrounding buildings, while the interior is neo-gothic.
The current layout of the plaza was designed by architect Enrique María Repullés in 1892. However, the initial plan for the plaza was proposed by Narciso Pascual Colomer in 1879, but it was not implemented. The site was previously used as an anteplaza de armas, and several architects, such as Sachetti and Sabatini, proposed different projects that were ultimately ignored by Charles III.
In 1868, Ángel Fernández de los Ríos proposed the creation of a large wooded area around the Plaza de Oriente to enhance the view of the Royal Palace. A decade later, Segundo de Lema added a staircase to Fernández's design, leading to Francisco de Cubas's idea of emphasizing the emerging Almudena Cathedral.
Plaza de Oriente
The Plaza de Oriente is a rectangular park that connects the east facade of the Palacio Real to the Teatro Real. Initially, the plaza was part of Sacchetti's plan for the palace, but construction did not begin until 1808 under the orders of King Joseph Bonaparte, who demolished about 60 medieval structures, including a church, monastery, and royal library, located on the site. However, Joseph was deposed before the completion of the construction, which was eventually finished in 1844 by Queen Isabella II. Architect Narciso Pascual Colomer was tasked with creating the final design.
The plaza is divided into three main plots: the Central Gardens, the Cabo Noval Gardens, and the Lepanto Gardens. The Central Gardens follow a Baroque model garden and consist of seven flowerbeds, each bordered with box hedges and holding small cypress, yew, and magnolias, as well as annual flowers. The north and south boundaries of the Central Gardens are marked by a row of limestone statues representing five Visigoth rulers and fifteen rulers of the early Christian kingdoms in the Reconquista, popularly known as the Gothic kings. These statues are part of a series dedicated to all monarchs of Spain and were executed between 1750 and 1753. The plaza also features Pietro Tacca's equestrian statue of Philip IV, which is located in the center, opposite the Prince's Gate.
Campo del Moro Gardens
Named after a Muslim leader who camped there in 1109, these gardens underwent significant improvements over time. King Philip IV added fountains and plants, but the area remained mostly neglected until Queen Isabel II began earnest work based on the Romanticist style. She aligned the Triton fountain and Fountain of the Shells with the pathways, following plans by Narciso Pascual Colomer. Later, during Maria Christina of Austria's regency, Ramon Oliva's romanticism plans reformed the park. The Large Cavern, also known as the Camellia House, built during Joseph Bonaparte's reign, sits between the Fountain of Tritons and the palace. Additionally, Sacchetti's Little Cavern, also known as the Potato Room, built between 1757 and 1758, is located in front of the Parade Ground. Though the gardens have a rich history and underwent significant changes, their Romanticist style and central fountains remain popular attractions.
Sabatini Gardens
The Sabatini Gardens, located on the north side of the Palacio Real, stretch up to the calle de Bailén and the cuesta de San Vicente. Their symmetrical French design was initiated under the Republican government in 1933, and they were named after Francesco Sabatini, the architect of the royal stables that previously occupied the site. The Zaragozan architect Fernando García Mercadal designed the gardens, which include a large rectangular pond surrounded by four fountains and statues of Spanish kings that were originally intended for the Royal Palace. Additionally, there are several fountains situated geometrically between its paths.
The gardens were constructed by the Republican government to take control of the area from the royal family and return it to the people. However, it wasn't until 1978, when King Juan Carlos I opened the gardens to the public, that they were accessible to all.
Interior
Grand Staircase
In 1789, Sabatini constructed a structure made of a single piece of San Agustin marble, which was moved to its current location on the opposite side from where Sabatini originally placed it in 1760. The landing is adorned with two lion sculptures, one created by Felipe de Castro and the other by Robert Michel. The ceiling features frescoes painted by Corrado Giaquinto, depicting Religion Protected by Spain. On the ground floor, there is a statue of Charles III dressed in a Roman toga, and on the first floor, a similar statue of Charles IV can be found. Additionally, the four cartouches located at the corners of the structure depict the elements of water, earth, air, and fire.
Royal Library
During the regency of Maria Christina, the Royal Library was relocated to the lower floor where it still stands today. The bookshelves are from the periods of Charles III, Isabel II, and Alfonso XII, and contain a variety of fascinating works.
One of the highlights of the collection is the Book of Hours of Isabella I of Castile, along with a codex from the time of Alfonso XI of Castile, a Bible of Doña María de Molina, and the Fiestas Reales, dedicated to Ferdinand VI by Farinelli. The library also houses a collection of maps analyzing the extent of the kingdoms under the Spanish Empire, as well as a selection of the best medals from the Royal Collection.
In addition to the books, the Royal Library's collection of book covers also showcases the evolution of binding styles throughout different eras. Examples include Rococo in gold with iron lace, Neoclassical in polychrome, and Romantic with Gothic and Renaissance motifs.
The Archives of the Royal Palace is another valuable resource, containing around twenty thousand articles ranging from the Disastrous Decade (1823-1833) to the proclamation of the Second Spanish Republic in 1931. It holds scores of musicians of the Royal Chapel, privileges of various kings, the founding order of the Royal Monastery of San Lorenzo de El Escorial, the testament of Philip II, and correspondence from most of the kings of the House of Bourbon.
Royal Pharmacy
During Felipe II's rule, the Royal Pharmacy was integrated as an extension of the royal household and tasked with procuring medications, a duty it upholds to this day. Notably, the collection comprises vessels crafted by La Granja de San Ildefonso in the 19th century and Talavera de la Reina pottery from the 18th century.
Royal Armory
The armoury, established in 1897 and designed by J.S. de Lema and E. Repulles, is renowned as one of the world's finest collections of armor, with pieces dating back to the 13th century. Notable items include tournament pieces made for Charles V and Philip II by the foremost armorers of Milan and Augsburg. The collection also features full armor and weapons used by Emperor Charles V in the Battle of Mühlberg, as depicted in Titian's celebrated equestrian portrait at the Museo del Prado. Despite losses incurred during the Peninsular War and the Spanish Civil War, the museum retains significant works such as a shield and burgonet by Francesco and Filippo Negroli, renowned armorers.
King Charles III's Apartments
The Guard Room, designed by Sabatini, displays Tiepolo's Venus and Vulcan fresco, as well as two paintings by Luca Giordano. The Hall of Columns features Giaquinto's ceiling fresco, with an 1878 bronze statue by Ferdinand Barbedienne and bronze chandeliers from Paris. Tiepolo's ceiling fresco, The Apotheosis of the Spanish Monarchy, is showcased in the Throne Room, along with bronze sculptures and Medici lions. The Anteroom of Charles III has A.R. Mengs' Apotheosis of Trajan ceiling fresco, and The Conversation Room features Mengs' The Apotheosis of Hercules, as well as four portraits of the royal family by Goya.
The Queen's apartments and banqueting hall
Originally serving as the queen's chambers during the reign of Charles III, the three rooms were transformed into a banquet hall by Alfonso XII in 1879 and were finalized in 1885. Despite the conversion, the three ceiling frescoes, including "Dawn in Her Chariot" by Raphael Mengs, "Christopher Columbus Offering the New World to the Catholic Monarchs" by Alejandro González Velázquez, and "Boabdil Giving the Keys to Granada to the Catholic Monarchs" by Francisco Bayeu y Subías, were retained.
Apartments of Infante Luis
The Infante Luis, Count of Chinchón once resided in these chambers before being exiled. Today, the Stradivarius Room showcases five instruments by Stradivari, including a viola, two violoncellos, and two violins. The room's ceiling fresco, created by A. G. Velazquez, portrays Gentleness and the Four Cardinal Virtues. Meanwhile, the Chamber of the Infante Luis, also known as the Musical Instruments Room, features a fresco by Francisco Bayeu that depicts Providence overseeing the Virtues and Faculties of Man.
Royal Chapel
In 1748, Sacchetti and Ventura Rodríguez collaborated to create a chapel which showcases stunning ceiling frescoes by Giaquinto, such as The Trinity, Allegory of Religion, Glory, and the Holy Trinity Crowning the Virgin. Additionally, Ramon Bayeu's St. Michael is positioned above the High Altar, while the reliquary altar is adorned with Ercole Ferrata's Pope Leo I Stopping Attila at the Gates of Rome, a silver relief crafted in 1659.
The Crown Room
The room, which was previously occupied by Maria Christina of Austria, the mother of Alfonso XIII, now houses Charles III's throne, scepter, and crown. The walls are adorned with Jacopo Amigoni's Four Seasons tapestries. Notably, the room also features the abdication speech of Juan Carlos I and the proclamation speech of Felipe VI.