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computer information systems and accounting as well as a Master of Arts in adult
and continuing education.
• ISBN-10 : 9781337102124
• ISBN-13 : 978-1337102124
Table contents:
CHAPTER 1: An Introduction to Visual Studio 2017 and Visual Basic
FOCUS ON THE CONCEPTS LESSON
F-1 Computer Programming Terminology?
F-2 The Programmer’s Job
F-3 The Visual Basic Programming Language?
F-4 The Visual Studio IDE?
F-5 Assigning Names to Objects
Apply the Concepts Lesson
A-1 Start and Configure Visual Studio Community 2017
A-2 Create a Windows Forms Application?
A-3 Manage the Windows in the IDE
A-4 Change a Form File’s Name
A-5 Change the Properties of a Form
The Name Property
The Font Property
The MaximizeBox, StartPosition, and Text Properties
A-6 Save a Solution
A-7 Close and Open a Solution
A-8 Add a Control to a Form
A-9 Use the Format Menu?
A-10 Lock the Controls on the Form??
A-11 Start and End an Application?
A-12 Enter Code and Comments in the Code Editor Window
The Me.Close() Statement
Assignment Statements and Comments
A-13 Print an Application’s Code and Interface
A-14 Exit Visual Studio and Run an Executable File
Summary
Key Terms
Review Questions
Exercises
CHAPTER 2: Planning Applications and Designing Interfaces
FOCUS ON THE CONCEPTS LESSON
F-1 Planning a Windows Forms Application
F-2 Windows Standards for Interfaces
Guidelines for Identifying Labels and Buttons
Guidelines for Including Graphics
Guidelines for Selecting Fonts
Guidelines for Using Color
F-3 Access Keys
F-4 Tab Order
Apply the Concepts Lesson
A-1 Create a Planning Chart for a Windows Forms Application
A-2 Design an Interface Using the Windows Standards
A-3 Add a Label Control to the Form
A-4 Add a Text Box to the Form
A-5 Set the Tab Order
Summary
Key Terms
Review Questions
Exercises
CHAPTER 3: Coding with Variables, Named Constants, and Calculations
FOCUS ON THE CONCEPTS LESSON
F-1 Pseudocode and Flowcharts
F-2 Main Memory of a Computer
F-3 Variables
Selecting an Appropriate Data Type
Selecting an Appropriate Name
Examples of Variable Declaration Statements
F-4 TryParse Method
F-5 Arithmetic Expressions
F-6 Assigning a Value to an Existing Variable
F-7 ToString Method
F-8 Option Statements
F-9 Named Constants
Apply the Concepts Lesson
A-1 Determine a Memory Location’s Scope and Lifetime
A-2 Use Procedure-Level Variables
A-3 Use Procedure-Level Named Constants
A-4 Use a Class-Level Variable
A-5 Use a Static Variable
A-6 Use a Class-Level Named Constant
A-7 Professionalize Your Application’s Interface
Coding the TextChanged Event Procedure
Coding the Enter Event Procedure
Summary
Key Terms
Review Questions
Exercises
CHAPTER 4: The Selection Structure
FOCUS ON THE CONCEPTS LESSON
F-1 Selection Structures
F-2 If…Then…Else Statement
F-3 Comparison Operators
Comparison Operator Example: Total Due Application
Comparison Operator Example: Net Income/Loss Application
F-4 Logical Operators
Logical Operator Example: Gross Pay Calculator Application
F-5 Summary of Operators
F-6 String Comparisons
String Comparison Example: Shipping Application
F-7 Nested Selection Structures
F-8 Multiple-Alternative Selection Structures
F-9 Select Case Statement
Specifying a Range of Values in a Case Clause
Apply the Concepts Lesson
A-1 Add a Check Box to a Form
A-2 Code an Interface That Contains Check Boxes
CheckBox’s CheckedChanged Event
A-3 Add a Radio Button to a Form
A-4 Code an Interface That Contains Radio Buttons
RadioButton’s CheckedChanged Event
Using the Select Case Statement with Radio Buttons
A-5 Group Objects Using a Group Box Control
A-6 Professionalize Your Application’s Interface
Coding a Text Box’s KeyPress Event Procedure
A-7 Professionalize Your Code Using Arithmetic Assignment Operators
Summary
Key Terms
Review Questions
Exercises
CHAPTER 5: The Repetition Structure
FOCUS ON THE CONCEPTS LESSON
F-1 Repetition Structures
F-2 Do…Loop Statement (Pretest Loop)
F-3 String Concatenation
F-4 Infinite Loops
F-5 Do…Loop Statement (Posttest Loop)
F-6 Counters and Accumulators
F-7 For…Next Statement
Comparing the For…Next and Do…Loop Statements
Flowcharting a For…Next Loop
Apply the Concepts Lesson
A-1 Use a Loop, a Counter, and an Accumulator
A Different Version of the Projected Sales Application
A-2 Add a List Box to a Form
Using the String Collection Editor to Add Items to a List Box
The Sorted Property
The SelectedItem and SelectedIndex Properties
The SelectedValueChanged and SelectedIndexChanged Events
A-3 Use the Methods and a Property of the Items Collection
Count Property
Clearing the Items from a List Box
A-4 Calculate a Periodic Payment
ListBox, Loop, and Financial.Pmt Example: Monthly Payment Application
A-5 Nest Repetition Structures
Nested Repetition Structure Example: Savings Account Application
A Caution About Real Numbers
A-6 Professionalize Your Application’s Interface
Summary
Key Terms
Review Questions
Exercises
CHAPTER 6: Sub and Function Procedures
FOCUS ON THE CONCEPTS LESSON
F-1 Event-Handling Sub Procedures
F-2 Independent Sub Procedures
No Parameters/Arguments Example: History Grade Application
F-3 Passing Information to a Procedure
Passing Variables by Value Example: Gross Pay Application
Passing Variables by Reference Example: Concert Tickets Application
F-4 Rounding Numbers
F-5 Function Procedures
Apply the Concepts Lesson
A-1 Add a Combo Box to the Form
A-2 Add Items to a Combo Box and Select a Default Item
A-3 Code a Combo Box’s KeyPress Event Procedure
A-4 Create an Event-Handling Sub Procedure
A-5 Calculate Federal Withholding Tax
A-6 Invoke an Independent Sub Procedure and a Function
A-7 Create an Independent Sub Procedure
A-8 Create a Function
A-9 Validate an Application’s Code
A-10 Professionalize Your Application’s Interface
Summary
Key Terms
Review Questions
Exercises
CHAPTER 7: String Manipulation
FOCUS ON THE CONCEPTS LESSON
F-1 Length Property
The Product ID Application
F-2 Insert Method
F-3 PadLeft and PadRight Methods
The Net Pay Application
F-4 Contains and IndexOf Methods
The City and State Application
F-5 Substring Method
The Rearrange Name Application
F-6 Character Array
The First Name Application
F-7 Remove Method
F-8 Trim, TrimStart, and TrimEnd Methods
The Tax Calculator Application
F-9 Replace Method
F-10 Like Operator
Inventory Application
Apply the Concepts Lesson
A-1 Code the Check Digit Application
A-2 Code the Password Application
A-3 Generate Random Integers
A-4 Code the Guess a Letter Application
Use the Enabled Property and Focus Method
A-5 Code the Guess the Word Game Application
Coding the btnNewWord_Click Procedure
Coding the btnTryLetter_Click Procedure
Summary
Key Terms
Review Questions
Exercises
CHAPTER 8: Arrays
FOCUS ON THE CONCEPTS LESSON
F-1 Arrays
F-2 Declaring One-Dimensional Arrays
Storing Data in a One-Dimensional Array
Determining the Number of Elements in a One-Dimensional Array
Determining the Highest Subscript in a One-Dimensional Array
Traversing a One-Dimensional Array
F-3 For Each...Next Statement
F-4 Calculating the Average Array Value
F-5 Finding the Highest Array Value
F-6 Sorting a One-Dimensional Array
F-7 Two-Dimensional Arrays
Declaring a Two-Dimensional Array
Storing Data in a Two-Dimensional Array
Determining the Highest Subscript in a Two-Dimensional Array
Traversing a Two-Dimensional Array
Totaling the Values Stored in a Two-Dimensional Array
Apply the Concepts Lesson
A-1 Associate an Array with a Collection
A-2 Create Accumulator and Counter Arrays
A-3 Create Parallel One-Dimensional Arrays
A-4 Search a Two-Dimensional Array
Summary
Key Terms
Review Questions
Exercises
CHAPTER 9: Sequential Access Files and Menus
FOCUS ON THE CONCEPTS LESSON
F-1 Sequential Access Files
F-2 Sequential Access Output Files
Output File Example: Game Show Application
F-3 Sequential Access Input Files
ReadToEnd Method Example: Game Show Application
ReadLine Method Example: Game Show Application
Apply the Concepts Lesson
A-1 Add a Menu to a Form
GUI Guidelines for Menus
Menu Example: Continents Application
A-2 Code the Items on a Menu
A-3 Modify a Menu
A-4 Accumulate the Values Stored in a File
A-5 Sort the Data Contained in a File
A-6 Professionalize Your Application’s Interface
Summary
Key Terms
Review Questions
Exercises
CHAPTER 10: Classes and Objects
FOCUS ON THE CONCEPTS LESSON
F-1 Object-Oriented Programming
F-2 Creating a Class
F-3 Instantiating an Object
F-4 Attributes Section of a Class
Attributes Section Example: Franklin Decks Application
F-5 Behaviors Section of a Class
Constructors
Methods Other than Constructors
Behaviors Section Example: Franklin Decks Application
Using the Rectangle Class: Franklin Decks Application
F-6 Adding a Parameterized Constructor to a Class
F-7 Reusing a Class
Apply the Concepts Lesson
A-1 Use a ReadOnly Property
A-2 Create Auto-Implemented Properties
A-3 Overload Methods
Summary
Key Terms
Review Questions
Exercises
CHAPTER 11: SQL Server Databases
FOCUS ON THE CONCEPTS LESSON
F-1 Basic Database Terminology
F-2 Creating a SQL Server Database
F-3 Adding a Table to a Database
F-4 Adding Records to a Table
F-5 Data Source Configuration Wizard
F-6 Binding the Objects in a Dataset
Having the Computer Create a Bound Control
F-7 DataGridView Control
F-8 Copy to Output Directory Property
F-9 Try...Catch Statement
F-10 Two-Table Databases
Relating the Tables
Creating a Database Query
Displaying the Query Information
Apply the Concepts Lesson
A-1 Create a Data Form
A-2 Bind Field Objects to Existing Controls
A-3 Perform Calculations on the Fields in a Dataset
Summary
Key Terms
Review Questions
Exercises
CHAPTER 12: Database Queries with SQL
FOCUS ON THE CONCEPTS LESSON
F-1 SELECT Statement
F-2 Creating a Query
F-3 Parameter Queries
F-4 Saving a Query
F-5 Invoking a Query from Code
Apply the Concepts Lesson
A-1 Add a Calculated Field to a Dataset
A-2 Use the SQL Aggregate Functions
A-3 Professionalize Your Application’s Interface
Summary
Key Terms
Review Questions
Exercises
CHAPTER 13: Web Site Applications
FOCUS ON THE CONCEPTS LESSON
F-1 Basic Web Terminology
F-2 Creating a Web Site Application
F-3 Starting a Web Application
F-4 Modifying the Site.master Page
F-5 Personalizing the Default.aspx Page
F-6 Personalizing the About.aspx Page
F-7 Testing with Different Browsers
F-8 Closing and Opening a Web Site Application
Apply the Concepts Lesson
A-1 Repurpose an Existing Web Page
A-2 Add a Table and Controls to a Web Page
A-3 Code a Control on a Web Page
A-4 Use a Validation Control
Summary
Key Terms
Review Questions
Exercises
APPENDIX A: GUI Design Guidelines
APPENDIX B: Additional Topics
APPENDIX C: Finding and Fixing Program Errors
APPENDIX D: Visual Basic 2017 Cheat Sheet
APPENDIX E: Case Projects
Index
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 On Christmas night, 1734, the Royal Palace of the Alcazar was on fire,
and the building and all its treasures were utterly destroyed. This disaster
afforded Philip V. the opportunity to display his powers as a master builder.
He had already created the Palace of San Ildefonso at La Granja, he had
rebuilt the palace at Aranjuez, he had tinkered at the Alcazar at Seville.
Now he would create a marble monument that should surpass the
magnitude and magnificence of Philip the Second’s Escorial and outstrip in
splendour the Versailles palace of Louis XIV. Such a work was beyond the
art of the followers of Churriguera: he sent to the Court of Turin for the
Abbé Felipe de Juvara, the Sicilian, and confided to him the scheme of the
palace that he would raise on the heights of San Bernardino. It was to be a
square edifice of the composite order, having four façades, each 1700 feet
long, it was to contain twenty-three courts, approached by thirty-four
entrances from the exterior, and be completed with gardens, churches,
public offices, and a theatre. It was to be a collection of palaces under one
roof, and the colossal model of the building, which is preserved in the
Galeria Topografica of the Madrid Museum, conveys some idea of the
marvel of architecture which the king and his designer had conceived
between them. But the palace on the San Bernardino hill was never begun.
The ruling ambition of the masterful Elizabeth Farnese was to advance the
interests of her children, and she begrudged the expense which the colossal
building would entail. She raised so many difficulties and delayed so long
the adoption of the plans that Juvara died of hope deferred, and Giovanoni
Battista Saccheti came from Turin to carry on the work. The queen by this
time had exhausted Philip’s resistance to her will, and Sacchetti’s less
pretentious design, traced among the still smouldering ruins of the ancient
Alcazar, was adopted on 7th April 1737.
A year later the first stone of the present palace was laid. The
foundation-stone bore a commemorative description and enclosed a leaden
casket, containing gold, silver, and copper coins from the mints of Madrid,
Seville, Mexico, and Peru. The work of ensuring the solidity of the
foundations by moulding them into the western slope of the hill cost an
enormous sum of money, entailed an immense amount of labour, and
occupied a proportionately extensive period of time. In 1808 the palace had
cost 75,000,000 pesetas, and the subsequent alterations, which included the
enclosing of the Campo del Moro with a wall and gilded railing, brought up
the sum total to the enormous sum of over 100,000,000 pesetas. Philip died
in 1746, long before the palace he had projected was near completion. The
work went on through the thirteen years’ reign of Philip VI., and when
Charles III. came to Madrid in 1759 he recognised that unless the rate of
progress was accelerated he would have to occupy the building at the Buen
Retiro for the rest of his life. Under his resolute authority the work was
pushed on with more vigour, and it was ready for his occupation on 1st
December 1764. It had taken over a quarter of a century to build, it had cost
Spain three millions sterling, but it gained the place that Philip V.
anticipated for it among the palaces of the world.
It has been said, and the statement is but slightly exaggerated, that our
own Buckingham Palace looks shabby and insignificant beside this vast pile
of shimmering, white masonry, this truly royal residence, this unique
museum, which contains every variety of art treasures. The architecture
selected is the unpoetical but imposing style of the late Renaissance, and the
regularity of the exterior is redeemed from monotony by Ionic columns,
pilasters, and balconies. The massive building, 500 feet square and 100 feet
in height, forms a huge quadrangle, enclosing a court, while two projecting
wings form the Plaza de Armas. The base of the building, which is
composed of three stories above the ground-floor, is of granite, and the
upper portion is of the beautiful white stone of Colmenar, which gleams
like marble. The lower portion is plain, massive, and severe, and the
appearance of the third story is marred by the square port-holes of the entre-
súelos. A wide cornice runs round the top, and above it a stone balustrade,
on the pedestals of which stand rococo vases. In accordance with the first
plans of the palace, the whole of this balustrade was surmounted by statues,
but these were removed on account of their great weight, and are now
scattered all over Madrid.
The principal entrance is in the south façade, but the palace is
approached by five other grand entrances. The east side, which faces on to
the Plaza de Oriente, is called ‘del Principe,’ from the fact that at one time it
was always used by the royal family. On the eastern and southern sides the
height of the edifice is more than doubled by reason of the uneven ground
where it falls away to the river. The northern side faces the Guadarrama
mountains, from which the icy winter blasts have frozen to death many
unfortunate sentries on guard at the Puerta del Diamante. The main southern
entrance leads into a huge patio, some 240 feet square, surrounded by an
open portico, composed of thirty-six arches, surmounted by another row of
arches, forming a gallery with glass windows. In this court are four large
statues of Trajan, Hadrian, Honorius, and Theodosius, the four Roman
emperors who were natives of Spain. The upper vaulting is decorated with
allegorical frescoes, the work of Corrado Giaquinto, representing the
Spanish monarchy offering homage to religion. The famous Grand
Staircase, with its three flights of black and white marble steps,—each step
a single slab of marble—and its celebrated lions, lead out of this court.
Napoleon Bonaparte is reported to have said to his brother Joseph as the
intrusive king made his first ascent of this superb staircase, ‘Vous serez
mieux logé que moi.’ During the same historic tour of the palace the
emperor laid his hand on one of the silver lions in the throne-room, and
remarked to his brother, ‘Je la tiens enfin, cette Espagne si désirée.’
The ground area of the palace is divided into thirty salons, magnificently
furnished and adorned with a profusion of precious marbles and fresco
paintings by Ribera, Gonzalez, Velazquez, Maella, Mengs, Bayeu, and
Lopez. It would be going outside the province of this sketch to describe
each apartment in detail, but special reference must be made to the Hall of
Ambassadors. This magnificent apartment, the largest and richest in the
Palace, occupies the centre of the principal façade, in which it has five
balconies. The whole apartment glows with rich colouring, and scintillates
with a lavish display of precious metals. The rock-crystal chandeliers,
colossal looking-glasses cast at San Ildefonso, the marble tables, the
crimson, and the gilding compose a spectacle of royal magnificence. Here is
the splendid throne of silver, made for the husband of Mary of England, and
mounting guard on either side are the huge lions of the same metal. The
ceiling, painted by Juan Bautista Tiépolo, represents the Spanish Monarchy,
exalted by poetic beings, accompanied by the Virtues, and surrounded by its
dominions in both hemispheres. On a throne, at the sides of which are
Apollo and Minerva, the Monarchy is majestically seated, supported by the
allegorical figures representing the science of Government, Peace and
Justice and Virtue. Another group, on clouds, is formed by Abundance,
Mercy, and other figures. A rainbow crosses the whole ceiling, and between
this and the great circle of clouds circled by angels covering is the
Monarchy. In the same salon is an allegory in praise of Charles III., which is
formed by Magnanimity and Glory, Affability and Counsel. Faith,
enthroned on clouds, has an altar of fire, and is accompanied by Hope,
Charity, Prudence, Strength, and Victory; and an angel carries a chain with
a medal to reward the Noble Arts. Between the cornice Tiépolo displayed
his masterly hand by delineating the provinces of the Spanish Monarchy.
Roberto Michel executed in the angles four gilded medallions, representing
Water and Spring, Air and Summer, Fire and Autumn, and Earth and
Winter. Over the doors are two ovals, one representing Abundance, and the
other Merit and Virtue. All the walls of this regal hall are covered with
crimson velvet bordered with gold. On the right is the statue of Prudence,
on the left that of Justice, and in the two angles traced by the steps are four
gilded bronze lions. Before the superb mirrors in this apartment are costly
tables, and on these marble busts and other no less beautiful objects, the
whole constituting the most beautiful room in the palace, and one of the
first in Europe.
In these salons is the wonderful collection of French clocks which
amused the unproductive leisure of Ferdinand VII., who spent his time in a
profitless endeavour to make them chime simultaneously. The glorious
pictures, now in the Prado, that once adorned these walls were removed by
Ferdinand VII. to make room for his beloved silk hangings. At his death
vaults and store-rooms were emptied of a forgotten accumulation of fine old
furniture, and much portable treasure was removed from the palace. Much
of this has vanished beyond recovery, but during the redecoration of the
building for the reception of the king’s bride, Alfonso XIII. was successful in
recovering a number of splendid bronzes, clocks, and porcelain vases,
which now adorn the principal apartments.
The Guard Room, occupied by the Royal Halberdiers, is at the head of
the Royal Staircase, and opens into the enormous Hall of Columns. The
columns which support the corner medallions are similar to those on the
staircase, and the ceiling is painted by Conrado Giaquinto. The paving is of
variegated marbles; the only decorations of the apartments are its
medallions, its cornices of trophies, and its four great allegorical figures.
For its impressiveness the room depends solely on its architectural merits
and its simplicity, and forms a striking contrast to the other salons of the
palace with their superb tapestries, upholstered furniture, brocades, and
ornaments. The Banqueting Hall is of magnificent proportions, and the Ball
Room, to the splendour of which all the arts and manufactures appear to
have contributed, is the largest in Europe. The Chinese Room, the Charles
III. Room, hung with blue brocade starred with silver, and the Giardini
Room, which is upholstered in ivory satin, embroidered in gold and
coloured flowers, and roofed with porcelain from the Buen Retiro factory,
are among the many marvels of this marvellous palace.
The Royal Chapel, which was depleted in 1808 by General Belliard, who
carried off the pictures painted for Philip II. by Michael Coxis, is still
splendid in its profusion of rich marbles, gilt, and stucco, and its beautiful
ceiling painted by Giaquinto. Many of the exquisite altar-cloths and
vestments were embroidered by Queen Cristina. Here also is an immensely
valuable collection of fine ecclesiastical objects; and here at Epiphany,
Easter, and Corpus Christi the galleries leading from the royal chapel are
hung with the magnificent and unique tapestries which belong to the crown
of Spain.
The private library of his Majesty is on the ground-floor of the palace. It
was formed by Philip V. about 1714, and has since been increased by the
acquisition of several notable collections, including those of the dean of
Teruel, Counts Mansilla and Gondomar, and Judge Bruna of Seville. The
manuscripts are for the most part from the extinct colleges. The king’s
library, which occupies ten rooms and two passages, is composed of eighty
thousand volumes in magnificent mahogany cases with beautiful glass from
La Granja. Books issued prior to the sixteenth century, beautiful copies on
vellum, very rare editions by Spanish printers, and rich bindings, make this
library one of the most important in Europe. Among the illustrated missals
is a prayer-book said to have belonged to Ferdinand and Isabella or their
daughter, Juana la Loca, whose portrait it contains. The building is adorned
with exquisite ornaments and the arms of Leon and Castile in enamel. The
correspondence of Gondomar, the Spanish ambassador in London during
the reign of James I., is also to be seen here.
The general Archive of the crown of Spain was created in virtue of a
royal decree of Ferdinand VII., dated May 22, 1814. The organisation and
classification of all the documents since the reign of Charles I. until that of
Isabella II. were based on chronology; but Alfonso XII. thought the
classification of subjects more scientific, and the Keeper of the Archives
has, since 1876, had the whole of the documents divided into four large
sections, namely, administrative, juridical, historical, and according to their
sources. This Archive also has a reference library composed of seven
hundred volumes. At present the Archive of the Crown consists of thirty
rooms, containing nearly ten thousand bundles of papers and two thousand
volumes. The administrative documents date from 1479; the juridical ones
from 1598; the historical from 1558; there being also some property deeds
dating from the eleventh century relating to the celebrated monastery of El
Escorial, founded by Philip II., which from the paleographic point of view,
and even from the historical, are of great interest.
The Royal Pharmacy, situated in the part of the palace known as Los
Arcos Nuevos (the New Arches), has an origin which is closely bound up
with the history of national pharmacy. In the beginning of the
pharmaceutical profession, when it became a faculty, the Royal Pharmacy
was the centre of the profession in all its phases. It contains a rich collection
of utensils of all periods, curious examples of pharmaceutical materials
used in olden times, and a well-filled library, consisting of more than two
thousand five hundred volumes.
The stables of the ancient Alcazar were situated in the space now
occupied by the large Armoury Court; those of the present palace were built
in the reign of Charles III., in accordance with the plans and under the
direction of the notable architect, Francisco Sabatini. The plan of the edifice
is an irregular polygon, the longest side of which, at the Cuesta de San
Vicente, is nearly 700 feet in length. The principal façade is in the Calle
Bailen, and is adorned by a simple granite portal, over which are the royal
arms. This door leads to a fine court surrounded by arches, and on the west
side is a small chapel, dedicated to St. Anthony, Abbot.
The principal part of these buildings consists in the large and
magnificent galleries, sustained by double rows of pillars, which constitute
the stables. These consist of a spacious stable for the horses used by royalty.
There is another stable for Spanish horses, another for foreign horses and
mares, and yet another for mules. More than three hundred animals can be
accommodated in the stables. There are at present one hundred saddle-
horses, all of which, with the exception of sixty foreign animals, come from
the royal stud at Aranjuez.
The general harness-room is a large nave, consisting of three halls.
Preserved in many cases are the magnificent sets of harness and saddles, the
liveries of footmen and coachmen, crests, fly-traps, whips and ancient
horse-cloths, bridles, and other curiosities. The Royal Riding School is built
on one of the esplanades facing the Campo del Moro.
In order to form some idea of the size of the edifice, it may be mentioned
that, besides the coach-houses, stables, harness-rooms, etc., there are
apartments for the accommodation of the six hundred and thirty-seven
people and their families who are employed in this department of the
palace.
The Royal Coach-house is situated in the Campo del Moro. Its plan is a
rectangular parallelogram, the longest sides of which are 278 feet in length,
and the shortest 101 feet. This great coach-house was built in the time of
Ferdinand VII., after the design and under the direction of the architect
Custodio Moreno, who gave to the exterior a simple and severe appearance.
In this department are twenty splendid State carriages, which are only used
on special occasions, among them being that of Juana the Mad, restored a
few years since, and one hundred and twenty-one carriages of all kinds and
shapes for daily use.
Kings of three dynasties have made their homes in the Royal Palace of
Madrid since the nineteenth century brought in with it so much havoc and
disruption to Spain. The Bourbons, Joseph Buonaparte, and Amadeo of
Savoy, each ‘abode his hour or two and went his way,’ and in 1873 and
1874 the palace windows looked out upon a city which for the first time
since its foundation was the capital of a republic. Nearly all the culminating
incidents in the stormy history which has been enacted in Spain since the
abdication of Charles IV. occurred in the Royal Palace. From this not too
secure eminence Ferdinand the Desired saw his guards slaughtered by the
frenzied mob. ‘Serve the fools right,’ he exclaimed; ‘at all events I am
inviolable.’ But the king had a fit of terror when he found his palace was
left without guards to protect it from the crowd, and Riego, the man he
hated, was taken into favour, in order that he might appease the populace.
Through the terrible night of 7th October 1841, when Generals Concha
and Leon made their determined attempt to kidnap Queen Isabella and her
little sister, the Infanta Maria Luisa, the valiant eighteen halberdiers of the
guard, commanded by Colonel Dalee, held the grand staircase of the palace
against an army of revolutionists until the National Militia arrived to relieve
them. Truly that night the halberdiers wrote a magnificent page of fidelity in
the records of the guards.
After a hopeless struggle to reduce Spanish affairs into something like
order, Amadeo of Savoy issued from the Royal Palace his valedictory
address to his people, and on the following day, 12th February 1873, he left
Madrid, as he had entered it, a chevalier sans peur et sans reproche. In the
same palace Alfonso XIII. was born and baptized, from the palace he set out
to the church of San Jeronimo to be married to Victoria Eugénie of
Battenberg, and here was born and baptized the Prince of the Asturias, the
heir to the throne of Spain.
 Plate 1

ESCORIAL. VIEW OF THE PALACE

 Plate 2

ESCORIAL. VIEW OF THE PALACE

Plate 3
 Plate 3

ESCORIAL. VIEW OF THE PALACE (EAST SIDE)

 Plate 4

ESCORIAL. NORTH-WEST ANGLE OF THE PALACE

 Plate 5

ESCORIAL. PRINCIPAL FAÇADE AND ANGLE OF THE PALACE

 Plate 6

ESCORIAL. VIEW OF THE PRINCIPAL STAIRCASE OF THE PALACE

 Plate 7

ESCORIAL. HALL OF AMBASSADORS

 Plate 8

ESCORIAL. RECEPTION HALL

 Plate 9

ESCORIAL. VIEW OF THE DINING HALL

 Plate 10

ESCORIAL. POMPEIAN HALL

Plate 11
 ESCORIAL. LIBRARY

Plate 12

ESCORIAL. CHAPTER ROOM

Plate 13
ESCORIAL. “THE HOLY FAMILY,” BY RAPHAEL

Plate 14

ESCORIAL. “THE LAST SUPPER,” BY TITIAN

 Plate 15

ESCORIAL. “A SMOKER,” BY TENIERS

 Plate 16

ESCORIAL. “COUNTRY DANCE,” BY GOYA

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