El Escorial has part(s) Library of the Monastery of El Escorial
El Escorial, or the Royal Site of San Lorenzo de El Escorial (Spanish: Monasterio y Sitio de El Escorial en Madrid), or Monasterio del Escorial (Spanish pronunciation: [el eskoˈɾjal]), is a historical residence of the King of Spain located in the town of San Lorenzo de El Escorial, 2.06 km (1.28 mi) up the valley (4.1 km [2.5 mi] road distance) from the town of El Escorial and about 45 kilometres (28 miles) northwest of the Spanish capital Madrid. Built between 1563 and 1584 by order of King Philip II (who reigned 1556–1598), El Escorial is the largest Renaissance building in the world. It is one of the Spanish royal sites and functions as a monastery, basilica, royal palace, pantheon, library, museum, university, school, and hospital.
El Escorial consists of two architectural complexes of great historical and cultural significance: the royal monastery itself and La Granjilla de La Fresneda, a royal hunting lodge and monastic retreat about 5 kilometres away. These sites have a dual nature: during the 16th and 17th centuries, they were places in which the power of the Spanish monarchy and the ecclesiastical predominance of the Roman Catholic religion in Spain found a common architectural manifestation.  El Escorial was both a Spanish royal palace and a monastery, although Philip II is the only monarch who ever lived in the main building. Established with a community of Hieronymite monks, it has become a monastery of the Order of Saint Augustine. It was also a boarding school: the Real Colegio de Alfonso XII.Philip II engaged the Spanish architect Juan Bautista de Toledo to be his collaborator in the building of the complex at El Escorial.  Toledo had spent the greater part of his career in Rome, where he had worked on St. Peter's Basilica, and in Naples serving the king's viceroy, whose recommendation brought him to the king's attention. Philip appointed him architect-royal in 1559, and together they designed El Escorial as a monument to Spain's role as a center of the Christian world.On 2 November 1984, UNESCO declared The Royal Seat of San Lorenzo of El Escorial a World Heritage Site. It is a popular tourist attraction, often visited by day-trippers from Madrid – more than 500,000 visitors come to El Escorial every year.Library
The Escorial has three libraries. One is located behind the Chorus of the basilica. Another, within the monastery itself, used to be distributed to the different cells and rooms of the monks and that the Augustine monks have gradually managed make their own. Finally, the Royal Library, which is public and exists under a special papal bull of protection.
From the beginning, the Royal Library was meant to be a monumental work of art, and its execution was commissioned to prominent architects of the moment: Juan de Toledo and Juan de Herrera, who shared the king's neoplatonic views and who also designed the library's shelves. It constituted, along with the basilica, the heart of the entire project, and the project was redrafted several times to accommodate changes in the organization of the library itself. As was usual for Juan de Herrera's work, it was the most advanced of its kind in Europe. It was the first library on the continent that broke with medieval design. Domenico Fontana was inspired by Herrera's design, after a visit, for his design of the Vatican Library. Philip was involved in every part of the design process of the library.
The Royal Library, like everything else in El Escorial, forms part of a larger symbolic structure and has symbolic meaning. It links the monastery and the seminary across the principal axis of the building, symbolizing the union of the spiritual and physical world. The books on the profane subjects—such as history, geography, and botany—are located in the part closest to the entrance. The library corridors branch out into different sections just to re-converge in the end, and as they advance towards the basilica, the subjects are the more abstract forms—such as poetry, grammar, and mathematics. The subjects closest to the basilica are those the king conceived as being the most abstract distillations of the others, and the closest to the origin, which was God in the Basilica: theology, geometry, and mathematics. The visitor must leave the noisy world behind and walk through the halls of knowledge in a specific, comprehensible order from concreteness to abstraction before being able to reach God and understand His message, a notion quite in line with both Charles I and Philip II's hermeticist view of religion.During Philip II's reign, the library introduced a novel way of arranging the library's bookcases or "book presses". Until then most book presses were combined with desks and stood at right angles to the library's walls. This system was known as the "stall system" and allowed light from the library's windows to illuminate the shelves. Phillip's library began using a "wall system", placing the bookcases along the walls.Currently the library has more than 40,000 volumes, located in a great hall 54 metres (177 ft) in length, 9 metres (30 ft) wide, and 10 metres (33 ft) tall, with marble floors and beautifully carved wood shelves. De Herrera and Italian construction engineer Giussep Flecha y Gamboa were careful to consider the security of the library's holdings in armarios (large bookcases), as well as their display, safeguards against fire hazards, and use of available natural lighting. This library was a Renaissance statement of power, majesty, prowess, and intellectual world leadership, designed for both the preservation of the old (binding multiple cultural histories into a single Catholic Spanish culture) and discovery of the new (imprinted by that culture).The vault of the library's ceiling is decorated with frescoes, painted by Pellegrino Tibaldi, depicting the seven liberal arts: grammar, rhetoric, dialectic, music, arithmetic, geometry, and astronomy. This arrangement of parallel book cases was initiated by Philip II and was called the "wall system".The fire of 1671, which engulfed the library, destroyed about 5,280 handwritten codices, but the printed collections were saved. The printed collection of the library is made up of more than 600 incunabules, 10,608 books from the 16th century, 2,179 books from the 17th century, and an increasing number of books from the 18th century. The manuscript collection is made up of a few thousands of medieval codices.
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