Madrid: A City of Artistic Delights and Historical Treasures
By Ava Siskin
We began our day in Madrid after a long train ride from Granada. As the capital of Spain, Madrid is an important cultural and historical center, home to some of the country’s most renowned museums and landmarks. One of these is the Museo del Prado, founded in 1819, which houses one of the world’s finest collections of Spanish art. Much of the collection was assembled by the Spanish monarchy, including members of the Habsburg dynasty such as Philip II. Philip II is known for overseeing Spain during the height of its imperial power, including the expansion of Spanish influence in North Africa and the colonization of the Philippines, which was named in his honor. He was also married to Mary I of England, often known as “Bloody Mary,” a nickname derived from her persecution of Protestants during her reign.
Statue of one of the Muses. Photo by Ava Siskin.
During our tour of the museum, one of the works we encountered was The Garden of Earthly Delights by Hieronymus Bosch, a Dutch painter (I am not including images of the painting in this blog post because photography was not permitted in the galleries, except in the main entrance hall). In this triptych, Bosch depicts the Garden of Eden in the left panel, where Adam and Eve appear alongside God. This scene symbolizes the creation of Eve and her presentation to Adam. The central panel portrays a vast landscape populated by humans, animals, and fantastical creatures. Many of the figures are nude and engaged in various activities that have often been interpreted as representations of earthly pleasure and temptation, particularly the sin of lust. The right panel is generally understood to depict Hell, with its dark landscape, strange figures, and a burning city in the background. This painting stood out to me because it reflects Christian ideas about sin, temptation, and salvation during the late fifteenth and early sixteenth centuries. Christianity emphasizes the recognition of sin and the need for repentance, with the belief that salvation comes through faith and moral conduct, while unrepentant sin can lead to damnation. These themes are reflected throughout the painting, particularly in the contrast between the central panel’s indulgence and the punishment depicted in Hell. According to our tour guide, in Bosch’s interpretation of Christian moral ideas, sin can be understood as a process that distances a person from their full humanity, making them more “animal-like.” This interpretation helps explain the presence of animals in The Garden of Earthly Delights, particularly in relation to themes of temptation and indulgence.
Another piece that stood out to me is The Fountain of Grace by Jan van Eyck. Painted in the 15th century, and according to our tour guide, this piece can be read as referencing themes related to the Reconquista and the broader historical context of the expulsion of non-Christians from Spain. At the top are Christ, John the Baptist, and the Virgin Mary, while in the lower section of the painting are two groups of figures: Christians on the left and a group often interpreted as non-Christian populations, including Jews, on the right. With this interpretation, the painting can be connected to our course in that it reflects ideas about religious inclusion and exclusion in Spain following the Reconquista. In the scene, the figures in the lower right appear separated from the fountain at the center, which represents divine grace. This spatial distance can be interpreted symbolically as exclusion from salvation within Christian theology. After the Reconquista, Jews in Spain were ultimately faced with the choices of conversion or expulsion. Within this framework, the separation of the non-Christian figures from the fountain can be read symbolically as representing Christianity’s perceived triumph over Judaism.
After a short lunch break, in the afternoon, we went on a walking tour of Madrid. Our guide took us to Puerta del Sol, the famous center of both Madrid and Spain, where Kilometer Zero is located. According to our guide, all of Madrid’s roads are measured from this point. We then visited Plaza Mayor, a major historic square in the city. According to our guide, it was used at different points in history for public ceremonies, including events associated with the Spanish Inquisition. Those found guilty of heresy were publicly punished in that space, with executions including burning or decapitation. Plaza Mayor originally developed as a central marketplace when Madrid expanded as a royal capital. After the Spanish court moved from Toledo to Madrid in the 16th century, the city grew in importance, and Plaza Mayor became one of its central public spaces. Additionally, Madrid is home to Sobrino de Botín, often cited as one of the oldest continuously operating restaurants in the world, dating back to 1725. For our final stop of the trip, we visited the Royal Palace, where the King of Spain greets royal guests and ambassadors. Today, he greeted Pope Leo XIV at this exact location, as the Pope is currently in Madrid until June 9th. Although this is not the official residence of the Spanish royal family, they instead live in the Palace of Zarzuela, outside the city.
Prior to our visit, my knowledge of Madrid was very limited. I feel that our tour guide and Professor Rabinovitch did an amazing job teaching us about the history of the city. I found many similarities and familiar topics in this city. For example, in my opinion, The Fountain of Grace is similar to The Surrender of Granada by Francisco Pradilla Ortiz, which Professor Rabinovitch discussed during our lecture a few days ago in Granada. Both paintings emphasize pride, the triumph of Christianity, and connections to the Reconquista. All of the paintings and sights that we saw today seem connected, and I am excited to learn more tomorrow on our tour of Toledo, the former capital of Spain.
From left to right: Kilometer Zero; Plaza Mayor; Sobrino de Botín; Guinness World Record certificate of Sobrino de Botín. Photo by Ava Siskin.