Más de 365 días, más de 30 instituciones, más de 50 autores y 101 obras (o más) son cifras cuya suma da como resultado este proyecto. Bajo el título 101 obras maestras: ciencia y arte en los museos y bibliotecas de Madrid se reúnen un conjunto de piezas de diversas cronologías, técnicas, materiales y finalidades. Variadas son también sus ubicaciones: de Alcalá de Henares a San Lorenzo de El Escorial, pasando por Atocha, el Prado, Recoletos, el campus universitario de la Complutense, y un sinfín de otras localizaciones en la ciudad y Comunidad de Madrid. A pesar de esta aparente amalgama, todas ellas aúnan la peculiaridad de ser representativas de las historias de la ciencia y del arte, las cuales, aunque en la actualidad son reconocidas como distantes y dispares entre sí, a lo largo de los siglos caminaron de la mano. Los itinerarios aquí elegidos permiten reconstruir algunas de las cuestiones que muestran cómo y hasta qué punto se cruzaron y alimentaron la estética y el conocimiento. Un peregrinar bien virtual (gracias a Internet), bien físico (visitando las obras in situ, cuando su conservación y las instituciones que las custodian así lo permitan), nos invitan a reflexionar sobre el valor científico que atesoran las instituciones culturales, y el artístico que albergan las tenidas por científicas. Un cuadro puede incluir (y de hecho suele incluir) presupuestos ópticos, o puede estar cargado de referencias médicas o biológicas. Un instrumento quirúrgico o astronómico es un artefacto sometido al diseño. El arte es un campo de experimentación donde se precipitan ideas y convenciones sobre la naturaleza. La ciencia siempre fue una cultura encaminada a la representación y gobernada por la voluntad de persuadir a sus públicos. ¿Dónde comienza la evidencia y dónde el sentimiento? ¿Dónde la investigación y dónde la belleza? Pasearse por estas 101 obras es una invitación a cruzar caminos a veces imprevistos. [More than 365 days, more than 30 institutions, more than 50 authors and 101 (or more) works are the numbers which brings together this project. The title 101 Masterworks: Science and Art in the Museums and Libraries of Madrid gathers a collection of pieces with different chronologies, techniques, materials and purposes. Also varied are their locations: from Alcalá de Henares to San Lorenzo del Escorial, as well as Atocha, el Prado, Recoletos, the Complutense University campus, and an endless number of spaces within the city and the Community of Madrid. Despite the apparent disparateness of these works, they all share a common singularity: being a representative piece in the history of science and the history of art which, despite being recognised as both distant and different, developed hand in hand over the centuries. The itineraries presented here allow for a review of some of the arguments which substantiated how and the extent to which aesthetics and knowledge crossed paths and nurtured one another. A pilgrimage either virtual (through the Internet) or physical (visiting the work in situ, whenever their conservation and the institutions that keep them allow it) invites us to reflect on the scientific value of cultural institutions, and the artistic worth of those regarded as scientific. A painting can include (and usually does) optical assumptions, and be replete with medical or biological references. A surgical or astronomical instrument is a device which is also subject to design. Art is a field of experimentation where ideas and principles of nature combine. Science has always been a culture headed towards representation and ruled by the desire to win over its audiences. Where does evidence end and sentiment begin? What is research and what beauty? Wandering through these 101 works is an invitation to cross paths which sometimes prove unpredictable.]

This paper presents the Digital Library of New Hispanic Thought (Biblioteca Digital del Pensamiento Novohispano). In Mexico, during the seventeenth century, two comets were observed, leading to the publication of various texts on the meaning of this astrological phenomenon (Trabulse 1994a). During this period relatively few books were published due to high costs, the required approval of the Inquisition for publication and the lack of potential buyers. This proliferation of publications on the subject can be viewed as an indication of the importance of these events for the Catholic Church, the colonial government and the intellectuals of the period (Trabulse 1994b). The Heavens were, in Spanish colonial Mexico, a scientific, religious, social, political and ideological battleground (Moreno 1998).

ABSTRACT: In the context of the research project ‘Dynamics of Educational and Scientific Renewal in Secondary School Classrooms (1900-1936): An Iberian perspective’. (HAR 2014-54073), an empirical study has been developed using the methodology of Content Analysis. This methodology has been applied to the set of educational visual messages that were projected all over the Historical Secondary Schools in Spain. The results of the studies reveal rel- evant aspects of the role that those elements of material culture had in the transformation of science teaching in the secondary school classrooms in the first third of the 20th century. Key words: Science Communication, Education and Communication, Scientific and Educational Heritage, Projec- tion Lantern, Diascopic Slide, Content Analysis. RESUMEN: En el contexto del proyecto de investigación ‘Dinámicas de renovación educativa y científica en las aulas de bachillerato (1900-1936): una perspectiva ibérica’ (HAR 2014-54073) se ha desarrollado un estudio de análi- sis de contenido aplicado al conjunto de mensajes visuales de carácter divulgativo proyectados en los institutos histó- ricos de bachillerato en España. Los resultados del estudio desvelan aspectos relevantes del papel que dichos ele- mentos de la cultura material tuvieron en la transformación de la enseñanza científica en las aulas españolas de edu- cación secundaria en el primer tercio del siglo XX. Palabras clave: comunicación de la ciencia, comunicación y educación, patrimonio científico y educativo, linterna de proyección, placa diascópica, análisis de contenido.

The first institution to promote teacher training for the elementary education system in Argentina -Escuela Normal de Paraná- was created in 1871. Among many teaching aids, this institution had an important collection of lantern slides. The purpose of this paper is to analyze the place of images and visual instruction in the training of teachers in Argentina in the early twentieth century. The paper explores the geographical sub-collection of an archive of 4700 glass lantern slides by focusing on its topics, visual content and structure. The archival organization is analyzed to understand its use as a modernizing pedagogy in an institution that privileged expertise in teaching methods. It is argued that the pedagogic use of lantern slides raised two areas of tension. On the one hand, as a visual technology associated with entertainment, lantern slides had to be recontextualized as a pedagogic aid. On the other hand, the lack of awareness of Argentinean landscapes in foreign slide collections became a problematic issue particularly in the teaching of Geography. In order to be conceived as an appropriate form of visual imagery displayed in schools, glass lantern slides were reframed as part of a scientific method of instruction and a national corpus of knowledge.

In the context of the research project 'Dynamics of Educational and Scientific Renewal in Secondary School Classrooms (1900-1936): An Iberian perspective'. (HAR 2014-54073), an empirical study has been developed using the methodology of Content Analysis. This methodology has been applied to the set of educational visual messages that were projected all over the Historical Secondary Schools in Spain. The results of the studies reveal relevant aspects of the role that those elements of material culture had in the transformation of science teaching in the secondary school classrooms in the first third of the 20 th century.