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    Spanish Golden Age 1

    Spanish Golden Age

    Las Meninas (1656, English: The Maids of Honour)

    The Spanish Golden Age (Spanish:

    Siglo de Oro, Golden Century) is a

    period of flourishing in arts and

    literature in Spain, coinciding with the

    political rise and decline of the Spanish

    Habsburg dynasty.El Siglo de Oro does

    not imply precise dates and is usually

    considered to have lasted longer than an

    actual century. It begins no earlier than

    1492, with the end of the Reconquista

    (Reconquest), the sea voyages of

    Christopher Columbus to the New

    World, and the publication of Antonio

    de Nebrija's Gramtica de la lengua

    castellana (Grammar of the Castilian

    Language). Politically, it ends no later

    than 1659, with the Treaty of the

    Pyrenees, ratified between France and

    Habsburg Spain. The last great writer of

    the period, Pedro Calderon de la Barca,

    died in 1681, and his death usually is

    considered the end ofEl Siglo de Oro in

    the arts and literature.

    The Habsburgs, both in Spain and

    Austria, were great patrons of art in their countries. El Escorial, the great royal monastery built by King Philip II of

    Spain, invited the attention of some of Europe's greatest architects and painters. Diego Velzquez, regarded as one of

    the most influential painters of European history and a greatly respected artist in his own time, cultivated a

    relationship with King Philip IV and his chief minister, the Count-Duke of Olivares, leaving us several portraits that

    demonstrate his style and skill. El Greco, another respected artist from the period, infused Spanish art with the styles

    of the Italian renaissance and helped create a uniquely Spanish style of painting.

    http://en.wikipedia.org/w/index.php?title=El_Grecohttp://en.wikipedia.org/w/index.php?title=Count-Duke_of_Olivareshttp://en.wikipedia.org/w/index.php?title=Diego_Vel%C3%A1zquezhttp://en.wikipedia.org/w/index.php?title=Philip_II_of_Spainhttp://en.wikipedia.org/w/index.php?title=Philip_II_of_Spainhttp://en.wikipedia.org/w/index.php?title=El_Escorialhttp://en.wikipedia.org/w/index.php?title=Habsburg_Austriahttp://en.wikipedia.org/w/index.php?title=Habsburg_Spainhttp://en.wikipedia.org/w/index.php?title=Habsburgshttp://en.wikipedia.org/w/index.php?title=Pedro_Calderon_de_la_Barcahttp://en.wikipedia.org/w/index.php?title=Habsburg_Spainhttp://en.wikipedia.org/w/index.php?title=Treaty_of_the_Pyreneeshttp://en.wikipedia.org/w/index.php?title=Treaty_of_the_Pyreneeshttp://en.wikipedia.org/w/index.php?title=Gram%C3%A1tica_de_la_lengua_castellanahttp://en.wikipedia.org/w/index.php?title=Gram%C3%A1tica_de_la_lengua_castellanahttp://en.wikipedia.org/w/index.php?title=Antonio_de_Nebrijahttp://en.wikipedia.org/w/index.php?title=Antonio_de_Nebrijahttp://en.wikipedia.org/w/index.php?title=New_Worldhttp://en.wikipedia.org/w/index.php?title=New_Worldhttp://en.wikipedia.org/w/index.php?title=Christopher_Columbushttp://en.wikipedia.org/w/index.php?title=Reconquistahttp://en.wikipedia.org/w/index.php?title=Spanish_Habsburghttp://en.wikipedia.org/w/index.php?title=Spanish_Habsburghttp://en.wikipedia.org/w/index.php?title=File%3ALas_Meninas%2C_by_Diego_Vel%C3%A1zquez%2C_from_Prado_in_Google_Earth.jpghttp://en.wikipedia.org/w/index.php?title=Las_Meninas
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    Spanish Golden Age 2

    In ictu oculi ("In the blink of an eye") a vanitas by Juan de Valds Leal

    Some of Spain's greatest music is

    regarded as having been written in the

    period. Such composers as Toms Luis

    de Victoria, Francisco Guerrero, Luis

    de Miln and Alonso Lobo helped to

    shape Renaissance music and the stylesof counterpoint and polychoral music,

    and their influence lasted far into the

    Baroque period which resulted in a

    revolution of music. Spanish literature

    blossomed as well, most famously

    demonstrated in the work of Miguel de

    Cervantes, the author ofDon Quixote

    de la Mancha. Spain's most prolific

    playwright, Lope de Vega, wrote

    possibly as many as one thousand playsduring his lifetime, of which over four

    hundred survive to the present day.

    Painting

    Toledo by El Greco

    Spain, in the time of the Italian Renaissance, hadseen few great artists come to its shores. The Italian

    holdings and relationships made by Queen Isabella's

    husband and later Spain's sole monarch, Ferdinand of

    Aragon, launched a steady traffic of intellectuals

    across the Mediterranean between Valencia, Seville,

    and Florence. Luis de Morales, one of the leading

    exponents of Spanish mannerist painting, retained a

    distinctly Spanish style in his work, reminiscent of

    medieval art. Spanish art, particularly that of

    Morales, contained a strong mark of mysticism andreligion that was encouraged by the

    counter-reformation and the patronage of Spain's

    strongly Catholic monarchs and aristocracy. Spanish

    rule of Naples was important for making connections

    between Italian and Spanish art, with many Spanish

    administrators bringing Italian works back to Spain.

    El Greco

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    Spanish Golden Age 3

    Universally known for his great impact in bringing the Italian Renaissance to Spain, El Greco (which means "The

    Greek") was not Spanish, having been born Domenikos Theotokopoulos in Crete. He studied the great Italian

    masters of his time - Titian, Tintoretto, and Michelangelo - when he lived in Italy from 1568 to 1577. According to

    legend, he asserted that he would paint a mural that would be as good as one of Michelangelo's, ifone of the Italian

    artist's murals was demolished first. El Greco quickly fell out of favor in Italy, but soon found a new home in the city

    of Toledo, in central Spain. He was influential in creating a style based on impressions and emotion, featuring

    elongated fingers and vibrant color and brushwork. Uniquely, his works featured faces that captured expressions of

    sombre attitudes and withdrawal while still having his subjects bear witness to the terrestrial world. [1] His paintings

    of the city of Toledo became models for a new European tradition in landscapes, and influenced the work of later

    Dutch masters. Spain at this time was an ideal environment for the Venetian-trained painter. Art was flourishing in

    the empire and Toledo was a great place to get commissions.

    Diego Velzquez

    He was born on June 6, 1599, in Seville. Both parents were from the minor nobility. He was the oldest of six

    children. Diego Velzquez is widely regarded as one of Spain's most important and influential artists. He was a court

    painter for King Philip IV and found increasingly high demand for his portraits from statesmen, aristocrats, andclergymen across Europe. His portraits of the King, his chief minister, the Count-duke of Olivares, and the Pope

    himself demonstrated a belief in artistic realism and a style comparable to many of the Dutch masters. In the wake of

    the Thirty Years' War, Velzquez met the Marqus de Spinola and painted his famous Surrender of Breda

    celebrating Spinola's earlier victory. Spinola was struck[citation needed] by his ability to express emotion through

    realism in both his portraits and landscapes; his work in the latter, in which he launched one of European art's first

    experiments in outdoor lighting, became another lasting influence on Western painting. Velzquez's friendship with

    Bartolom Esteban Murillo, a leading Spanish painter of the next generation, ensured the enduring influence of his

    artistic approach.

    Velazquez's most famous painting, however, is the celebrated Las Meninas, in which the artist includes himself as

    one of the subjects.

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    Spanish Golden Age 4

    The Birth of the Virgin by Francisco de Zurbarn

    Francisco de Zurbarn

    The religious element in Spanish art, in many circles,

    grew in importance with the counter-reformation.

    The austere, ascetic, and severe work of Francisco de

    Zurbarn exemplified this thread in Spanish art,along with the work of composer Toms Luis de

    Victoria. Philip IV actively patronized artists who

    agreed with his views on the counter-reformation and

    religion. The mysticism of Zurbarn's work -

    influenced by Saint Theresa of Avila - became a

    hallmark of Spanish art in later generations.

    Influenced by Caravaggio and the Italian masters,

    Zurbarn devoted himself to an artistic expression of

    religion and faith. His paintings of St. Francis of

    Assisi, the immaculate conception, and thecrucifixion of Christ reflected a third facet of Spanish

    culture in the seventeenth century, against the

    backdrop of religious war across Europe. Zurbarn

    broke from Velzquez's sharp realist interpretation of

    art and looked, to some extent, to the emotive content

    of El Greco and the earlier mannerist painters for

    inspiration and technique, though Zurbarn respected

    and maintained the lighting and physical nuance of Velzquez.

    It is unknown whether Zurbarn had the opportunity to copy the paintings of Michelangelo da Caravaggio; at anyrate, he adopted Caravaggio's realistic use of chiaroscuro. The painter who may have had the greatest influence on

    his characteristically severe compositions was Juan Snchez Cotn.[2] Polychrome sculpturewhich by the time of

    Zurbarn's apprenticeship had reached a level of sophistication in Seville that surpassed that of the local

    paintersprovided another important stylistic model for the young artist; the work of Juan Martnez Montas is

    especially close to Zurbarn's in spirit.

    He painted directly from nature, and he made great use of the lay-figure in the study of draperies, in which he was

    particularly proficient. He had a special gift for white draperies; as a consequence, the houses of the white-robed

    Carthusians are abundant in his paintings. To these rigid methods, Zurbarn is said to have adhered throughout his

    career, which was prosperous, wholly confined to Spain, and varied by few incidents beyond those of his daily

    labour. His subjects were mostly severe and ascetic religious vigils, the spirit chastising the flesh into subjection, the

    compositions often reduced to a single figure. The style is more reserved and chastened than Caravaggio's, the tone

    of color often quite bluish. Exceptional effects are attained by the precisely finished foregrounds, massed out largely

    in light and shade.

    http://en.wikipedia.org/w/index.php?title=Carthusianshttp://en.wikipedia.org/w/index.php?title=Juan_Mart%C3%ADnez_Monta%C3%B1%C3%A9shttp://en.wikipedia.org/w/index.php?title=Juan_S%C3%A1nchez_Cot%C3%A1nhttp://en.wikipedia.org/w/index.php?title=Michelangelo_da_Caravaggiohttp://en.wikipedia.org/w/index.php?title=El_Grecohttp://en.wikipedia.org/w/index.php?title=Christhttp://en.wikipedia.org/w/index.php?title=Crucifixionhttp://en.wikipedia.org/w/index.php?title=Immaculate_conceptionhttp://en.wikipedia.org/w/index.php?title=St._Francis_of_Assisihttp://en.wikipedia.org/w/index.php?title=St._Francis_of_Assisihttp://en.wikipedia.org/w/index.php?title=Caravaggiohttp://en.wikipedia.org/w/index.php?title=Saint_Theresa_of_Avilahttp://en.wikipedia.org/w/index.php?title=Tom%C3%A1s_Luis_de_Victoriahttp://en.wikipedia.org/w/index.php?title=Tom%C3%A1s_Luis_de_Victoriahttp://en.wikipedia.org/w/index.php?title=Francisco_de_Zurbar%C3%A1nhttp://en.wikipedia.org/w/index.php?title=Francisco_de_Zurbar%C3%A1nhttp://en.wikipedia.org/w/index.php?title=File%3AFrancisco_de_Zurbar%C3%A1n_018.jpghttp://en.wikipedia.org/w/index.php?title=Francisco_de_Zurbar%C3%A1n
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    Spanish Golden Age 5

    Bartolom Esteban Murillo

    Immaculate Conception by Murillo

    Bartolom Esteban Murillo began his art studies under

    Juan del Castillo in Seville. Murillo became familiar

    with Flemish painting; the great commercial

    importance of Seville at the time ensured that he was

    also subject to influences from other regions. His firstworks were influenced by Zurbarn, Jusepe de Ribera

    and Alonso Cano, and he shared their strongly realist

    approach. As his painting developed, his more

    important works evolved towards the polished style

    that suited the bourgeois and aristocratic tastes of the

    time, demonstrated especially in his Roman Catholic

    religious works.

    In 1642, at the age of 26 he moved to Madrid, where he

    most likely became familiar with the work ofVelzquez, and would have seen the work of Venetian

    and Flemish masters in the royal collections; the rich

    colors and softly modeled forms of his subsequent

    work suggest these influences.[3] He returned to Seville

    in 1645. In that year, he painted thirteen canvases for

    the monastery of St. Francisco el Grande in Seville

    which gave his reputation a well-deserved boost.

    Following the completion of a pair of pictures for the

    Seville Cathedral, he began to specialise in the themes

    that brought him his greatest successes, the Virgin andChild, and the Immaculate Conception.

    After another period in Madrid, from 1658 to 1660, he returned to Seville, where he died. Here he was one of the

    founders of the Academia de Bellas Artes (Academy of Art), sharing its direction, in 1660, with the architect,

    Francisco Herrera the Younger. This was his period of greatest activity, and he received numerous important

    commissions, among them the altarpieces for the Augustinian monastery, the paintings for Santa Mara la Blanca

    (completed in 1665), and others.

    Other significant painters

    Luis de Morales Jos de Ribera

    Juan Snchez Cotn

    Juan van der Hamen

    Francisco Ribalta

    Juan de Valds Leal

    Juan Carreo de Miranda

    Claudio Coello

    http://en.wikipedia.org/w/index.php?title=Claudio_Coellohttp://en.wikipedia.org/w/index.php?title=Juan_Carre%C3%B1o_de_Mirandahttp://en.wikipedia.org/w/index.php?title=Juan_de_Vald%C3%A9s_Lealhttp://en.wikipedia.org/w/index.php?title=Francisco_Ribaltahttp://en.wikipedia.org/w/index.php?title=Juan_van_der_Hamenhttp://en.wikipedia.org/w/index.php?title=Juan_S%C3%A1nchez_Cot%C3%A1nhttp://en.wikipedia.org/w/index.php?title=Jos%C3%A9_de_Riberahttp://en.wikipedia.org/w/index.php?title=Luis_de_Moraleshttp://en.wikipedia.org/w/index.php?title=Santa_Mar%C3%ADa_la_Blancahttp://en.wikipedia.org/w/index.php?title=Francisco_Herrera_the_Youngerhttp://en.wikipedia.org/w/index.php?title=Academia_de_Bellas_Artes_%28Seville%29http://en.wikipedia.org/w/index.php?title=Madridhttp://en.wikipedia.org/w/index.php?title=Immaculate_Conceptionhttp://en.wikipedia.org/w/index.php?title=Seville_Cathedralhttp://en.wikipedia.org/w/index.php?title=St._Francisco_el_Grandehttp://en.wikipedia.org/w/index.php?title=Diego_Vel%C3%A1zquezhttp://en.wikipedia.org/w/index.php?title=Madridhttp://en.wikipedia.org/w/index.php?title=Roman_Catholic_Churchhttp://en.wikipedia.org/w/index.php?title=Alonso_Canohttp://en.wikipedia.org/w/index.php?title=Jusepe_de_Riberahttp://en.wikipedia.org/w/index.php?title=Francisco_Zurbar%C3%A1nhttp://en.wikipedia.org/w/index.php?title=Flemish_paintinghttp://en.wikipedia.org/w/index.php?title=Juan_del_Castillohttp://en.wikipedia.org/w/index.php?title=Bartolom%C3%A9_Esteban_Murillohttp://en.wikipedia.org/w/index.php?title=File%3AMurillo_immaculate_conception.jpg
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    Spanish Golden Age 6

    Sculpture

    Entombmentby Juan de Juni

    Sculptors of the Renaissance

    Alonso Berruguete

    Felipe Bigarny

    Dami Forment

    Juan de Juni

    Bartolom Ordez

    Diego de Silo

    Sculptors of the Early Baroque period

    Alonso Cano

    Gregorio Fernndez

    Juan Martnez Montas

    Pedro de Mena

    Juan de Mesa

    Architecture

    Palace of Charles V

    Panoramic view of the lower level

    The Palace of Charles V is a Renacentist construction,located on the top of the hill of the Assabica, inside the

    Nasrid fortification of the Alhambra. It was

    commanded by Charles V, Holy Roman Emperor, who

    wished to establish his residence close to the Alhambra

    palaces. Although the Catholic Monarchs had already

    altered some rooms of the Alhambra after the conquest

    of the city in 1492, Charles V intended to construct a

    permanent residence befitting an emperor. The project was given to Pedro Machuca, an architect whose biography

    and influences are poorly understood. At the time, Spanish architecture was immersed in the Plateresque style, still

    with traces of Gothic origin. Machuca built a palace corresponding stylistically to Mannerism, a mode still in itsinfancy in Italy. Even if accounts that place Machuca in the atelier of Michelangelo are accepted, at the time of the

    construction of the palace in 1527 the latter had yet to design the majority of his architectural works.

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    Spanish Golden Age 7

    El Escorial

    Faade of the Monastery of El Escorial

    El Escorial is a historical residence of the king of

    Spain. It is one of the Spanish royal sites and functions

    as a monastery, royal palace, museum, and school. It is

    located about 45 kilometres (28 mi) northwest of the

    Spanish capital, Madrid, in the town of San Lorenzo deEl Escorial. El Escorial comprises two architectural

    complexes of great historical and cultural significance:

    El Real Monasterio de El Escorial itself and La

    Granjilla de La Fresneda, a royal hunting lodge and

    monastic retreat about five kilometres away. These

    sites have a dual nature; that is to say, during the

    sixteenth and seventeenth centuries, they were places in

    which the temporal power of the Spanish monarchy

    and the ecclesiastical predominance of the Roman

    Catholic religion in Spain found a common architectural manifestation. El Escorial was, at once, a monastery and aSpanish royal palace. Originally a property of the Hieronymite monks, it is now a monastery of the Order of Saint

    Augustine.

    The library of El Escorial

    Philip II of Spain, reacting to the Protestant Reformation sweeping

    through Europe during the sixteenth century, devoted much of his

    lengthy reign (15561598) and much of his seemingly

    inexhaustible supply of New World silver to stemming the

    Protestant tide sweeping through Europe, while simultaneously

    fighting the Islamic Ottoman Empire. His protracted efforts were,

    in the long run, partly successful. However, the samecounter-reformational impulse had a much more benign

    expression, thirty years earlier, in Philip's decision to build the

    complex at El Escorial.

    Philip engaged the Spanish architect, Juan Bautista de Toledo, to

    be his collaborator in the design of El Escorial. Juan Bautista had spent the greater part of his career in Rome, where

    he had worked on the basilica of St. Peter's, and in Naples, where he had served the king's viceroy, whose

    recommendation brought him to the king's attention. Philip appointed him architect-royal in 1559, and together they

    designed El Escorial as a monument to Spain's role as a center of the Christian world.

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    Spanish Golden Age 8

    Plaza Mayor in Madrid

    Plaza Mayor with the Casa de la Panadera to the

    left

    The Plaza Mayor in Madrid was built during the Habsburg period is a

    central plaza in the city of Madrid, Spain. It is located only a few

    blocks away from another famous plaza, the Puerta del Sol. The Plaza

    Mayor is rectangular in shape, measuring 129 by 94 meters, and is

    surrounded by three-story residential buildings having 237 balconiesfacing the Plaza. It has a total of nine entranceways. The Casa de la

    Panadera, serving municipal and cultural functions, dominates the

    Plaza Mayor.

    The origins of the Plaza go back to 1589 when Philip II of Spain asked

    Juan de Herrera, a renowned Renaissance architect, to discuss a plan to

    remodel the busy and chaotic area of the old Plaza del Arrabal. Juan de

    Herrera was the architect who designed the first project in 1581 to remodel the old Plaza del Arrabal but construction

    didn't start until 1617, during Philip III's reign. The king asked Juan Gmez de Mora to continue with the project,

    and he finished the porticoes in 1619. Nevertheless, the Plaza Mayor as we know it today is the work of the architect

    Juan de Villanueva who was entrusted with its reconstruction in 1790 after a spate of big fires. Giambologna's

    equestrian statue of Philip III dates to 1616, but it was not placed in the center of the square until 1848.

    Granada Cathedral

    Inner view of the cathedral

    Granada Cathedral Unlike most cathedrals in Spain, construction

    of this cathedral had to await the acquisition of the Nasrid

    kingdom of Granada from its Muslim rulers in 1492; while its very

    early plans had Gothic designs, such as are evident in the Royal

    Chapel of Granada by Enrique Egas, the construction of the church

    in the main occurred at a time when Renaissance designs were

    supplanting the Gothic regnant in Spanish architecture of prior

    centuries. Foundations for the church were laid by the architect

    Egas starting from 1518 to 1523 atop the site of the city's main

    mosque; by 1529, Egas was replaced by Diego de Silo who

    labored for nearly four decades on the structure from ground to

    cornice, planning the triforium and five naves instead of the usual

    three. Most unusually, he created a circular capilla mayor rather

    than a semicircular apse, perhaps inspired by Italian ideas for

    circular 'perfect buildings' (e.g. in Alberti's works). Within its

    structure the cathedral combines other orders of architecture. It

    took 181 years for the cathedral to be built.

    Subsequent architects included Juan de Maena (15631571),

    followed by Juan de Orea (15711590), and Ambrosio de Vico (1590-?). In 1667 Alonso Cano, working with

    Gaspar de la Pea, altered the initial plan for the main faade, introducing Baroque elements. The magnificence of

    the building would be even greater, if the two large 81 meter towers foreseen in the plans had been built; however

    the project remained incomplete for various reasons, among them, financial.

    The Cathedral had been intended to become the royal mausoleum by Charles I of Spain of Spain, but Philip II of

    Spain moved the site for his father and subsequent kings to El Escorial outside of Madrid.

    The main chapel contains two kneeling effigies of the Catholic King and Queen, Ferdinand and Isabel by Pedro de

    Mena y Medrano. The busts of Adam and Eve were made by Alonso Cano. The Chapel of the Trinity has a

    http://en.wikipedia.org/w/index.php?title=Isabel_I_of_Spainhttp://en.wikipedia.org/w/index.php?title=Ferdinand_II_of_Aragonhttp://en.wikipedia.org/w/index.php?title=El_Escorialhttp://en.wikipedia.org/w/index.php?title=Philip_II_of_Spainhttp://en.wikipedia.org/w/index.php?title=Philip_II_of_Spainhttp://en.wikipedia.org/w/index.php?title=Charles_I_of_Spainhttp://en.wikipedia.org/w/index.php?title=Baroque_architecturehttp://en.wikipedia.org/w/index.php?title=Alonso_Canohttp://en.wikipedia.org/w/index.php?title=Leon_Battista_Albertihttp://en.wikipedia.org/w/index.php?title=Triforiumhttp://en.wikipedia.org/w/index.php?title=Diego_de_Siloehttp://en.wikipedia.org/w/index.php?title=Renaissancehttp://en.wikipedia.org/w/index.php?title=Royal_Chapel_of_Granadahttp://en.wikipedia.org/w/index.php?title=Royal_Chapel_of_Granadahttp://en.wikipedia.org/w/index.php?title=Gothic_architecturehttp://en.wikipedia.org/w/index.php?title=Nasridhttp://en.wikipedia.org/w/index.php?title=Granada_Cathedralhttp://en.wikipedia.org/w/index.php?title=File%3AAndalusia_hl_20060811_006.jpghttp://en.wikipedia.org/w/index.php?title=Giambolognahttp://en.wikipedia.org/w/index.php?title=Juan_de_Villanuevahttp://en.wikipedia.org/w/index.php?title=Juan_G%C3%B3mez_de_Morahttp://en.wikipedia.org/w/index.php?title=Philip_III_of_Spainhttp://en.wikipedia.org/w/index.php?title=Plaza_del_Arrabalhttp://en.wikipedia.org/w/index.php?title=Renaissancehttp://en.wikipedia.org/w/index.php?title=Juan_de_Herrerahttp://en.wikipedia.org/w/index.php?title=Philip_II_of_Spainhttp://en.wikipedia.org/w/index.php?title=Casa_de_la_Panader%C3%ADahttp://en.wikipedia.org/w/index.php?title=Casa_de_la_Panader%C3%ADahttp://en.wikipedia.org/w/index.php?title=Puerta_del_Solhttp://en.wikipedia.org/w/index.php?title=Madridhttp://en.wikipedia.org/w/index.php?title=Plazahttp://en.wikipedia.org/w/index.php?title=Habsburghttp://en.wikipedia.org/w/index.php?title=Plaza_Mayor%2C_Madridhttp://en.wikipedia.org/w/index.php?title=File%3APlazaMayorMadrid.JPG
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    Spanish Golden Age 9

    marvelous retablo with paintings by El Greco, Jos Ribera, Alonso Cano, and the Spanoleto.

    Cathedral of Valladolid

    Cathedral of Valladolid's faade

    The Cathedral of Valladolid, like all the buildings of the late

    Spanish Renaissance built by Herrera and his followers, is known

    for its purist and sober decoration, its style being the typicalSpanish clasicismo, also called "Herrerian". Using classical and

    renaissance decorative motives, Herrerian buildings are

    characterized by their extremely sober decorations, its formal

    austerity, and its like for monumentality.

    The Cathedral has its origins in a late gothic Collegiate which was

    started during the late 15th century, for before becoming capital of

    Spain Valladolid was not a bishopry see, and thus it lacked the

    right of building a cathedral. However, soon enough the Collegiate became obsolete due to the changes of taste of

    the day, and thanks to the newly established episcopal see in the city, the Town Council decided to build a cathedral

    that would shade similar constructions in neighbouring capitals.

    Had the building been finished, it would have been one of the biggest cathedrals in Spain. When the building was

    started, Valladolid was the de facto capital of Spain, housing king Philip II and his court. However, due to strategical

    and geopolitical reasons, by the 1560s the capital was moved to Madrid, thus Valladolid losing its political and

    economical relevance. By the late sixteenth century, Valladolid's importance had been severely resented, and many

    of the monumental projects such as the Cathedreal, started during its former and glorious days, had to be modified

    due to the lack of proper financiation. Thus, the building that nowadays stands could not be finished in all its

    splendour, and because of several additions built during thh 17th and 18th centuries, it lacks the purported stylistical

    uniformity sought by Herrera. Indeed, although mainly faithful to the project of Juan de Herrera, the building would

    undergo many modifications, such as the addition to the top of the main faade, a work by Churriguera.

    Significant architects

    Renaissance and Plateresque period

    Alonso de Covarrubias

    Juan de Herrera

    Rodrigo Gil de Hontan

    Pedro Machuca

    Francisco de Mora

    Diego de Riao Hernn Ruiz the Younger

    Diego de Silo

    Juan Bautista de Toledo

    Andrs de Vandelvira

    http://en.wikipedia.org/w/index.php?title=Andr%C3%A9s_de_Vandelvirahttp://en.wikipedia.org/w/index.php?title=Juan_Bautista_de_Toledohttp://en.wikipedia.org/w/index.php?title=Diego_de_Silo%C3%A9http://en.wikipedia.org/w/index.php?title=Hern%C3%A1n_Ruiz_the_Youngerhttp://en.wikipedia.org/w/index.php?title=Diego_de_Ria%C3%B1ohttp://en.wikipedia.org/w/index.php?title=Francisco_de_Morahttp://en.wikipedia.org/w/index.php?title=Pedro_Machucahttp://en.wikipedia.org/w/index.php?title=Rodrigo_Gil_de_Honta%C3%B1%C3%B3nhttp://en.wikipedia.org/w/index.php?title=Juan_de_Herrerahttp://en.wikipedia.org/w/index.php?title=Alonso_de_Covarrubiashttp://en.wikipedia.org/w/index.php?title=Plateresquehttp://en.wikipedia.org/w/index.php?title=Churriguerahttp://en.wikipedia.org/w/index.php?title=Madridhttp://en.wikipedia.org/w/index.php?title=Philip_II_of_Spainhttp://en.wikipedia.org/w/index.php?title=Herrerianhttp://en.wikipedia.org/w/index.php?title=Spanish_Renaissancehttp://en.wikipedia.org/w/index.php?title=Cathedral_of_Valladolidhttp://en.wikipedia.org/w/index.php?title=File%3AValladolid_-_Catedral.jpghttp://en.wikipedia.org/w/index.php?title=Valladolidhttp://en.wikipedia.org/w/index.php?title=Spanoletohttp://en.wikipedia.org/w/index.php?title=Jos%C3%A9_Riberahttp://en.wikipedia.org/w/index.php?title=El_Greco
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    Spanish Golden Age 10

    Early Baroque period

    Domingo Antonio de Andrade

    Eufrasio Lpez de Rojas

    Juan Gmez de Mora

    Music

    Toms Luis de Victoria

    Contemporary printing of the sheet music for

    Toms Luis de Victoria's Officium

    Defunctorum.

    Toms Luis de Victoria, a Spanish composer of the sixteenth century,

    mainly of choral music, is widely regarded as one of the greatest

    Spanish classical composers. He joined the cause of Ignatius of Loyola

    in the fight against the Reformation and in 1575 became a priest. He

    lived for a short time in Italy, where he became acquainted with the

    polyphonic work of Giovanni Pierluigi da Palestrina. Like Zurbarn,

    Victoria mixed the technical qualities of Italian art with the religion and

    culture of his native Spain. He invigorated his work with emotional

    appeal and experimental, mystical rhythm and choruses. He broke from

    the dominant tendency among his contemporaries by avoiding complex

    counterpoint, preferring longer, simpler, less technical and more

    mysterious melodies, employing dissonance in ways that the Italian

    members of the Roman School shunned. He demonstrated considerable

    invention in musical thought by connecting the tone and emotion of his

    music to those of his lyrics, particularly in his motets. Like Velzquez,

    Victoria was employed by the monarch - in Victoria's case, in the

    service of the queen. The requiem he wrote upon her death in 1603 is

    regarded as one of his most enduring and mature works.

    Francisco Guerrero

    Francisco Guerrero, a Spanish composer of the 16th century. He was second only to Victoria as a major Spanish

    composer of church music in the second half of the 16th century. Of all the Spanish Renaissance composers, he was

    the one who lived and worked the most in Spain. Others for example Morales and Victoriaspent large portions

    of their careers in Italy. Guerrero's music was both sacred and secular, unlike that of Victoria and Morales, the two

    other Spanish 16th-century composers of the first rank. He wrote numerous secular songs and instrumental pieces, in

    addition to masses, motets, and Passions. He was able to capture an astonishing variety of moods in his music, from

    ecstasy to despair, longing, joy, and devotional stillness; his music remained popular for hundreds of years,

    especially in cathedrals in Latin America. Stylistically he preferred homophonic textures, rather like his Spanish

    contemporaries, and he wrote memorable, singable lines. One interesting feature of his style is how he anticipated

    functional harmonic usage: there is a case of a Magnificat discovered in Lima, Peru, once thought to be an

    anonymous 18th century work, which turned out to be a work of his.

    http://en.wikipedia.org/w/index.php?title=Francisco_Guerrero_%28composer%29http://en.wikipedia.org/w/index.php?title=Requiem_%28Victoria%29http://en.wikipedia.org/w/index.php?title=Motethttp://en.wikipedia.org/w/index.php?title=Roman_Schoolhttp://en.wikipedia.org/w/index.php?title=Consonance_and_dissonancehttp://en.wikipedia.org/w/index.php?title=Giovanni_Pierluigi_da_Palestrinahttp://en.wikipedia.org/w/index.php?title=Protestant_Reformationhttp://en.wikipedia.org/w/index.php?title=Ignatius_of_Loyolahttp://en.wikipedia.org/w/index.php?title=Tom%C3%A1s_Luis_de_Victoriahttp://en.wikipedia.org/w/index.php?title=File%3AVictoria_officium.jpghttp://en.wikipedia.org/w/index.php?title=Officium_Defunctorumhttp://en.wikipedia.org/w/index.php?title=Officium_Defunctorumhttp://en.wikipedia.org/w/index.php?title=Tom%C3%A1s_Luis_de_Victoriahttp://en.wikipedia.org/w/index.php?title=Juan_G%C3%B3mez_de_Morahttp://en.wikipedia.org/w/index.php?title=Eufrasio_L%C3%B3pez_de_Rojashttp://en.wikipedia.org/w/index.php?title=Domingo_de_Andrade
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    Spanish Golden Age 11

    Alonso Lobo

    Victoria's work was complemented by Alonso Lobo - a man Victoria respected as his equal. Lobo's work - also

    choral and religious in its content - stressed the austere, minimalist nature of religious music. Lobo sought out a

    medium between the emotional intensity of Victoria and the technical ability of Palestrina; the solution he found

    became the foundation of the baroque musical style in Spain.

    Other significant musicians

    Cristbal de Morales

    Antonio de Cabezn

    Francisco Correa de Arauxo

    Juan Cabanilles

    Juan del Encina

    Luis Miln

    Luis de Narvez

    Enrquez de Valderrbano

    Diego Pisador Alonso Mudarra

    Pablo Bruna

    Literature

    The Spanish Golden Age was a time of great flourishing in poetry, prose and drama.

    Cervantes andDon Quixote

    Cervantes'Don Quixote (1605), original title page

    Regarded by many as one of the finest works in any language, El

    ingenioso hidalgo Don Quixote de la Mancha by Miguel de

    Cervantes was one of the first novels published in Europe; it gave

    Cervantes a stature in the Spanish-speaking world comparable to

    his contemporary William Shakespeare in English. The novel, like

    Spain itself, was caught between the Middle Ages and the modern

    world. A veteran of the Battle of Lepanto (1571), Cervantes had

    fallen on hard times in the late 1590s and was imprisoned for debt

    in 1597, and some believe that during these years he began work

    on his best-remembered novel. The first part of the novel was

    published in 1605; the second in 1615, a year before the author's

    death. Don Quixote resembled both the medieval, chivalric

    romances of an earlier time and the novels of the early modern

    world. It parodied classical morality and chivalry, found comedy

    in knighthood, and criticized social structures and the perceived

    madness of Spain's rigid society. The work has endured to the

    present day as a landmark in world literary history, and it was an

    immediate international hit in its own time, interpreted variously

    as a satirical comedy, social commentary and forbearer of

    self-referential literature.

    http://en.wikipedia.org/w/index.php?title=Battle_of_Lepanto_%281571%29http://en.wikipedia.org/w/index.php?title=Middle_Ageshttp://en.wikipedia.org/w/index.php?title=William_Shakespearehttp://en.wikipedia.org/w/index.php?title=Miguel_de_Cervanteshttp://en.wikipedia.org/w/index.php?title=Miguel_de_Cervanteshttp://en.wikipedia.org/w/index.php?title=El_ingenioso_hidalgo_Don_Quixote_de_la_Manchahttp://en.wikipedia.org/w/index.php?title=El_ingenioso_hidalgo_Don_Quixote_de_la_Manchahttp://en.wikipedia.org/w/index.php?title=File%3AEl_ingenioso_hidalgo_don_Quijote_de_la_Mancha.jpghttp://en.wikipedia.org/w/index.php?title=Pablo_Brunahttp://en.wikipedia.org/w/index.php?title=Alonso_Mudarrahttp://en.wikipedia.org/w/index.php?title=Diego_Pisadorhttp://en.wikipedia.org/w/index.php?title=Enr%C3%ADquez_de_Valderr%C3%A1banohttp://en.wikipedia.org/w/index.php?title=Luis_de_Narv%C3%A1ezhttp://en.wikipedia.org/w/index.php?title=Luis_Mil%C3%A1nhttp://en.wikipedia.org/w/index.php?title=Juan_del_Encinahttp://en.wikipedia.org/w/index.php?title=Juan_Cabanilleshttp://en.wikipedia.org/w/index.php?title=Francisco_Correa_de_Arauxohttp://en.wikipedia.org/w/index.php?title=Antonio_de_Cabez%C3%B3nhttp://en.wikipedia.org/w/index.php?title=Crist%C3%B3bal_de_Moraleshttp://en.wikipedia.org/w/index.php?title=Giovanni_Pierluigi_da_Palestrinahttp://en.wikipedia.org/w/index.php?title=Alonso_Lobo
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    Spanish Golden Age 12

    Lope de Vega and Spanish drama

    Title page of a comedy by Spanish playwright Lope de

    Vega

    A contemporary of Cervantes, Lope de Vega consolidated the

    essential genres and structures which would characterize the

    Spanish commercial drama, also known as the "Comedia",

    throughout the 17th century. While Lope de Vega wrote prose and

    poetry as well, he is best remembered for his plays, particularlythose grounded in Spanish history. Like Cervantes, Lope de Vega

    served with the Spanish army and was fascinated with the Spanish

    nobility. In the hundreds of plays he wrote, with settings ranging

    from the Biblical times to legendary Spanish history to classical

    mythology to his own time, Lope de Vega frequently took a

    comical approach just as Cervantes did, taking a conventional

    moral play and dressing it up in good humor and cynicism. His

    stated goal was to entertain the public, much as Cervantes's was. In

    bringing morality, comedy, drama, and popular wit together, Lope

    de Vega is often compared to his English contemporaryShakespeare. Some have argued that as a social critic, Lope de

    Vega attacked, like Cervantes, many of the ancient institutions of

    his country - aristocracy, chivalry, and rigid morality, among

    others. Lope de Vega and Cervantes represented an alternative

    artistic perspective to the religious asceticism of Francisco

    Zurbarn. Lope de Vega's "cloak-and-sword" plays, which mingled intrigue, romance, and comedy together were

    carried on by his literary successor, Pedro Caldern de la Barca, in the later seventeenth century. Other well-known

    playwrights of the period include: Tirso de Molina; Agustn Moreto; Juan Prez de Montalbn; Juan Ruiz de

    Alarcn; Guilln de Castro and Antonio Mira de Amescua.

    Poetry

    This period also produced some of the most important Spanish works of poetry. The introduction and influence of

    Italian Renaissance verse is apparent perhaps most vividly in the works of Garcilaso de la Vega and illustrate a

    profound influence on later poets. Mystical literature in Spanish reached its summit with the works of San Juan de la

    Cruz and Teresa of vila. Baroque poetry was dominated by the contrasting styles of Francisco de Quevedo and

    Luis de Gngora; both had a lasting influence on subsequent writers, and even on the Spanish language itself. [4]

    Lope de Vega was a gifted poet of his own, and there were a vast quantity of remarkable poets at that time, though

    less known: Francisco de Rioja, Bartolom Leonardo de Argensola, Lupercio Leonardo de Argensola, Bernardino de

    Rebolledo, Rodrigo Caro, Andrs Rey de Artieda, etc.

    http://en.wikipedia.org/w/index.php?title=Andr%C3%A9s_Rey_de_Artiedahttp://en.wikipedia.org/w/index.php?title=Rodrigo_Carohttp://en.wikipedia.org/w/index.php?title=Bernardino_de_Rebolledohttp://en.wikipedia.org/w/index.php?title=Bernardino_de_Rebolledohttp://en.wikipedia.org/w/index.php?title=Lupercio_Leonardo_de_Argensolahttp://en.wikipedia.org/w/index.php?title=Bartolom%C3%A9_Leonardo_de_Argensolahttp://en.wikipedia.org/w/index.php?title=Francisco_de_Riojahttp://en.wikipedia.org/w/index.php?title=Lope_de_Vegahttp://en.wikipedia.org/w/index.php?title=Luis_de_G%C3%B3ngorahttp://en.wikipedia.org/w/index.php?title=Francisco_de_Quevedohttp://en.wikipedia.org/w/index.php?title=Santa_Teresa_de_%C3%81vilahttp://en.wikipedia.org/w/index.php?title=San_Juan_de_la_Cruzhttp://en.wikipedia.org/w/index.php?title=San_Juan_de_la_Cruzhttp://en.wikipedia.org/w/index.php?title=Garcilaso_de_la_Vega_%28poet%29http://en.wikipedia.org/w/index.php?title=Antonio_Mira_de_Amescuahttp://en.wikipedia.org/w/index.php?title=Guill%C3%A9n_de_Castrohttp://en.wikipedia.org/w/index.php?title=Juan_Ruiz_de_Alarc%C3%B3nhttp://en.wikipedia.org/w/index.php?title=Juan_Ruiz_de_Alarc%C3%B3nhttp://en.wikipedia.org/w/index.php?title=Juan_P%C3%A9rez_de_Montalb%C3%A1nhttp://en.wikipedia.org/w/index.php?title=Agust%C3%ADn_Moretohttp://en.wikipedia.org/w/index.php?title=Tirso_de_Molinahttp://en.wikipedia.org/w/index.php?title=Pedro_Calder%C3%B3n_de_la_Barcahttp://en.wikipedia.org/w/index.php?title=Lope_de_Vegahttp://en.wikipedia.org/w/index.php?title=File%3ALope_de_vega_02.jpghttp://en.wikipedia.org/w/index.php?title=Lope_de_Vegahttp://en.wikipedia.org/w/index.php?title=Lope_de_Vega
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    Spanish Golden Age 13

    Other significant authors

    The picaresque genre flourished in this era, describing the life ofpcaros, living by their wits in a decadent society.

    Distinguished examples are El buscn, by Francisco de Quevedo, Guzmn de Alfarache by Mateo Alemn,

    Estebanillo Gonzlez andLazarillo de Tormes (1554), which created the genre.

    Alonso de Ercilla wrote the epic poem,La Araucana, about the Spanish conquest of Chile.

    Gil Vicente was Portuguese but his influence on Spanish playwriting was so wide that he is often considered partof the Spanish Golden Era.

    Further reading

    Domnguez Ortiz, A., Gllego, J., & Prez Snchez, A.E. (1989). Velzquez[5]. New York: The Metropolitan

    Museum of Art. ISBN 9780810939066.* Edward H. Friedman and Catherine Larson, eds. Brave New Words:

    Studies in Spanish Golden Age Literature (1999)

    Hugh Thomas. The Golden Age: The Spanish Empire of Charles V(2010)

    Victor Stoichi, ed. Visionary Experience in the Golden Age of Spanish Art(1997)

    Weller, Thomas: The "Spanish Century"

    [6]

    , European History Online, Mainz: Institute of European History,2011, retrieved: November 11, 2011.

    References

    Writers of the Spanish Golden Age, Literature, EDSITEment Lesson Plan of Sor Juana Ines de la Cruz, Sor Juana,

    The Poet: The Sonnets [7]

    [1] J.H. Elliot. "Imperial Spain: 14691716". Penguin Books, 1963. p.385

    [2][2] Gllego and Gudiol 1987, p. 15.

    [3] Bartolome Esteban Murillo, Britannica online Encyclopedia, retrieved 30 Sept. 2007. (http://www.britannica.com/eb/article-9054349/

    Bartolome-Esteban-Murillo)

    [4][4] Dmaso Alonso, La lengua potica de Gngora (Madrid: Revista de Filologa Espaola, 1950), 112.

    [5] http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/63259/rec/2

    [6] http://nbn-resolving.de/urn:nbn:de:0159-20101025111

    [7] http://edsitement.neh. gov/lesson-plan/lesson-1-sonnets-sor-juana-poet

    Dmaso Alonso, La lengua potica de Gngora (Madrid: Revista de Filologa Espaola, 1950), 112.

    http://edsitement.neh.gov/lesson-plan/lesson-1-sonnets-sor-juana-poethttp://nbn-resolving.de/urn:nbn:de:0159-20101025111http://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/63259/rec/2http://www.britannica.com/eb/article-9054349/Bartolome-Esteban-Murillohttp://www.britannica.com/eb/article-9054349/Bartolome-Esteban-Murillohttp://edsitement.neh.gov/lesson-plan/lesson-1-sonnets-sor-juana-poethttp://en.wikipedia.org/w/index.php?title=Institute_of_European_Historyhttp://en.wikipedia.org/w/index.php?title=European_History_Onlinehttp://nbn-resolving.de/urn:nbn:de:0159-20101025111http://en.wikipedia.org/w/index.php?title=Special:BookSources/9780810939066http://en.wikipedia.org/w/index.php?title=International_Standard_Book_Numberhttp://libmma.contentdm.oclc.org/cdm/compoundobject/collection/p15324coll10/id/63259/rec/2http://en.wikipedia.org/w/index.php?title=Portugalhttp://en.wikipedia.org/w/index.php?title=Gil_Vicentehttp://en.wikipedia.org/w/index.php?title=Chilehttp://en.wikipedia.org/w/index.php?title=Spanish_conquesthttp://en.wikipedia.org/w/index.php?title=La_Araucanahttp://en.wikipedia.org/w/index.php?title=Alonso_de_Ercillahttp://en.wikipedia.org/w/index.php?title=Lazarillo_de_Tormeshttp://en.wikipedia.org/w/index.php?title=Estebanillo_Gonz%C3%A1lezhttp://en.wikipedia.org/w/index.php?title=Mateo_Alem%C3%A1nhttp://en.wikipedia.org/w/index.php?title=Guzm%C3%A1n_de_Alfarachehttp://en.wikipedia.org/w/index.php?title=Francisco_de_Quevedohttp://en.wikipedia.org/w/index.php?title=El_busc%C3%B3nhttp://en.wikipedia.org/w/index.php?title=Picaresque
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    Article Sources and Contributors 14

    Article Sources and ContributorsSpanish Golden Age Source: http://en.wikipedia.org/w/index.php?oldid=572474317 Contributors: 2deseptiembre, 3Flix, 777sms, A412, AlbertSM, Alexanderj, Alonso de Mendoza,AngChenrui, Anna Lincoln, Annamariarubio, Antandrus, Appleseed, Attilios, Auntof6, Austriacus, Belovedfreak, Boleslaw, Bolivian Unicyclist, Brunnock, Calliopejen1, CarlosPatio, Cgh75,Colonies Chris, CommonsDelinker, Damifb, DanielNuyu, DanyMountbatten, Daven200520, Davius, Dbachmann, DionysosProteus, Dtremenak, Ecelan, Error, Fedallah, Fernando S. Aldado,Fieldday-sunday, Flauto Dolce, Fq2696, Furrykef, F, Ganymead, Geher, Ghirlandajo, Gimferrer, Glane23, Glasperlenspiel, HGB, Herr Lennartz, I dream of horses, Infrogmation, Inkbug,J.delanoy, JASpencer, Jagged 85, Jeff3000, Jmabel, John of Reading, Johnbod, KarlFrei, Khazar2, L 0 0 P, L Kensington, Little Savage, MacGyverMagic, Mandarax, Marcelin0, MarkBuckles,Markus Bchele, Markvigil1, Mathglot, Mauronicolini, Meachly, Mexicomida, Modernist, Mozzy66, Msalt, Muhandes, Neddyseagoon, Ollebha, Outriggr, Paul Barlow, Pjoef, Polylerus,

    Prabash.A, Provocateur, RafaelMinuesa, Rataube, Redvers, Rjensen, Rune.welsh, Shunpiker, Simetrical, Slazenger, Sligocki, Spartemis, Speedyear123, StanZegel, Surtsicna, Tabletop, Tamfang,Technopat, The Singing Badger, TheLeopard, TheParanoidOne, TheRanger, Thomas Guibal, Truelight234, TyA, Vrenator, WikHead, WilliamDigiCol, 191 anonymous edits

    Image Sources, Licenses and ContributorsFile:Las Meninas, by Diego Velzquez, from Prado in Google Earth.jpg Source:http://en.wikipedia.org/w/index.php?title=File:Las_Meninas,_by_Diego_Velzquez,_from_Prado_in_Google_Earth.jpg License: unknown Contributors: Boo-Boo Baroo, CommonsDelinker,Dcoetzee, Jean-Frdric, Shakko, Yann

    File:In ictu oculi.jpg Source: http://en.wikipedia.org/w/index.php?title=File:In_ictu_oculi.jpg License: Public Domain Contributors: Anual, Escarlati, JMCC1, Mattes, Panarria, Shakko, 5anonymous edits

    File:El Greco - A View of Toledo - WGA10512.jpg Source: http://en.wikipedia.org/w/index.php?title=File:El_Greco_-_A_View_of_Toledo_-_WGA10512.jpg License: Public DomainContributors: HBook

    Image:Francisco de Zurbarn 018.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Francisco_de_Zurbarn_018.jpg License: Public Domain Contributors: Aavindraa, Auntof6,Emijrp, Mattes, Sailko, Shakko

    File:Murillo immaculate conception.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Murillo_immaculate_conception.jpg License: Public Domain Contributors: Calliopejen1,CommonsDelinker, Deerstop, Enrique Cordero, FischX, Gons, Wmpearl, Xenophon, Yann

    File:Juan de Juni-Santo Entierro.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Juan_de_Juni-Santo_Entierro.jpg License: GNU Free Documentation License Contributors:Jos-Manuel Benito lvarez (Espaa) > Locutus Borg

    Image:Charles V Palace Pano 2009.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Charles_V_Palace_Pano_2009.jpg License: Creative Commons Attribution-Sharealike 3.0Contributors: Hismattness (talk)

    Image:El Escorial-Madrid.jpg Source: http://en.wikipedia.org/w/index.php?title=File:El_Escorial-Madrid.jpg License: Creative Commons Attribution-ShareAlike 3.0 Unported Contributors:Balbo, Jl FilpoC, Stegop, Wst, Xenophon, Zaqarbal

    File:EscorialBiblioteca.jpg Source: http://en.wikipedia.org/w/index.php?title=File:EscorialBiblioteca.jpg License: Creative Commons Attribution-Sharealike 3.0 Contributors: Xauxa HkanSvensson

    Image:PlazaMayorMadrid.JPG Source: http://en.wikipedia.org/w/index.php?title=File:PlazaMayorMadrid.JPG License: Creative Commons Attribution-Sharealike 2.0 Contributors:Gryffindor, OsvaldoGago

    File:Andalusia hl 20060811 006.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Andalusia_hl_20060811_006.jpg License: Creative Commons Attribution-ShareAlike 3.0 UnportedContributors: Balbo, Don Quixote is awesome, Finoskov, Hlohning, Jbribeiro1, Pe-Jo, Zarateman, 2 anonymous edits

    Image:Valladolid - Catedral.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Valladolid_-_Catedral.jpg License: Creative Commons Attribution 2.5 Contributors: Rastrojo (DES)

    Image:Victoria officium.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Victoria_officium.jpg License: Public Domain Contributors: Magog the Ogre

    Image:El ingenioso hidalgo don Quijote de la Mancha.jpg Source: http://en.wikipedia.org/w/index.php?title=File:El_ingenioso_hidalgo_don_Quijote_de_la_Mancha.jpg License: Public

    Domain Contributors: Juan de la Cuesta (impresor); Miguel de Cervantes (autor)Image:Lope de vega 02.jpg Source: http://en.wikipedia.org/w/index.php?title=File:Lope_de_vega_02.jpg License: Public Domain Contributors: Balbo, JuTa, Larry Yuma, 1 anonymous edits

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