Paradigms and foundations of the conflictive relationship between the commission of architecture and the city of Seville (1786-1808)

A partir de la publicación del Real Decreto de 1777 y la fundación de la Comisión de Arquitectura en 1786, la Real Academia de San Fernando adquirió la facultad y los instrumentos necesarios para examinar los proyectos constructivos delineados a lo largo y ancho del territorio nacional. No obstante, la entrada en vigor de dichas órdenes y la labor de los comisionados académicos no obtuvo los mismos resultados en todos los reinos que conformaban la corona española, siendo el de Sevilla uno de los más reacios a aceptar la nueva normativa. Una oposición al proceso introductorio de los preceptos academicistas en la arquitectura de la ciudad hispalense cuyas razones, circunstancias y ejemplos centran este artículo.As of the publication of the Royal Decree of 1777 and the founding of the Commission of Architecture in 1786, the Royal Academy of San Fernando gained the faculty and the required resources to examine the structural projects delineated far and wide of the national territory. However, the implementation of these orders and the work of the academic commissioners didn’t get the same results in all of the kingdoms that integrated the Spanish Crown, being the Kingdom of Seville one of the most reluctant to accept the new regulations. One opposition to the introductory process of the academic precepts in the architecture of the City of Seville whose reasons, circumstances and examples focus this paper

Aesthetic culture and Architecture of the Enlightenment in Córdoba: the prelate Antonio Caballero y Góngora, the architect Ignacio Tomás, the School of Drawing and the introduction of academic artistic precepts

A lo largo de la segunda mitad del siglo XVIII, el contexto artístico español estuvo determinado por el desarrollo y la divulgación de los preceptos academicistas, fundamentados en los principios de la Ilustración. Concretamente, los cambios estéticos promovidos por la Real Academia de San Fernando debían ser formalizados en la arquitectura pública, la cual adquirió un singular protagonismo por su representatividad y su trascendencia social. Sin embargo, la introducción de los nuevos postulados edificatorios oficiales se complicó, demoró o frustró en aquellos territorios donde el decorativismo barroco aún mantuvo su vigencia, tales como alguno de los reinos de Andalucía. Este fue el caso de las jurisdicciones civil y diocesana de Córdoba, donde la tradición constructiva mantuvo su preponderancia hasta el inicio de la última década de la centuria, cuando el prelado Antonio Caballero y Góngora patrocinó un proyecto formativo y profesional de carácter academicista. Para su iniciación, el Prelado eligió a tres artistas formados en la Academia que debían ejercer como profesores de la Escuela de Dibujo en la que se pretendía enseñar los nuevos fundamentos artísticos y autores al servicio de la mitra cordobesa. Uno de los artistas elegidos fue el arquitecto Ignacio Tomás, cuya labor ejercida durante el pontificado de Caballero significó la introducción y parcial implantación de los preceptos constructivos academicistas. Además, el establecimiento de Tomás en Córdoba también implicó un cambio estético notable en la arquitectura de la ciudad de Écija, para la cual proyectó una serie de obras de especial relevancia gracias al intervencionismo regio y académico. De este modo, el último periodo diocesano de Caballero y Góngora, cuyas inclinaciones culturales fueron manifiestas a lo largo de su trayectoria, estuvo protagonizado por el patrocinio de un proyecto academicista que propició la renovación de la actividad artística en Córdoba.Throughout the second half of the 18th century, the Spanish artistic context was determined by the development and dissemination of academic precepts, based on the principles of the Enlightenment. Specifically, the aesthetic changes promoted by the Royal Academy of San Fernando had to be formalized in public architecture, which acquired a unique role due to its representativeness and social significance. However, the introduction of the new official building postulates was complicated, delayed or frustrated in those territories where Baroque decorativeism still maintained its validity, such as some of the kingdoms of Andalusia. This was the case of the civil and diocesan jurisdictions of Córdoba, where the construction tradition maintained its preponderance until the beginning of the last decade of the century, when the prelate Antonio Caballero y Góngora sponsored a training and professional project of an academic nature. For his initiation, the Prelate chose three artists trained at the Academy who were to act as teachers of the School of Drawing in which it was intended to teach the new artistic foundations and authors at the service of the Cordovan miter. One of the chosen artists was the architect Ignacio Tomás, whose work during Caballero's pontificate meant the introduction and partial implementation of academic construction precepts. In addition, the establishment of Tomás in Córdoba also implied a notable aesthetic change in the architecture of the city of Écija, for which he projected a series of works of special relevance thanks to the royal and academic interventionism. In this way, the last diocesan period of Caballero y Góngora, whose cultural inclinations were manifest throughout its trajectory, was led by the sponsorship of an academic project that led to the renewal of artistic activity in Córdoba

La figura de Antonio Caballero y Góngora y su labor como «arzobispo obispo de Córdoba»

This article intends to provide a necessary historiographic update and new data on the figure of Antonio Caballero y Góngora. Following previously his entire career, this study deals mainly with the work of Caballero as Bishop of Córdoba, that stood out for the introduction of the values enlightened in his Diocese, the renewal of the procedures of the curia of Córdoba and the promotion of important artistic, cultural, social and pastoral companies that marked a milestone and an example to follow for future prelates.El presente artículo pretende aportar una necesaria actualización historiográfica y nuevos datos sobre la figura de Antonio Caballero y Góngora. Ateniendo previamente a la totalidad de su trayectoria, este estudio se ocupa principalmente de la labor de Caballero como obispo de Córdoba, que destacó por la introducción de los valores ilustrados en su Diócesis, la renovación de los procedimientos de la curia cordobesa y la promoción de importantes empresas artísticas, culturales, sociales y pastorales que marcaron un hito y un ejemplo a seguir para futuros prelados

Antonio Caballero y Góngora y “su amor a las Nobles Artes”

Antonio Caballero y Góngora was an important ecclesiastical and political figure of the Spanish Enlightenment who, after a life marked by his progressive concern for art, devoted much of his activity as bishop of Córdoba to the patronage of training and artistic creation. A work that, on the basis of the artists promoted and protected by the prelate during the aforementioned period, meant the introduction of academic aesthetic values in the Cordoba Diocese.Antonio Caballero y Góngora fue una relevante figura eclesiástica y política de la Ilustración española que, tras una vida marcada por su progresiva inquietud por el Arte, dedicó gran parte de su actividad como obispo de Córdoba al patrocinio de la formación y la creación artística. Una labor que, a razón de los artistas promocionados y amparados por el prelado durante el citado periodo, significó la introducción de los valores estéticos academicistas en la Diócesis cordobesa

La Real Academia de San Fernando y la proyección de consistorios en los reinos andaluces (1777-1808)

As part of the process of implementation of the architectural precepts promoted by the Royal Academy of San Fernando at the state level between 1777 and 1808, the regulatory work exerted by said institution on the projection of consistories in the Andalusian kingdoms was highlighted. With special atention to the role played by academic architects in the aforementioned territories, this article focuses on the clarification of the circumstances that determined the evaluation of the designs developed for these consistories and their consequences.; Dans le cadre du processus de mise en oeuvre des préceptes architecturaux promus par l'Académie Royale de San Fernando au niveau de l'Etat entre 1777 et 1808, il a souligné le travail réglementaire exercé par ladite institution sur la projection des consistoires dans les royaumes andalous. En accordant une atention particulière au rôle joué par les architectes académiques dans les territoires susmentionnés, cet article se concentre sur la clarification des circonstances qui ont déterminé l'évaluation des conceptions développées pour ces consistoires et leurs conséquences.; Como parte del proceso de implantación de los preceptos arquitectónicos promovidos por la Real Academia de San Fernando a nivel estatal entre 1777 y 1808, destacó la labor reguladora ejercida por dicha institución sobre la proyección de consistorios en los reinos andaluces. Con especial atención al papel desempeñado por los arquitectos académicos en los citados territorios, este artículo se centra en el esclarecimiento de las circunstancias que determinaron la evaluación de los diseños elaborados para dichos consistorios y sus consecuencias

Una huella del academicismo arquitectónico en Córdoba: la torre de la iglesia de Santa María Magdalena

The arrival of the prelate Antonio Caballero y Góngora to the Diocese of Córdoba brought about the implementation of a process aimed at implanting the new artistic precepts of academicism throughout the length and breadth of the diocese. To ensure its success, it required establishing three academic artists in Córdoba, including Ignacio Tomás, architect in charge of projecting and directing new construction works that publicly symbolized the coveted aesthetic change. An example of his activity in the city of Cordoba is the tower of the Magdalena church, where the construction represents the circumstances that conditioned the achievement of the episcopal initiative. It is a paradigmatic work of the introduction of architectural academicism in Córdoba.La llegada del prelado Antonio Caballero y Góngora a la Diócesis de Córdoba significó la puesta en marcha de un proceso destinado a implantar a lo largo y ancho de la misma los novedosos preceptos artísticos academicistas. Para procurar su éxito requirió el establecimiento en Córdoba de tres artistas académicos, entre los que se encontraba Ignacio Tomás, arquitecto encargado de la proyección y dirección de nuevas obras constructivas que simbolizaran públicamente el codiciado cambio estético. Ejemplo de su actividad en la ciudad cordobesa es la torre de la iglesia de la Magdalena, cuya edificación representa cada una de las circunstancias que condicionaron la consecución de la iniciativa episcopal. Una obra paradigmática de la introducción del academicismo arquitectónico en Córdoba

Entre España y América. La colección del prelado ilustrado Antonio Caballero y Góngora

Antonio Caballero y Góngora was well known over the course of his career not only as a prelate, politician, and soldier in the Americas and in Spain, but also as a collector. He was the owner of a valuable and well-designed estate, consisting of a large library, a notable art collection, a series of diverse objects of singular value and an extraordinary numismatic collection, all demonstrating his ample curiosities and his identification with Enlightenment precepts. The characteristics of his property illustrate the development of collecting by Spanish elites during the Enlightenment era, and provide evidence of the antiquarian zeal of one of the most important ecclesiastical figures in the Hispanic world of this period.Antonio Caballero y Góngora destacó a lo largo de su carrera no sólo como prelado, político y militar en América y España, sino también como coleccionista. Fue dueño de un rico y razonado patrimonio que, evidenciando sus amplias inquietudes y su identificación con los preceptos ilustrados, estaba compuesto por una amplia biblioteca, una notable colección de arte, una serie de objetos diversos de singular valor y un extraordinario compendio numismático. Conjunto cuyas características exponen el devenir del coleccionismo español durante la época de la Ilustración y el afán recopilatorio de una de las figuras eclesiásticas más relevantes de dicho periodo en el ámbito hispánico

Bacteriophages as an Up-and-Coming Alternative to the Use of Sulfur Dioxide in Winemaking

Certain acetic and lactic acid bacteria are major causes of quality defects in musts and wines, giving rise to defects such as a "vinegary," "sharp, like nail polish-remover" taste or preventing alcoholic and/or malolactic fermentation. Sulfur dioxide is the major tool currently used in the control of these bacteria in wine. The aim of this work was to isolate bacteriophages from musts and wine of different grape varieties that were able to eliminate lactic and acetic acid bacteria spoilages at the laboratory scale. Musts obtained from grape-berries of Vitis vinifera cv. Chardonnay and Moscatel and a red wine made with V. vinifera cv. Tintilla de Rota were used to isolate bacteriophages. Bacteriophages were obtained from each of the musts and the wine and belonged to the order Caudovirals and the family Tectivirals. They were isolated by classical virology methods and identified by electron microscopy. The host bacteria used in the study were lactic acid bacteria of the species Lactobacillus hilgardii, Lactobacillus plantarum, and Oenococcus oeni and the acetic bacteria Acetobacter aceti. A comparative study was performed by adding phage titrations and SO2 to musts and wines, which had been previously inoculated with bacteria, to study the effectiveness of bacteriophages against bacteria. The comparative study showed that some bacteriophages were as effective as sulfur dioxide at low concentration

Towards the recognition of the emotions of people with visual disabilities through brain-computer interfaces

This article belongs to the Section Intelligent Sensors.A brain&-computer interface is an alternative for communication between people and computers, through the acquisition and analysis of brain signals. Research related to this field has focused on serving people with different types of motor, visual or auditory disabilities. On the other hand, affective computing studies and extracts information about the emotional state of a person in certain situations, an important aspect for the interaction between people and the computer. In particular, this manuscript considers people with visual disabilities and their need for personalized systems that prioritize their disability and the degree that affects them. In this article, a review of the state of the techniques is presented, where the importance of the study of the emotions of people with visual disabilities, and the possibility of representing those emotions through a brain&-computer interface and affective computing, are discussed. Finally, the authors propose a framework to study and evaluate the possibility of representing and interpreting the emotions of people with visual disabilities for improving their experience with the use of technology and their integration into today's society.This work was supported by the Consejo Nacional de Ciencia y Tecnología CONACyT, through the number 709656 and by the Research Program of the Ministry of Economy and Competitiveness—Government of Spain, (DeepEMR project TIN2017-87548-C2-1-R)