Academic literature on the topic 'Palacio de Godoy (Madrid, Spain)'

The Salón de Reinos, a remnant of the 17th century Palacio del Buen Retiro, was built as a recreational residence under the reign of Felipe IV between 1632 and 1640 and was the main room for the monarch’s receptions. This Salón owes its name to the fact that the coats of arms (shields) of the 24 kingdoms that formed Spain in Felipe IV’s time were painted on the vault, above the windows. In addition, the ceiling shows an original decorative composition. The painted ceiling and window vaults showed deterioration evidenced by fissures, water filtration, detachments of the paint layer, and black stains denoting fungal colonization related to humidity. Ten strains of bacteria and 14 strains of fungi were isolated from the deteriorated paintings. Their biodeteriorative profiles were detected through plate assays. The most frequent metabolic functions were proteolytic and lipolytic activities. Other activities, such as the solubilization of gypsum and calcite and the production of acids, were infrequent among the isolates.

This paper presents the biography of Santiago Luzuriaga y Odria (1828-1904), a teacher from Navarre (Spain), who enjoyed a long professional career and was the father of the Spanish pedagogue Lorenzo Luzuriaga. Santiago Luzuriaga was the author of singular works, which he called nobelas-komedias, written after the Spanish Government agreed to start paying teachers’ salaries beginning in 1901. The Archivo General de Palacio (General Archive of the Royal Palace of Madrid) and the Real Biblioteca (Spanish Royal Library) preserve some of these nobelas-komedias, which feature the peculiarity of being written with a phonetic spelling. The author argued for the necessary transformation of writing for the purpose of achieving a greater economy of language. Finally, the paper includes a copy of El ermano del alkalde dedicated to King Alfonso XIII of Spain, which is currently in the Real Biblioteca.

El artículo aborda el nacimiento de la fotografía de guerra en España con la Guerra de África (1859-60). El fotógrafo pionero fue Enrique Facio, del que analizamos su obra. Empleamos las crónicas de guerra de Pedro Antonio de Alarcón, Diario de un testigo de la Guerra de África, que sirven para establecer la relación de las ilustraciones con las crónicas y porque los datos sirven para fijar algunas autorías de las fotografías. Además, se han utilizado archivos familiares, el Archivo General de Palacio (Madrid), el Archivo General Militar de Segovia y la Biblioteca Nacional. También se ha considerado a otros fotógrafos e ilustradores que retrataron la contienda bélica, como Carlos Iriarte, José Vallejo, José Requena y López, Lanos, Juan Del Peral, Dantez.Abstract: This paper discusses the birth of war photography in Spain during the Hispano-Moroccan War (1859-60). The pioneer photographer was Enrique Facio, whose life and works are analyzed. The war chronicles of Pedro Antonio de Alarcón, Diario de un testigo de la Guerra de África, are used not only to establish the relation between the ilustrations and the chronicles, but also to determine the authorship of some of the presented photographs. Additionally, other sources such as family archives, the Palace General Archive (Madrid), the Military General Archive of Segovia and the National Library have been employed. Moreover, other photographers and ilustrators that portrayed the military conflict have been considered: Carlos Iriarte, José Vallejo, José Requena y López, Lanos, Juan Del Peral, Dantez. Palabras clave: Fotografía de guerra; Enrique Facio; periodismo gráfico; vistas estereoscópicas; Guerra África. Keywords: War photography; Enrique Facio; Graphic Journalism; Stereoscopic Views; Hispano-Moroccan War.