Yet the architect who designed the building was not permitted to complete it. Long before it was finished, the hand of Toledo had mouldered in the dust. By his death it seemed that Philip had met with an irreparable loss. He felt it to be so himself; and with great distrust consigned the important task to Juan de Herrera, a young Asturian. But though young, Herrera had been formed on the best models; for he was the favourite pupil of Toledo, and it soon appeared that he had not only imbibed the severe and elevated tastes of his master, but that his own genius fully enabled him to comprehend all Toledo's great conceptions, and to carry them out as perfectly as that artist could have done himself. Philip saw with satisfaction that he had made no mistake in his selection. He soon conferred as freely with the new architect as he had done with his predecessor. He even showed him greater favour, settling on him a salary of a thousand ducats a year, and giving him an office in the royal household, and the cross of St. Iago. Herrera had the happiness to complete the Escorial. Indeed, he lived some six years after its completion. He left several works, both civil and ecclesiastical, which perpetuate his fame. But the Escorial is the monument by which his name, and that of his master, Toledo, have come down to posterity as those of the two greatest architects of whom Spain can boast. This is not the place for criticism on the architectural merits of the Escorial. Such criticism more properly belongs to a treatise on art. It has been my object simply to lay before the reader such an account of the execution of this great work as would enable him to form some idea of the object to which Philip devoted so large a portion of his time, and which so eminently reflected his peculiar cast of mind. [Sidenote: THE ESCORIAL.] Critics have greatly differed from each other in their judgments of the Escorial. Few foreigners have been found to acquiesce in the undiluted panegyric of those Castilians who pronounce it the eighth wonder of the world.[465] Yet it cannot be denied that few foreigners are qualified to decide on the merits of a work, to judge of which correctly requires a perfect understanding of the character of the country in which it was built, and of the monarch who built it. The traveller who gazes on its long lines of cold grey stone, scarcely broken by an ornament, feels a dreary sensation creeping over him, while he contrasts it with the lighter and more graceful edifices to which his eye has been accustomed. But he may read in this the true expression of the founder's character. Philip did not aim at the beautiful, much less at the festive and cheerful. The feelings which he desired to raise in the spectator were of that solemn, indeed sombre complexion, which corresponded best with his own religious faith.