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). 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 in 1770. Currently in Museo del Prado. 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
Ferdinand VI. At the sides of the shield are engraved two inscriptions. The left one reads "Philippus II / Institvit / Philippus V / provexit" (initiated by Philip II and continued by Philip V). The right one reads " Ferdinandu / VI Pius Felix / Consummavit / An MDCCLII" (Completed in 1752 by the faithful and devout Ferdinand VI).
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
Giacomo Bonavía at the behest of
Ferdinand VI. The
balustrade is of black iron with gold trim and fits within the
Rococo trend. From the ceiling hangs an
Empire style large chandelier gilt bronze and crystal from
La Granja.
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
Louis XIV of France, his wife
Maria Theresa of Spain and their son
Louis, Grand Dauphin. These busts were made in 1683 by French sculptor
Antoine Coysevox. The presence of these three French characters in the palace is explained by the connections to the Spanish Royal
Bourbon family with the French monarchy and particularly The Grand Dauphin who was the father of Philip V and his parents, the grandparents of Philip. In almost all halls of are clocks of all sizes and characteristics, as King Charles IV was a collector of clocks and an
Horologer.
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
Luca Giordano:
Jupiter and
Leda,
Aeolus (the god of wind) and
Triptolemus (the threefold warrior). The furniture is of
Empire style.
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
Eugénie de Montijo to Queen
Isabella II. The rest of the furniture is
Empire style mahogany. The bronze
neo-Gothic lamp hanging from the ceiling is 19th-century.
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
Charles IV by
Juan de Villanueva. Decorated with
stucco, in its walls are
frescoes painted around 1791 by
Francisco Bayeu y Subías, who was the brother in law of
Francisco de Goya. The subjects represented are
Adoration of the Magi,
Adoration of the Shepherds, the
Flight into Egypt,
Visitation and
Zechariah and St. Elizabeth with the
Virgin Mary. In addition to the pillars that form the frame of the main altar are St.
Matthew and St.
Luke. In the center of the vault is depicted
God the Father with a celestial host of
angels. At top of the dome flies the dove of the
Holy Spirit. The canvas of the Immaculate Mary occupying the central space is by
Mariano Salvador Maella.
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
Jan Brueghel the Elder. A landscape by
Martínez del Mazo, two paintings of small size with view of classical buildings, painted by
Francisco Galli Bibiena, and three vases by Arellano are some other of most interesting. The vault is frescoed in Pompeian style by
Mariano Salvador Maella with scenes from the
Passion of Christ. Next to this hall is a small chapel or private oratory with a painting of the Virgin by
Luca Giordano. The lamp hanging from ceiling is of
La Granja de San Ildefonso' glass. The furniture is from the era of Charles IV, built at the Royal Workshop, highlighting in them fine marquetry work.
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
Zacarías González Velázquez with allegories of Science, Virtue, Art, Law and Monarchy. The centerpiece is the Isabella II style bed a gift of the city of
Barcelona to Queen Isabella II during her marriage to
Francis of Assisi of Bourbon. The consoles are works by French cabinetmaker
Daumier's workshop.
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
debating chamber during the reign of
Ferdinand VI,
Charles III used it as a
banquet hall for gala occasions, as the palace has several less formal dining rooms. It has a vaulted ceiling painted around 1750 by
Jacopo Amigoni with a complicated moralizing symbology. The figure of
Father Time is surrounded by women who are trying to
clip his wings to prevent
time flying away. Truth is portrayed as matron of angels while Wisdom pays her homage. The monarchy is depicted by its positive attributes and virtues (Justice, Religion, Bounty, the Angel of Peace with an olive branch, Faith and Charity as a woman protecting children). There is a series of
grisaille representing parts of the world where the Monarchy had its possessions. Occasionally this space was also used as a ballroom. The floor is
Rococo style of very good quality, with stucco work by Carlo Antonio Bernasconi, representing military attributes, sheet music and musical instruments.
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
La Granja de San Ildefonso's factory. The hall was used as a dressing room for King
Charles IV. The ceiling is frescoed in Pompeian style, done by Juan de Mata Duque around 1803.
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
Empire style furniture is made by
Jacob Desmalter,
Napoleon's cabinetmaker.
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==