Charles III of Spain in the context of "General Archive of the Indies"

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⭐ Core Definition: Charles III of Spain

Charles III (Spanish: Carlos Sebastián de Borbón y Farnesio; 20 January 1716 – 14 December 1788) was King of Spain from 1759 until his death in 1788. He was also Duke of Parma and Piacenza as Charles I (1731–1735), King of Naples as Charles VII and King of Sicily as Charles III (or V) (1735–1759). He was the fourth son of Philip V of Spain and the eldest son of Philip's second wife, Elisabeth Farnese. During his reign, Charles was a proponent of enlightened absolutism and regalism in Europe.

In 1731, the 15-year-old Charles became Duke of Parma and Piacenza following the death of his childless grand-uncle Antonio Farnese. In 1734, at the age of 18, he led Spanish troops in a bold and almost entirely bloodless march down Italy to seize the Kingdom of Naples and Kingdom of Sicily and enforce the Spanish claim to their thrones. In 1738, he married the Princess Maria Amalia of Saxony, daughter of Augustus III of Poland, who was an educated, cultured woman. The couple had 13 children, eight of whom reached adulthood. They resided in Naples for 19 years. Charles gained valuable experience in his 25-year rule in Italy, so that he was well prepared as the monarch of the Spanish Empire. His policies in Italy prefigured ones he would put in place in his 30-year rule of Spain.

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👉 Charles III of Spain in the context of General Archive of the Indies

The Archivo General de Indias (Spanish pronunciation: [aɾˈtʃiβo xeneˈɾal de ˈindjas]; standard abbreviation AGI; lit.'General Archive of the Indies'), often simply called the Archive of the Indies, was created by Charles III and inaugurated in 1785. It is housed in the former merchant guild building in Seville, Spain, built in the late 16th century. It became the repository of archival materials documenting the history of the Spanish Empire in the Americas and Asia. The building was designed by Juan de Herrera; it is an Italianate example of Spanish Renaissance architecture. This structure and its contents were registered in 1987 by UNESCO as a World Heritage Site, together with the adjoining Seville Cathedral and the Alcázar of Seville.

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Charles III of Spain in the context of Kingdom of Naples

The Kingdom of Naples, officially the Kingdom of Sicily, was a state that ruled the part of the Italian Peninsula south of the Papal States between 1282 and 1816. It was established by the War of the Sicilian Vespers (1282–1302). Until then, the island of Sicily and southern Italy had constituted the "Kingdom of Sicily". When the island of Sicily revolted and was conquered by the Crown of Aragon, it become a separate kingdom also called the Kingdom of Sicily. This left the Neapolitan mainland in the possession of Charles of Anjou who continued to use the name "Kingdom of Sicily". Later, two competing lines of the Angevin family competed for the Kingdom of Naples in the late 14th century, which resulted in the murder of Joanna I at the hands of her successor, Charles III of Naples. Charles' daughter Joanna II adopted King Alfonso V of Aragon as heir, who would then unite Naples into his Aragonese dominions in 1442.

As part of the Italian Wars, France briefly ruled the territory in 1494 and at the beginning of the 16th century; it then went to war with Spain over the kingdom in 1502, a conflict that ended in a victory for Ferdinand II, who was in full control of the kingdom by 1504. The Spanish held control of Naples throughout the 17th century where it remained an important source of economic and military power for the Spanish Crown. After the War of the Spanish Succession in the early 18th century, the possession of the kingdom again changed hands; the 1714 Treaty of Rastatt saw Naples given to Charles VI of the Austrian Habsburgs. However, Naples and Sicily were conquered by Charles, Duke of Parma (of the Spanish Bourbons) during the War of the Polish Succession in 1734, he was then installed as King of Naples and Sicily from 1735. In 1816, Naples formally unified with the island of Sicily to form the Kingdom of the Two Sicilies.

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Charles III of Spain in the context of Junta (Peninsular War)

In the Napoleonic era, junta (Spanish pronunciation: [ˈxunta] ) was the name chosen by several local administrations formed in Spain during the Peninsular War as a patriotic alternative to the official administration toppled by the French invaders. The juntas were usually formed by adding prominent members of society, such as prelates, to the already-existing ayuntamientos (municipal councils). The juntas of the capitals of the traditional peninsular kingdoms of Spain styled themselves "Supreme Juntas", to differentiate themselves from, and claim authority over, provincial juntas. Juntas were also formed in Spanish America during this period in reaction to the developments in Spain.

The juntas were not necessarily revolutionary, least of all anti-monarchy or democratically elected. By way of example, the junta in Murcia comprised the bishop, an archdeacon, two priors, seven members of the old city council, two magistrates, five prominent local aristocrats, including the Conde de Floridablanca (Charles III's prime minister) and five high-ranking officers (either retired or still serving). Likewise, the junta of Ciudad Rodrigo, a strategic town near the border with Portugal, comprised "nine serving officers, including the pre-war governor and the commanders of all the units that had made up the garrison; five retired officers, of whom two were brigadiers" and, among others, the bishop, and seventeen members of the clergy.

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Charles III of Spain in the context of Castillo San Felipe del Morro

Castillo San Felipe del Morro (English: Promontory Castle of Saint Philip), most commonly known as El Morro (The Promontory), is a large fortress and citadel in the Old San Juan historic quarter of San Juan, the capital municipality of Puerto Rico. Commissioned by King Charles I of Spain in 1539, it was first built as a fortified tower in honor of King Philip II, who oversaw its expansion into a hornwork bastion fort by 1595. Over the next 200 years, especially in the reign of King Charles III, El Morro continued to be developed to reach its current form in 1787. Rising 43 metres (140 ft) from the Atlantic shoreline with 5.5 to 7.6 metres (18 to 25 ft) thick walls, the six-leveled edifice stands on a steep, rocky headland promontory on San Juan Islet guarding the entry to San Juan Bay, the harbor of Old San Juan. El Morro, alongside La Fortaleza, San Cristóbal, El Cañuelo, and other forts part of the Walls of Old San Juan, protected strategically and militarily important Puerto Rico, or La Llave de las Indias (The Key to the Indies), from invasion by competing world powers during the Age of Discovery and Sail. It was designated a World Heritage Site by UNESCO in 1983.

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Charles III of Spain in the context of Castillo San Cristóbal (San Juan)

Castillo San Cristóbal (English: Saint Christopher Castle) is a fortress in the Old San Juan historic quarter of San Juan, the capital municipality of Puerto Rico, known for being the largest fortification built by the Spanish in the New World. Dating back to defense expansions following attacks by the English in 1598 and Dutch in 1625, it was first constructed in 1634 as the Caballero de San Miguel (Saint Michael Cavalier) and the Garita del Diablo ("devil’s sentry box"). Over the next 150 years, especially in the reign of King Charles III of Spain, it continued to be developed into a bastion fort with outer ravelins and batteries to reach its largest size in 1783. Rising 150 ft from the Atlantic shoreline, the three-level edifice stands on a hill at the northern coastline of San Juan Islet, guarding the land entry to Old San Juan. Alongside El Morro, La Fortaleza, and other forts part of the Walls of Old San Juan, it protected strategically and militarily important Puerto Rico, or La Llave de las Indias (The Key to the Indies), from invasion by competing world powers during the Age of Sail. It was designated a World Heritage Site by UNESCO in 1983.

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Charles III of Spain in the context of Ferdinand I of the Two Sicilies

Ferdinand I (Italian: Ferdinando I; 12 January 1751 – 4 January 1825) was King of the Two Sicilies from 1816 until his death. Before that he had been, since 1759, King of Naples as Ferdinand IV and King of Sicily as Ferdinand III. He was deposed twice from the throne of Naples: once by the revolutionary Parthenopean Republic for six months in 1799, and again by a French invasion in 1806, before being restored in 1815 at the end of the Napoleonic Wars.

Ferdinand was born in Naples as the third son of King Charles VII and Queen Maria Amalia. In August 1759, Charles succeeded his half-brother Ferdinand VI of Spain as King Charles III, but treaty provisions made him ineligible to hold all three crowns. On 6 October, he abdicated his Neapolitan and Sicilian titles in favour of his third son, Ferdinand, because his eldest son Philip had been excluded from succession due to intellectual disability and his second son Charles was heir-apparent to the Spanish throne. Ferdinand was the founder of the cadet House of Bourbon-Two Sicilies.

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Charles III of Spain in the context of Treaty of The Hague (1720)

The Treaty of The Hague was signed on 17 February 1720 between Spain and the Quadruple Alliance, established by the 1718 Treaty of London. Its members included Britain, France, the Dutch Republic and Austria.

By signing, Spain joined the Alliance, ending the War of the Quadruple Alliance and accepting the terms of the Treaty of London. As previously agreed at Utrecht in 1713, Philip V confirmed his renunciation of the French throne and Spanish claims to their former Italian possessions. In exchange, Emperor Charles VI renounced his claim on the Spanish throne and four-year-old Charles of Spain was recognised as heir to the Duchies of Parma and Tuscany.

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Charles III of Spain in the context of Captaincy General of Cuba

The Captaincy General of Cuba (Spanish: Capitanía General de Cuba) was an administrative district of the Spanish Empire created in 1607 as part of Habsburg Spain's attempt to better defend and administer its Caribbean possessions. The reform also established captaincies general in Puerto Rico, Guatemala and Yucatán.

The restructuring of the Captaincy General in 1764 was the first example of the Bourbon Reforms in America. The changes included adding the provinces of Florida and Louisiana and granting more autonomy to these provinces. This later change was carried out by the Count of Floridablanca under Charles III to strengthen the Spanish position vis-a-vis the British in the Caribbean. A new governor-captain general based in Havana oversaw the administration of the new district. The local governors of the larger Captaincy General had previously been overseen in political and military matters by the president of the Audiencia of Santo Domingo. This audiencia retained oversight of judicial affairs until the establishment of new audiencias in Puerto Príncipe (1800) and Havana (1838).

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Charles III of Spain in the context of List of Francisco Goya's tapestry cartoons

This is a complete list of Francisco Goya's 63 large cartoons for tapestries (Spanish: cartones para tapices) painted on commission for Charles III of Spain and later Charles IV of Spain between 1775 and 1791 to hang in the San Lorenzo de El Escorial and El Pardo palaces. The word "cartoon" is derived from the Italian cartone, which describes a large sheet of paper used in preparation for a later painting or tapestry. Goya's were executed on canvas which was then woven into wool tapestry to a large mural scale. While many of the large finished works are today in the Prado Museum, the original sketches were sold as works in their own right.

In 1774, Goya was asked by the German artist Anton Raphael Mengs, acting on behalf of the Spanish crown, to undertake the series. While designing tapestries was neither prestigious nor well paid, Goya used them, along with his early engravings, to bring himself to wider attention. They afforded his first contact with the Spanish monarchy that was to eventually appoint him court painter. The works are mostly popularist in a rococo style, and were completed early in his career, when he was largely unknown and actively seeking commissions. There is evidence that he later regretted having spent so much effort and time on the pieces, and that his later darker period, which begins roughly with Yard with Lunatics, was in part a reaction against them.

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