Histo<\/strong>ry<\/p>\n\n\n\n This is one of two palaces built by the sailor \u00c1lvaro de Baz\u00e1n, Knight of the Order of Saint James, Captain of the Ocean Sea, and Admiral of the Spanish Navy. It is located next to the Church of Nuestra Se\u00f1ora de la Asunci\u00f3n and, since 1948, has been leased by its owners, the Marquises of Santa Cruz, to the Spanish Navy. The Navy initially intended it as the Museum of the Spanish Navy before expanding its functions to also house the General Archives of the Navy.<\/p>\n\n\n\n The building was frequented by the first Marquis thanks to its location, halfway between Madrid, where the Court resided, and Seville, whose port he often visited, as the Spanish Armada was anchored there, and of which he was Admiral during the reign of Philip II.<\/p>\n\n\n\n The palace was nearly destroyed by Edward Hamilton’s Austrian troops during the War of the Spanish Succession in the early 18th century, but was saved thanks to the intervention of the Marquis’s chaplain, the poet Carlos de Praves, which allows us to admire it today. It suffered some damage in the Lisbon earthquake of 1755: the ceiling of the Hall of Honor, where the large fresco depicting the Battle of Lepanto had been painted, collapsed, and the four corner towers, which the chronicles of Philip II described as magnificent, were damaged. During the War of Independence, the French devastated it, and by the time of the Civil War, it had served as a granary, school, stable, prison, and hospital, until 1948, when the descendants of \u00c1lvaro de Baz\u00e1n donated it to the navy as a museum and archive, a function it retains today. Furthermore, in the neighboring parish church, there is a stuffed crocodile affixed to one of the vaults, a gift from the Marquis as a votive offering upon his return from one of his travels.<\/p>\n\n\n\n The palace was declared a National Monument in 1931.<\/p>\n\n\n\n The Palace<\/strong><\/p>\n\n\n\n It was built between 1564 and 1586, with subsequent modifications. The plans are by the Genoese architect and artist Le Bergamesque.<\/p>\n\n\n\n Upon his death, two of his children, Fabricio and Nicolas, took over the management of the construction. It is a square-plan building in the Renaissance style, imitating buildings constructed in Genoa during the 16th century.<\/p>\n\n\n\n It is organized around a Renaissance atrium with an adjoining tomb. The walls and ceilings are covered with frescoes depicting two themes: mythological scenes on one side, and naval battles and Italian cities on the other, linked to the military career of the Marquis and his family.<\/p>\n\n\n\n The palace’s architecture can be seen as typically Spanish, lacking the Italianate arches, with flat facades and square corner towers. It was influenced by the austerity of El Escorial and the Alc\u00e1zar of Toledo. In the central area is a porticoed courtyard which, together with the staircases, form a typically Mannerist ensemble. Originally, it had four towers which apparently collapsed following the Lisbon earthquake of 1755.<\/p>\n\n\n\n The Paintings<\/strong><\/p>\n\n\n\n They are distributed across almost all the ceilings and vaults of the palace and comprise a surface area of \u200b\u200bnearly 8,000 square meters of well-preserved frescoes. Works began around 1575 and continued until 1590. Three workshops of Italian artists, who came at different times, can be distinguished:<\/p>\n\n\n\n They all worked to create a built space to honor the great glory of its owner.<\/p>\n\n\n\n On the one hand, they had to highlight his military prowess, and on the other, they had to elevate his lineage. For the first task, they painted views of cities and ports, as well as the bastions and battles the marquis had won thanks to his prestige, on the walls, vaults, and ceilings of the palace. On either side of the staircase, they placed two statues representing Neptune (god of the seas, with his trident) and Mars (god of war).<\/p>\n\n\n\n Above the doors of the upper floor, they placed the fishing lamps from the sterns of ships belonging to captains defeated in battle, which were the sailors’ trophies. To celebrate his lineage, and following the Renaissance tradition of depicting men as gods or demigods of antiquity, the Marquis’s ancestors, his wife, and his children were also painted.<\/p>\n\n\n\n However, most of the walls of this unique building are decorated with the most famous stories of the gods and heroes of classical mythology, drawn primarily from Ovid’s Metamorphoses, Boccaccio’s Genealogy of the Pagan Gods, Natale Conti’s Mythology, and Vincenzo Cartari’s Images of the Ancient Gods.<\/p>\n\n\n\n For these reasons, we can consider this palace a veritable illustrated book of mythology.<\/p>\n\n\n\n The Fa\u00e7ade<\/strong><\/p>\n\n\n\n The building consists of two stories, a basement, and an attic. According to the plans, the exterior walls were to be plastered with a faux architectural style, similar to the Genoese style. The main entrance features a semicircular arch and two large Doric columns with wide bases and pedestals supporting a balcony with a balustrade. The Bazan family coat of arms and a pediment crown the structure.<\/p>\n\n\n\n The palace was flanked by four towers, which collapsed during the Lisbon earthquake of 1755, also damaging some of the paintings.<\/p>\n\n\n\n The Court<\/strong><\/p>\n\n\n\n After passing through the vestibule, we arrive in the courtyard; its entrance evokes a sense of solemnity and dazzling beauty, especially when compared to the sparseness of the elements visible on the exterior fa\u00e7ade.<\/p>\n\n\n\n It has two levels of semicircular arcades, composed of 14 Doric pilasters on the lower level and Ionic pilasters on the upper level, with balusters and railings, all in marble.<\/p>\n\n\n\n The vaults of the galleries are richly decorated with grotesque paintings, a type of ornamentation inspired by the paintings of ancient buildings discovered in Rome, such as Nero’s Domus Aurea, whose remains were called \u00abgrottoes.\u00bb The decoration is very varied: from plant and animal forms to mythological figures, including candelabra, garlands, and so on, all arranged in a fantastical order, seemingly without any connection at first glance. These paintings are the finest example of the innovative spirit of Mannerism, for they symbolize the power of imagination. This marked a break with the rigidity and restraint of the High Renaissance that had prevailed until then.<\/p>\n\n\n\n The spaces between the pilasters on the side walls of both levels feature images of the family’s most important naval battles, accompanied by explanatory labels. These images reflect the exaltation of the Renaissance heroic ideal, where glory and memory were paramount. The cityscapes are taken from Braun and Hogenberg’s work, Civitates Orbis Terrarum, with remarkable cartographic accuracy. These battles are as follows:<\/p>\n\n\n\n The Battle of Navarino \u2013 The Campaign at Cape Daguer in 1556<\/p>\n\n\n\n The Capture of Ten English Ships at Marbella in 1563<\/p>\n\n\n\n The Relief of Ceuta and Tangier in 1578<\/p>\n\n\n\n In the corner cupolas are allegories of the four political powers of the time, representing the new order; thus, from right to left: Spain, represented as a crowned female figure on a chariot drawn by lions and flanked by imperial eagles; the Vatican, France, and Turkey, also represented as a female figure on a chariot drawn by the mythological animal Cerberus. Each of these appears surrounded, in the pendentives, by allegories representing four cities of each country. In Spain, Burgos, Seville, Toledo, and Granada are represented; \u2026<\/p>\n\n\n\n THE MAIN ENTRANCE<\/strong><\/p>\n\n\n\n General Characteristics<\/strong><\/p>\n\n\n\n We are in the vestibule. As you can see, it is a large rectangular room originally intended for the guard. It is located between the entrance gate and the patio. If we look up at the ceiling or vault, we can see that it is entirely decorated with frescoes and that it consists of a large central coffer surrounded by a series of lunettes (10 in total) and billets (6).<\/p>\n\n\n\n The central lodge of the main entrance<\/strong><\/p>\n\n\n\n In this painting, we can see Neptune, also known as Poseidon, in his chariot (which, in this case, appears in the form of a seashell). According to Greco-Roman mythology, Neptune is the god of the sea, a realm given to him during the distribution of power carried out by himself and his brothers, Zeus and Hades, after dethroning their own father. Thus, we see him in his chariot drawn by four seahorses and whipped by his trident, one of the most characteristic attributes of this deity. Near him, to his left, are tritons, sea creatures, children of Poseidon and his wife Amphitrite. They were once depicted with a naked human torso and a fish tail, like their father, and they held a trident; however, their most characteristic element was a seashell, which they often played like a trumpet to calm or stir up the waves. In this case, they announce the arrival of their father. To the right of the rectangle, one can see a coastline of steep rocks dotted with classical-style buildings. According to experts, one can detect an influence of Michelangelo, both in the coloring used and in the exaggerated proportions of the figures.<\/p>\n\n\n\n It therefore seems entirely reasonable that a building created by one of the most important naval officers of his time, and indeed of the Spanish navy in general, Don \u00c1lvaro de Baz\u00e1n, would have depicted the god of the sea in its entrance.<\/p>\n\n\n\n Let us now begin our tour of the various paintings that adorn the central panel, composed, as we have already mentioned, of cartouches and lunettes; we will focus on the latter, as they represent mythological themes. To begin our pictorial journey, stand facing the entrance and proceed clockwise.<\/p>\n\n\n\n Lunette 1 – The Dispute of Neptune and Minerva over the Sovereignty of Athens.<\/strong><\/p>\n\n\n\n Taking place atop the Acropolis of Athens, this episode recounts the contest between the two gods regarding the city’s name. The twelve gods appointed as judges decided that the winner would be the one who created the element most useful to the Athenians. Thus, according to one version, Poseidon created the horse with a blow of his trident to the ground, while another claims it was a spring of salt water. Minerva, for her part, created the olive tree and was therefore declared the winner, giving the city its current name, derived from the Greek name of this goddess, Athena.<\/p>\n\n\n\n\n\n Lunette 2<\/strong><\/p>\n\n\n\n It is located just above the main door and has not been preserved at all; the only element that has survived is a small statue associated with Apollo because of the instrument it holds and the books on the floor.<\/p>\n\n\n\n Located just above the entrance door, nothing has been preserved, remaining as it was to this day; the only elements that have survived are a small figurine associated with Apollo because of the musical instrument that accompanies it and the books on the floor.<\/p>\n\n\n\n Lunette 3 – Neptune and Medusa at the Temple of Minerva<\/strong><\/p>\n\n\n\n The most commonly accepted interpretation of this painting depicts Neptune and Medusa entering the temple of Minerva to be united in marriage. Medusa is then punished by the goddess, who transforms her into a monstrous creature, her head adorned with snakes and endowed with the power to petrify anyone who looks at her (Caravaggio’s masterpiece is a prime example). Another interpretation refers to the moment when Neptune accompanies his wife, Amphitrite, to her palace.<\/p>\n\n\n\n Lunette 4 : The Birth of Pegasus<\/strong><\/p>\n\n\n\n According to Boccaccio’s version, Pegasus was born from the union of Medusa and Neptune. The image shows the young woman naked after giving birth and the horse fleeing to the top of the hill. The other version, that of Ovid’s Metamorphoses, recounts that Pegasus was born from the head of Medusa, along with that of the giant Chrysaor, when Perseus beheaded her.<\/p>\n\n\n\n Lunette 5 – Perseus bidding farewell to his mother, Dana\u00eb.<\/strong><\/p>\n\n\n\n This image depicts the moment before his departure in search of Medusa.<\/p>\n\n\n\n It shows Mercury presenting him with a sickle for his mission. Among the other gifts are the shield given by Minerva and the helmet of invisibility bestowed by Pluto. At the top of the image are two dolphins and two tritons, while Cupid, holding a bouquet, stands out against the sky.<\/p>\n\n\n\n Lunette 6- Perseus killing Medusa<\/strong><\/p>\n\n\n\n Medusa rests, while Perseus, behind her, raises the sword with which he will behead her. He does so without looking at the shield which, according to mythological sources, would protect him from her petrifying gaze. Above them, Cupid rides a seahorse and a white bird soars.<\/p>\n\n\n\n Lunette 7<\/strong><\/p>\n\n\n\n This lunette is devoid of paintings, as it occupies the space corresponding to the arch of the entrance gate leading to the courtyard. Only a painting depicting the fall of Phaethon is visible in the upper part, a theme that will also be explored in an interior room.<\/p>\n\n\n\n Lunette 8: Perseus flying with Medusa’s head<\/strong><\/p>\n\n\n\n After beheading her, Perseus returned to Seriphos with her head, a supposed gift that Polydectes had requested at his sham wedding. Polydectes, in reality, loved Perseus’s mother, Dana\u00eb; this provided an excellent excuse to get rid of the young man and thus be with her. However, he would have to use Medusa’s head before reaching her homeland.<\/p>\n\n\n\n Lunette 9: Perseus freeing Andromeda<\/strong><\/p>\n\n\n\n On his return journey to Seriphos, Perseus arrived in Ethiopia with Medusa’s head and saw a young girl\u2014Andromeda\u2014chained to a rock by the sea. This girl was the daughter of King Cepheus and his wife Cassiopeia, who had committed an act of \u00abhubris,\u00bb that is, pride towards the gods, since she had boasted that her daughter was more beautiful than the Nereids themselves, daughters of Nereus and sea nymphs; this is why Poseidon condemned the king to expose his daughter so that Ceto, a sea monster, would devour her.<\/p>\n\n\n\n However, Perseus, seeing her defenseless, chained to the rock awaiting her executioner, fell in love with her and saved her by removing Medusa’s head and petrifying the monster, for she still possessed this power despite Medusa’s death. According to some versions, Perseus destroyed Ceto by remaining airborne on his wings, as already shown in the previous image and as recounted by Ovid in his Metamorphoses; however, Boccaccio claims that Perseus rode the winged horse Pegasus. Some time later, Perseus married Andromeda.<\/p>\n\n\n\n Lunette 10 : Amphitrite or Venus?<\/strong><\/p>\n\n\n\n In this last lunette, a woman appears with her hair gathered up by a net, walking on the sea in a shell and surrounded by tritons; this is why it is doubtful that it is Amphitrite, wife of Poseidon, or Venus, who was born in the sea.<\/p>\n\n\n\n The Myth of Callisto (2nd floor) \u2014 The Great Bear and the Little Bear<\/strong><\/p>\n\n\n\n Callisto was a beautiful nymph. As a devoted follower of Diana, the goddess of the forests, Callisto had vowed never to love a man. She was entirely dedicated to hunting and the wild life and cared nothing for untangling her hair or adorning her clothes.<\/p>\n\n\n\n She barely held her dress with a brooch and her unkempt hair with a ribbon. In her hands, she carried a javelin or a bow, and with these weapons, she honored the huntress goddess of the forests by pursuing her prey. Of all the nymphs, she was the most protected by Diana and her most frequent companion; but no privilege lasts forever.<\/p>\n\n\n\n Zeus, though married to the goddess Juno, was a restless god. He constantly pursued and seduced the most beautiful young women with the most ingenious and varied tricks.<\/p>\n\n\n\n Juno, Zeus’s wife, was very jealous, for her husband was always courting other women.<\/p>\n\n\n\n One day, Zeus, gazing down from Olympus, saw Callisto returning from the hunt with the other nymphs of Diana’s retinue, and he immediately fell in love with her. Without further thought, he assumed Diana’s appearance and attire, approached the nymph, and said:<\/p>\n\n\n\n \u00abYoung lady of my retinue, in what forests have you hunted?\u00bb<\/p>\n\n\n\n Seeing the goddess she adored, Callisto greeted her reverently and began to recount her finest hunts. Zeus conversed with her until he felt completely at ease with her, then he resumed his true form. To the nymph’s surprise, he kissed her.<\/p>\n\n\n\n This seemed inappropriate to Callisto, who desired to be in love with no one. She tried in a thousand ways to free herself, but could not, and finally succumbed to the divine love of the supreme ruler.<\/p>\n\n\n\n One night, while Diana and the nymphs were bathing in a spring, Callisto was invited to bathe with the group. She tried to avoid this so that her pregnant belly would not be visible as she undressed; but the goddess ordered her to enter the water.<\/p>\n\n\n\n Seeing her pregnancy, the goddess understood that Callisto had betrayed the promise she had made as a faithful follower. Then Diana said to her:<\/p>\n\n\n\n \u00abGo far away from here.\u00bb<\/p>\n\n\n\n And Callisto had to flee. When Juno learned that Callisto had given birth to a healthy and strong child whom she had named Arcas, she felt her vengeful patience had reached its limit and addressed the nymph:<\/p>\n\n\n\n \u00abYou will not go unpunished, for I will take from you this beauty of which you boast, insolent one, and by which you please my husband.\u00bb<\/p>\n\n\n\n Juno threw her face to the ground. The young woman pleaded, holding out her arms; but the goddess did not yield. Black hair began to grow on Callisto’s arms, her hands curled and lengthened into hooked claws. From then on, Callisto had paws. And her mouth, once admired by Zeus, gradually became hideous until it transformed into a broad snout. And so that her prayers and pleading words could not move any heart, Juno deprived her of the ability to speak. From her hoarse throat rose an angry and menacing voice.<\/p>\n\n\n\n While Callisto wandered like a bear through the forests, time also passed for Arcas, who reached the age of fifteen without knowing his mother’s fate and still longing to have known her.<\/p>\n\n\n\n One day, the young man was choosing a suitable hunting spot on Mount Erymanthus when he was spotted by his mother. Moved by this apparition, Callisto could not contain herself and approached her beloved son.<\/p>\n\n\n\n Arcas fled in terror; but as Callisto drew ever closer, the young man prepared to pierce his chest with his deadly spear.<\/p>\n\n\n\n Jupiter, who saw what was happening, prevented the crime. With his boundless power, he sent a whirlwind that tore mother and son from the earth, transported them into space, and deposited them in the firmament. There, Callisto and Arcas were transformed into two constellations of bright stars. That is why, at night, since those distant times, the Great Bear and the Guardian of the Bear or the Little Bear shine in the sky, side by side forever.<\/p>\n\n\n\n Hades and Persephone (Hall of the Four Seasons)<\/strong><\/p>\n\n\n\n In the heart of the dark realm of the dead, Hades (Pluto in Rome) possessed his palace. Only he could reach it and enter its depths. But the dark god was very lonely, for no woman dared to marry him and become queen of the Underworld.<\/p>\n\n\n\n Hades, however, was capable of feeling love and showing tenderness\u2026 Weary of his solitude, he decided one day to take a wife, even by force. But he didn’t want just any woman: he desired a very sweet and beautiful young girl, the young Persephone (also known as Proserpine).<\/p>\n\n\n\n This young girl was the daughter of Zeus and Demeter, the goddess of the fertility of the fields. She was a joyful young woman, deeply in love with freedom and flowers: of her own free will, she would never have agreed to live in the Underworld. So Hades, with Zeus’s consent, plotted to abduct her. He waited until Persephone went for a walk in the meadows with her friends, and when he saw her wandering away from them, distracted by the wildflowers, he opened a breach in the earth and carried her off to his realm, ignoring her cries of anguish.<\/p>\n\n\n\n Once in the Underworld, Persephone did nothing but weep and beg to be taken back to the surface, to her mother. Hades tried to show her his love, telling her that she would be queen and sovereign there, that he would be a tender and loving husband, that he would make her happy. But he only succeeded in making her cry more.<\/p>\n\n\n\n Meanwhile, her mother, Demeter, searched desperately for her only daughter. No one told her what had happened, where her child was, whether she was lost, or if something terrible had befallen her.<\/p>\n\n\n\n Demeter searched the heavens and the entire earth without finding her. Finally, the Sun, who sees all, told her what had happened. When Demeter learned that Zeus had given Hades permission to abduct her daughter, she was so hurt that she decided to withdraw into the most remote solitude.<\/p>\n\n\n\n Without her presence, without the protection of the goddess of the harvest, the earth ceased to bear fruit and became a dry, barren desert. People starved, and the world was on the verge of disappearing\u2026<\/p>\n\n\n\n Zeus tried to convince Demeter to return to tend the fields so that fertility would once again flourish on earth. But the goddess, blinded by grief at the loss of her beloved daughter, replied:<\/p>\n\n\n\n \u201cI am horrified to see how you, Zeus, the very father of our sweet Persephone, allowed that horrible Hades to snatch her from my side. How can you expect me to give life again if you have taken away my joy? Never! Hear me clearly: never again will there be fruit on earth until my daughter is with me!\u201d<\/p>\n\n\n\n Zeus then ordered Hades to return Persephone to her mother.<\/p>\n\n\n\n The god of the Underworld, of course, was not inclined to let his young wife go. But faced with Zeus\u2019s categorical command, he had to yield. However, shortly before his departure, he asked that, just once, she eat with him one of the delicious fruits that grew near his palace: a pomegranate. Persephone, overjoyed to know she could finally leave, agreed.<\/p>\n\n\n\n The joy of mother and daughter at their reunion moved the heavens and the earth, which once again bore fruit and was covered in flowers and plants.<\/p>\n\n\n\n But, soon after regaining her freedom, Persephone began to feel a strange longing: she desired, without quite understanding why, to return to Hades. After all, the god of darkness was kind and loving, he acted justly and treated her like a true queen; this was true, even if the place was so bleak. Persephone’s feelings did not arise without reason: they had been triggered by the fruit she had eaten with Hades before her departure, for whoever tastes the food of the Underworld cannot resist the desire to return. And Persephone had tasted it! She had no other choice but to return to Hades, and yet now the idea no longer seemed so terrible\u2026<\/p>\n\n\n\n When Demeter learned of this, despair returned to her heart: must she truly lose her daughter beyond redemption? Zeus decided to intervene, seeking a solution that would satisfy everyone: he decreed that Persephone would live with her mother for two-thirds of the year, and spend the remaining third with Hades in the Underworld. Thus, when Persephone is with Demeter, in autumn, spring, and summer, the world flourishes, the earth yields fruit, and the fields produce harvests. When she goes to Hades to brighten her husband’s life, the earth shrinks, the fields freeze, and the trees lose their leaves: winter has arrived.<\/p>\n\n\n\n On the right side of the vestibule is a door leading to the secretary’s study, a small room whose ceiling features, in the central panel, a depiction of the end of the story of Apollo and Coronis. The aforementioned image represents the moment when Coronis, daughter of Phlegias, king of the Lapiths, is pierced by Apollo’s arrow.<\/p>\n\n\n\n Apollo was informed by a white raven, which he had left to watch over her, that Coronis had been unfaithful to him with a mortal named Ischys. She had acted this way because she feared being abandoned by Apollo when she grew old. However, before dying, the young woman told him that their unborn child would also die with her, as Ovid explains in his Metamorphoses:<\/p>\n\n\n\n \u00abI have suffered your punishment, Phoebus, but I could have become a mother sooner; now we both die together.\u00bb<\/p>\n\n\n\n Apollo, regretting having heeded the raven’s words, cursed it, burning its feathers and turning them from white to black.<\/p>\n\n\n\n Then, Apollo removed the baby from Coronis’s womb before her body burned on the pyre and entrusted it to the centaur Chiron to raise.<\/p>\n\n\n\n In time, the child, named Asclepius, would become the god of medicine. However, as Apollodorus recounts in his work, The Library, Chiron instructed Asclepius in the arts of hunting and medicine:<\/p>\n\n\n\n \u00abAnd having become a physician, and having brought his art to a very high degree, he not only prevented some from dying, but he even raised the dead\u2026 But Zeus, fearing that men would acquire the art of healing through him and thus come to help one another, struck him with his thunderbolt.\u00bb<\/p>\n\n\n\n <\/p>\n","protected":false},"excerpt":{"rendered":" DON \u00c1LVARO \u00c1lvaro de Baz\u00e1n y Guzm\u00e1n was born on December 12, 1526, in Granada (at the present-day intersection of […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"open","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"default","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","ast-disable-related-posts":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"categories":[43],"tags":[],"class_list":["post-481","post","type-post","status-publish","format-standard","hentry","category-explora-el-palacio-fr-en"],"yoast_head":"\n\n
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Apollo and Corones<\/strong><\/p>\n\n\n\n