Tel. 91- 454 88 00
Subway: Opera, Plaza de Espana
Bus: 3, 25, 33, 39, 148
Open: Apr- Sep: 9am- 6pm Mon- Sat, 9am- 3pm Sun & holidays;
Oct- Mar: 9:30am- 5 pm Mon- Sat, 9am- 2 pm Sun & holidays
Palacio Real de Madrid or a Royal Palace of Madrid is one of the largest existing royal palaces in Europe. Its collection of art is truly an impressive. Priceless collection of masterpieces of Giovanni Battista Tiepoli, Luca Giordano, Caravaggio, Anton Mengs, Mariano Salvador Mael, Vicente Lopes and many others hang on walls. Additionally Palacio Real de Madrid has a large collection of Stradivarius violas, porcelain, clocks and medieval armor of knights. And all this is only part of the splendor concentrated here. In addition to splendor of Palace Real palace halls you can enjoy peace and quiet of the Royal Library, the Museum of Applied Arts and Royal Pharmacy. Behind the palace you can see beautiful gardens of Campo del Moro that were opened here in the 19th century.
Origins and Early History
The history of the Palacio Real de
Madrid, also known as the Royal Palace of Madrid, traces its roots
back to the 9th century during the Muslim rule of the Iberian
Peninsula. The site was originally a fortress constructed by Emir
Muhammad I of Córdoba between 860 and 880 AD as part of a defensive
system along the Manzanares River. This early structure, known as
the Alcázar, served primarily military purposes, protecting the
Muslim settlement of Mayrit (the precursor to modern Madrid). After
the Christian reconquest, particularly following the fall of Toledo
in the 11th century, the fortress transitioned into a royal
residence under the Castilian monarchs. King Henry III of Castile
(r. 1390–1406) added several towers in the 14th century, enhancing
its defensive capabilities, while his son John II (r. 1406–1454)
began using it more regularly as a palace.
During the late Middle
Ages, the Alcázar became a key stronghold for the Trastámara
dynasty. It played a significant role in the War of the Castilian
Succession (1475–1479), where troops loyal to Joanna la Beltraneja
were besieged there in 1476, resulting in substantial damage. The
only surviving medieval depiction of the structure is a 1534 drawing
by Flemish artist Jan Cornelisz Vermeyen, which illustrates its
fortress-like appearance with towers and walls. Under the Habsburgs,
Emperor Charles V (r. 1516–1556) initiated major renovations in
1537, employing architects Alonso de Covarrubias and Luis de Vega to
modernize and expand the building, blending Renaissance elements
into the medieval core.
When Philip II (r. 1556–1598) designated
Madrid as the capital of Spain in 1561, the Alcázar gained even
greater prominence. He continued expansions, followed by his
successors Philip III (r. 1598–1621) and Philip IV (r. 1621–1665),
who added a long southern façade between 1610 and 1636. Despite
these improvements, the palace retained a relatively austere
Habsburg style, focusing on functionality over opulence. Philip IV's
reign marked a cultural high point, often called the Golden Age of
Spanish Art, during which he patronized artists like Diego Velázquez
and Francisco de Zurbarán. Although Philip IV's main artistic
project was the Buen Retiro Palace (built 1633–1640 under Count-Duke
Olivares), the Alcázar housed significant treasures and served as a
repository for royal collections.
Bourbon Era and the Great
Fire
The transition to the Bourbon dynasty in 1700 under Philip V
(r. 1700–1746), the first Bourbon king of Spain, brought French
influences inspired by Versailles. Philip V renovated the royal
apartments, enlisting architects Teodoro Ardemans and René Carlier,
while his queens—Maria Luisa of Savoy and later Elisabeth
Farnese—influenced the interior decorations. However, tragedy struck
on Christmas Eve 1734, when a devastating fire, believed to have
started in the rooms of court painter Jean Ranc, engulfed the
Alcázar. The blaze lasted four days, exacerbated by confusion over
alarm bells (mistaken for a call to midnight mass) and locked doors
to prevent looting. The fire destroyed the entire structure,
including priceless artworks, though some pieces like Titian's La
Dolorosa and Velázquez's Expulsion of the Moriscos were saved by
being thrown from windows.
Reconstruction and Architectural
Development
Philip V seized the opportunity to rebuild on a grand
scale, commissioning a new palace on the same site starting in 1735.
The design drew from Gian Lorenzo Bernini's unbuilt plans for the
Louvre, emphasizing Baroque grandeur with neoclassical elements.
Italian architect Filippo Juvarra (1678–1736) led the initial
project, proposing an enormous structure, but he died shortly after,
and his disciple Giovanni Battista Sacchetti (also known as Juan
Bautista Sacchetti) took over in 1736. Sacchetti simplified
Juvarra's vision to a more manageable square plan with a large
courtyard and projecting wings for panoramic views. Key
collaborators included Spanish architects Ventura Rodríguez,
Francesco Sabatini, and Martín Sarmiento.
Construction lasted
from 1738 to 1755, using durable materials like Colmenar stone and
granite to prevent future fires. Charles III (r. 1759–1788), Philip
V's son, was the first to occupy the palace in 1764, further
expanding it with Sabatini's additions, such as the southeast tower
(la de San Gil) and planned northern extensions (interrupted by
funding issues). The palace's façade features a rusticated base,
Ionic columns, and a balustrade adorned with statues of Spanish
kings and emperors, many relocated under Charles III for a more
classical aesthetic. Interiors boast lavish decorations, including
frescoes by Giovanni Battista Tiepolo, Corrado Giaquinto, and Anton
Raphael Mengs, and collections like the Royal Armoury (with armor
from Charles V and Philip II), porcelain rooms, and the only
complete Stradivarius string quintet in the world.
19th and
20th Century Transformations
In the 19th century, Ferdinand VII
(r. 1808–1833, with interruptions) undertook extensive renovations,
shifting from Italian to French neoclassical styles after his exile
in France during the Peninsular War. Alfonso XII (r. 1874–1885)
introduced Victorian elements, remodeling rooms with parquet floors
and new furniture under architect José Segundo de Lema (1879–1885).
The palace endured damage during the Spanish Civil War (1936–1939),
requiring post-war restorations that reproduced lost elements.
Surrounding areas evolved too: The Plaza de la Armería was laid out
in 1892, facing the Almudena Cathedral (built 1879–1993). The Plaza
de Oriente, with its equestrian statue of Philip IV by Pietro Tacca,
was designed in 1844 by Narciso Pascual y Colomer. Gardens like the
Campo del Moro (expanded romantically under Isabella II) and
Sabatini Gardens (completed in the 1930s and opened in 1978) added
landscaped elegance.
During the Second Spanish Republic
(1931–1939), it was renamed Palacio Nacional and opened to the
public. Many artworks were transferred to the Prado Museum in the
19th century, but the palace retains significant collections,
including the Royal Library (with medieval codices) and Pharmacy
(dating to Philip II).
Modern Role and Significance
Today,
the Palacio Real is the largest functioning palace in Europe, with
135,000 square meters and 3,418 rooms, though the Spanish royal
family resides at the Zarzuela Palace. Owned by the state and
managed by Patrimonio Nacional, it serves mainly for state
ceremonies, such as the 2004 wedding banquet of Felipe VI and
Letizia Ortiz. Designated a Cultural Heritage Monument in 1931, it
symbolizes Spain's monarchical history, from Muslim fortress to
Bourbon splendor, reflecting shifts in power, art, and architecture
across centuries. Open to visitors (with fees, sometimes free), it
attracts millions, showcasing its enduring legacy as a testament to
Spain's imperial past and cultural wealth.
Exterior Architecture
The palace is laid out in a massive
square plan, organized around a central courtyard (Courtyard of
Honor) that serves as a grand parade ground. This layout creates a
sense of enclosure and introspection, with galleries lining the
inner perimeter. The principal façade, facing the Plaza de la
Armería (Armory Square) and opposite the Almudena Cathedral,
features projecting wings that extend forward, resolving sightline
issues and adding depth to the composition. Built on a granite base
with upper levels in white Colmenar limestone, the exterior
transitions from a rustic, robust lower story to more refined,
lighter upper floors, evoking a sense of ascension and nobility.
The façades are punctuated by a rhythmic arrangement of windows,
larger on the lower levels and diminishing in size toward the top,
framed by Ionic columns and pilasters that span multiple stories.
This colossal order unifies the elevation, while decorative elements
like balustrades, relief sculptures, and a prominent clock designed
by Sabatini adorn the roofline. The overall effect is one of
balanced grandeur, blending the exuberant curves and details of
Baroque with the orderly proportions of Neoclassicism. The palace's
position on a natural escarpment overlooking the Manzanares River
enhances its imposing presence, with the eastern façade opening onto
the Campo del Moro gardens.
Interior Architecture and Key
Spaces
Internally, the palace is a labyrinth of opulent rooms,
galleries, and service areas, totaling over 3,000 spaces across
multiple floors. The design accommodates royal living quarters,
administrative offices, and ceremonial halls, with a vertical
hierarchy: lower floors for utilitarian purposes, upper ones for
private and state functions. Vaulted ceilings dominate, ensuring
structural integrity and fire safety, while decorations evolve from
Baroque flamboyance under Philip V to more restrained Neoclassical
touches under Charles III and Ferdinand VII.
The Main Staircase,
designed by Francesco Sabatini, is a highlight: a grand
double-flight ascent with over 70 marble steps, flanked by lion
sculptures and frescoed ceilings depicting allegories of monarchy
and abundance. It leads to the piano nobile, the principal floor
housing state apartments.
Among the most celebrated rooms is the
Throne Hall (Salón del Trono), a Baroque masterpiece with a vaulted
ceiling frescoed by Giambattista Tiepolo, illustrating the
"Apotheosis of the Spanish Monarchy." The space features red velvet
walls, golden thrones, crystal chandeliers, and mirrors that amplify
its splendor, serving as the venue for royal audiences and
ceremonies.
The Gasparini Room, named after its designer Matteo
Gasparini, exemplifies Rococo influence with intricate stucco work,
silk wall hangings, and floral motifs in porcelain, embroidery, and
furniture. It functioned as a dressing room for Charles III,
blending functionality with artistic excess.
Other notable areas
include the Hall of Halberdiers (converted into a guards' room by
Charles III), adorned with tapestries and military motifs; the Royal
Chapel, a domed space housing a collection of Antonio Stradivari
string instruments and religious artworks; and the Royal Pharmacy,
with 18th-century cabinets, ceramic jars from La Granja factory, and
historical prescriptions. The palace also boasts extensive galleries
filled with masterpieces by artists like Caravaggio, Velázquez, and
Goya, as well as one of Europe's oldest preserved kitchens.
The
Hall of Mirrors, added by Charles IV, echoes Versailles with its
reflective surfaces and ornate details, while later additions under
Ferdinand VII include clocks, chandeliers, and furnishings that
enhance the eclectic interior.
Architectural Significance and
Legacy
The Palacio Real embodies the Bourbon dynasty's ambition
to modernize Spanish architecture, shifting from the austere
Habsburg style to a more international, enlightened aesthetic. Its
fireproof design, monumental scale, and integration of art with
architecture make it a pinnacle of 18th-century European palace
building. Expansions by Sabatini, including the southeast wing,
further refined its Neoclassical elements, ensuring harmony with
surrounding structures like the cathedral. Today, it remains a
symbol of Spanish heritage, blending historical layers into a
cohesive architectural narrative.