Valladolid (Diego Tomé, 1719) and Hospicio de San Fernando in Madrid (Pedro de Ribera, 1722), whose curvilinear extravagance seems to herald Antonio Gaudí and Art Nouveau. In this case as in many others, the design involves a play of tectonic and decorative elements with little relation to structure and function. However, Churrigueresque Baroque offered some of the most impressive combinations of space and light with buildings like Granada Charterhouse, considered to be the apotheosis of Churrigueresque style applied to interior spaces, or El Transparente of the Cathedral of Toledo by Narciso Tomé, where sculpture and architecture are integrated to achieve notable light dramatic effects. The Royal Palace of Madrid and the interventions of Paseo del Prado (Salón del Prado and Alcalá Doorgate) in the same city, deserve special mention. They were constructed in a sober Baroque international style, often mistaken for neoclassical, by the Bourbon kings Philip V and Charles III. The Royal Palaces of La Granja de San Ildefonso, in Segovia, and Aranjuez, in Madrid, are good examples of Baroque integration of architecture and gardening, with noticeable French influence (La Granja is known as the Spanish Versailles), but with local spatial conceptions which in some ways display the heritage of the Moorish occupation. Rococo was first introduced to Spain in the (Cathedral of Murcia, west façade, 1733). The greatest practitioner of the Spanish Rococo style was a native master, Ventura Rodríguez, responsible for the dazzling interior of the Basilica of Our Lady of the Pillar in Zaragoza (1750). Rococo Neoclassical The extremely intellectual postulates of Neoclassicism succeeded in Spain less than the much more expressive of Baroque. Spanish Neoclassicism was spread by the Royal Academy of Fine Arts of San Fernando, founded in 1752. The main figure was Juan de Villanueva, who adapted Edmund Burke's achievements about the sublime and the beauty to the requirements of Spanish clime and history. He built the Prado Museum that combined three programs - an academy, an auditorium and a museum - in one building with three separated entrances. This was part of the ambitious program of Charles III, who intended to make Madrid the Capital of Art and Science. Very close to the museum, Villanueva built the Royal Observatory of Madrid. He also designed several summer houses for the kings in El Escorial and Aranjuez and reconstructed the Plaza Mayor of Madrid, among other important works. Villanuevas´ pupils Antonio López Aguado and