The finished product is reminiscent of the three domains that Philip II had grown to love in his youth in Valladolid, Milan, and Brussels: the rectangular ground plan with its four corner towers, typical of the sober Castilian stone palaces; the classical Italian architecture in the basilica and the doorways; and the typical Flemish slate roofs, in this case made using slate from the Bernardos quarries (Segovia), which Philip II ordered to be quarried for the construction of. 8 In 1968, the roofs had a comprehensive renovation, with iron beams used in place of the pine ones from Valsan and San Rafael.

The Monastery is notable for the strength of its image, the deft arrangement of its intricate functional program, the architectural rigor of each of its components, the elegance of the architectural articulation between the various components, the meticulous perfection of its proportions, and its wealth of symbolic meanings. It should be noticed for its amazing stylistic coherence as well as the fact that it was finished in thely brief period of twenty-one years at the time. The primary axis of the project is comprised of the Main Façade with the statue of Saint Lawrence, the Library, the Kings of Judah, the Basilica, and the King's private palace. The values of the project include order, hierarchy, and the perfect link between all the components of the composition. The Baroque's impending advent is foreshadowed by the theatricality of this path across this enormous central axis to eventually present the Tabernacle with the Eucharist.

The Renaissance style was used because it was exceedingly polished and lacked excessive Plateresque ornamentation. Tuscan, the most straightforward form of classicism, and Doric in the church are the two main architectural orders. The Monastery of El Escorial was a representation of the transition between medieval and modern Spain despite its austerity and outward appearance of coldness. We cannot help but be impressed by its architecture, which stands as the finest illustration of the Spanish Renaissance and a prime example of the so-called "Herrerian" or "unornamented" style. In keeping with the great humanist culture that Philip II and his architects acquired during their journeys across Italy, Germany, and the Netherlands, they contrasted the resurgence of Roman classicism with the overflowing Plateresque of the day. It is arguably the most dazzling page in Spanish architecture and one of its major masterpieces. It is important to highlight the south façade's great sensitivity, which is superior to its imitations from the 20th century in a topic as challenging as the duplication of so many windows on a single canvas.

Le Corbusier saw the structure at Garca Mercadal's request in 1928 and liked its architecture to the degree where comparisons to the 1929 Mundaneum proposal have been made. Following the monastery's fourth centennial celebration in 1984, numerous architectural features of the structure were rediscovered, including the intricate geometry of the Herrerian spires, the brazen flat vault, the lovely Siamese chimneys, and the clever spatial design of the convent's lantern's zenithal lighting. The stunning Patio de los Evangelistas, with its magnificent exercise in bramantism of the central temple, the grandiose dome supported on a drum, the colossal staircase of the convent, and the examples of Mannerism of the Basilica and the main façade, among other examples of great architecture, are just a few of El Escorial's historically recognized treasures.