Gobernadores - History Lab

File on Miguel de Gálvez Maxent Gallardo

ad_hlab_min — Sat, 19 Feb 2022 16:32:58 +0000

File of Miguel de Gálvez Maxent to enter as a student at the Royal Seminary of Nobles in Madrid. Son of D. Bernardo de Galvez, Lieutenant General of the Royal Armies, Knight Pensioner of the Royal Order of Charles III, Commander General of the Army of Operations in America. The document contains the seminarian’s baptismal certificate and testimony of nobility from 1792. Miguel de Gálvez was a member of the Gálvez family, born in Macharaviaya (Málaga), one of the most prominent families in 18th century Spanish politics.

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File on Sabino Rodríguez Campomanes

ad_hlab_min — Sat, 19 Feb 2022 16:32:58 +0000

File of Sabino Rodríguez de Campomanes to enter as a student at the Royal Seminary of Nobles in Madrid. Son of D. Pedro Rodríguez Campomanes y Pérez, Count of Campomanes, Fiscal and Minister Governor in the Council of Castile, member of the Royal Spanish Academy and of History, President of the Council of the Mesta. The document contains the sacramental certificates and witness information (1776).

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Manual calendar and guide for strangers in Madrid

ad_hlab_min — Sat, 19 Feb 2022 16:32:51 +0000

An annual publication founded in 1722 by Luis Félix de Miraval y Spínola, who in the same year obtained the marquisate of Miraval, and Gaspar Ezpeleta, and which until 1734 was entitled Kalendario particular. From 1725 its printer was Juan Sanz, then his heirs, and from 1730, Antonio Sanz, his nephew, who in 1769 ceded the rights to the Spanish Crown in exchange for a lifelong pension. The most complete collection was acquired by the Royal Academy of History, and the one in the possession of the National Library of Spain begins in 1744, stamped with a privilege held by Antonio Sanz, printer to the King and his council. The title page states that it contains the births of the kings, queens, the seventy members of the Sacred College of Cardinals, the princes of Europe, the ministers who make up His Majesty’s courts in their kingdoms, with an indication of their private residences in Madrid. In short, it is a very complete guide to the State Administration of the ancien régime, with an indication of its executive and consultative bodies (royal councils, boards), scientific and academic institutions and other bodies and entities that the Spanish monarchy created throughout the eighteenth century (including the Royal Public Library itself), the book includes the names of the archbishops and bishops of Spain and the Indies, the composition of the courts (chancillerías and audiencias), the list of kingdoms and provinces and partidos, with the names of their governors, intendants and corregidores. It begins with the Gregorian calendar, with the saints’ calendar for each day and astronomical data, and also contains the 40-hour jubilee, as well as statistical data on marriages, births and deaths in the parishes of Madrid, and a summary of the sick in their hospitals. There is also another section on the days on which the court dresses up or the days on which the mails come and leave the General Post Office of Castile in this court, or the list of the Knights of the Golden Fleece. It will also include the values of Spanish coins and their exchange values with the most important coins in Europe. From 1768 it will be accompanied by the Estado militar de España, with its own title page, with the names of the captains and lieutenant generals of His Majesty’s Army, field marshals, brigadiers and naval officers, etc. In the 1767 edition he began to include engravings, such as those of Charles III, the Princes of Asturias and the one of the Palace of Aranjuez, and later those of Charles IV and Queen Maria Luisa, before including those of Ferdinand VII and his daughter, the young Queen Isabella II, in the 19th century. He would also print a dozen maps of Spain and plans by Tomás López and his sons. In 1774, it left the Royal Printing House of the Gazette, and included the lists of knights of Charles III, professors of the Royal Studies, ambassadors and consuls and vice-consuls of the King abroad, the chronology of the kings of Spain and the calendar of the main fairs. In 1790 it already included an index, at the end or at the beginning, and in the 19th century, the lists of the Royal Order of Noble Ladies, the economic societies and the Royal Seminary of Nobles. Its volume increased over the years, from a hundred to over four hundred pages. During the invasion of the Napoleonic army, the kalendario did not appear in 1809 or 1810, and in 1811 it left the printing house of Miguel Segovia, printer to the Royal Navy, from the Royal Island of León in Cadiz, produced by two of the editors who were in charge of the main guides for foreigners, litigants, commerce and finance, and war and the navy in Madrid, and entitled Guía patriótica de España (Patriotic Guide to Spain). It includes an introduction narrating the difficulties encountered in producing it and will consist of two parts. The first part will give an account of the legitimate government, its courts and military state, and the second of the corps and officers of the armies resident in Cadiz, as well as the list of deputies of the Cortes, accompanied by an article. Those of 1812 and 1813 were entitled Guía política de las España, and were also printed in Cádiz, the first in the office of the widow of Comes, and the second in the Imprenta Nacional. In this case it is written by a single editor, and includes patriotic ephemeris of the main events that have been taking place during the war against the French armies, and introductory articles to the list of the legislative body, list of deputies and of the court and secretariat of State of Cortes, executive power, supreme council of Regency, Council of State, ambassadors and commanders of the armies. The 1813 edition will include an addendum entitled Exércitos nacionales. On the return of Ferdinand VII, it returned to its previous title and to practically the same contents as it had published during the old regime, until during the liberal triennium, when it again changed its title and some of its contents, once again including the list of deputies to the Cortes and the new administrative institutions that the incipient liberal State was beginning to create. In 1821 it was entitled Guía de forasteros en Madrid, and in 1822 and 1823 Guía política y militar, printed at the Imprenta Nacional, formerly the Imprenta Real. For its part, the Estado militar de España, which had been published together with the kalendario, in 1821, 1822 and 1823 was entitled Estado de los ejércitos de la monarquía española (State of the Armies of the Spanish Monarchy). The calendar for 1825 is also interesting because the “purified” did not appear in the lists. This publication would continue to be published until 1837, when it was replaced by the Guía de forasteros en Madrid, which included engravings of the queen governor Maria Cristina and her daughter, Isabel II, and gave an account of the new organisation that the liberal state was creating to replace that of the old regime, the kalendario is therefore a basic source of information for understanding both the evolution of the state structure and the holders of its numerous organs and institutions, from the absolutist and enlightened monarchy of the eighteenth century to the first decades of the construction of the liberal state, with its two most influential episodes, the constituent Cortes of Cadiz and its epigone of the triennium.

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Screen of the Palace of the Viceroys of Mexico

ad_hlab_min — Sat, 19 Feb 2022 16:30:33 +0000

The Viceroy was the administrative figure during the Spanish Empire responsible for administering and governing, on behalf of the Spanish Monarchy, a territory. The Viceroy was therefore the personal representative of the King of Spain in other places. In the case of the Americas, due to the great extent of its possessions, the Spanish Crown created two Viceroyalties, the Viceroyalty of New Spain (1535-1821) and the Viceroyalty of Peru (1542-1824). In the case of the former, the life of the Viceroyalty of New Spain was governed internally from the buildings that formed the surroundings of the main square of Mexico City, such as the Viceroyal Palace, the City Hall, the Mint, the University and the Cathedral. The palace, in addition to being the seat of the viceroy, included numerous official offices, making it the nerve centre of viceregal power. The five panels on the right of the screen in the image depict the characteristics of this building before it burned down as a result of the riot of 1692. Opposite the façade of the Palace was the city’s most important market, El Parián, where many goods arrived from Manila. Its stalls sold all kinds of products and utensils, as well as the numerous foodstuffs that supplied the city from the surrounding area. The remaining three pages contain an incomplete view of the Paseo de la Alameda in the Spanish capital. This work offers a view of viceregal society and the role played by its different members. Thus, the ruling class is represented by Spaniards and Creoles, who were involved in the official and leisure world, going to the palace or strolling along the Alameda, while mestizos, mulattos and indigenous people were mainly engaged in service and merchant work.

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Conquest of Mexico. Moctezuma’s reception

ad_hlab_min — Sat, 19 Feb 2022 16:30:33 +0000

The image depicts the retinue formed by the Emperor Montezuma and his nobles, organised to meet Hernán Cortés and welcome him as he entered the city of Mexico-Tenochtitlán, the Aztec capital. This work is part of a set of 24 panels produced using the technique of ‘enconchado’. This passage of the Conquest of Mexico was narrated by numerous chroniclers, who served as inspiration for the authors of several pictorial series in which the images depict the most significant events of the story. The series is signed in 1698 by two painters who lived in Mexico City, the capital of the Viceroyalty of New Spain: Juan and Miguel González, the most famous artists in the production of enconchados. The entire ensemble was commissioned for King Charles II and from the beginning of the 18th century it became part of the royal collections. In the enconchados, the pictorial layer is combined with fragments of mother-of-pearl arranged on a preparation of plaster applied to a wooden support, often covered with canvas. The production of this type of work can be traced to Mexico between the mid-17th and 18th centuries.

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