Abstract

A quest for meaning characterizes the thought of this century everywhere in humanistic studies, and it is a quest justified by exploring and mapping old and new terrains of which the resources are still uncertain. The Monastery of Escorial today raises so many questions about the traditional ideas with which we treat the history of art in the sixteenth century, that they are the subject of this paper. It is in four parts: the Escorial as Mannerism; as estilo desornamentado, as Renaissance magic; and as an application of the aesthetic system of Saint Augustine.