Various parts of the building were built or reconstructed by order of Ferdinand and Isabella. The architects were for the most part Christianised Moors, among whom are mentioned Maestre Mohammed Agudo (1479), Juan Fernandez (1479), Diego Fernandez (1496), and Francisco Fernandez. The latter was appointed Master of the Alcazar in 1502, and previous to his adoption of Catholicism was named Hamet Kubeji. According to Gestoso y Perez, a surprising number of artificers and craftsmen were engaged about the Alcazar at this time, a powerful inducement being exemption from taxes and military service. The names of Juan and Francisco de Limpias (1479-1540) have been preserved among the carpenters; and Diego Sanchez (1437), Alfonso Ruiz (1479), and the two Sanchez de Castro (1500), among the painters. Several improvements were carried out under Charles V. and Philip II., and a great deal of restoration was unfortunately necessitated by the fires which seemed to break out with increasing frequency during the sixteenth and seventeenth centuries. Still more disastrous was the effect of the great earthquake of 1755. Then began the reign of the vandal, which did more damage to the palace than time, fire, and earthquake combined. In 1762, the minister Wall ordered the Alcazar to be repaired in “the modern manner.” The ceilings which had been destroyed by fire were replaced by others much too low, and valuable arabesques were recklessly sacrificed. In 1805, some director with a genius for transmogrification whitewashed the fine stucco work in the Salon del Principe, and altered the main entrance. He also substituted a plaster ceiling for the bowl-shaped Arab roofing, and made strenuous efforts to impair the beauty of the Ambassadors’ Hall. In 1833 a reaction took place. Don Joaquin Cortes and Señor Raso effected an artistic and sympathetic restoration both of the Prince’s Hall and the Patio de las Muñecas. A more serious restoration was begun in 1842, at the instance of the administrator, Don Domingo de Alcega. The artist Becquer contributed materially to the success of the work. In the ’fifties, the task of replacing and restoring the stucco ornamentation was completed; and under Isabel II. the thirty-six arches of the Patio de las Doncellas were restored. Since that date the reconstructions have not always displayed good taste; but the revival of interest in her ancient monuments which has taken place in Spain of late years encourages us to hope, at least, that the appalling blunders of the early nineteenth century will never be repeated.