How do you prove spoliation of evidence?


Many of the partially despoiled monuments in our country yearn to recover their amputated limbs, most of them in other parts of the national territory or in the United States. That was the case of Uncastillo, but only at the beginning. As chance would have it, a son of the town, the late José Antonio Lasheras, was placed at the head of the Altamira Museum. “With an emerging technology, the Altamira neo-cave was built with great success; we thought of making an exact copy of the doorway of San Miguel, taking advantage of José Antonio’s link with the foundation, and we proposed the operation to the Heritage Commission,” explains José Francisco García. But the response was negative. “They said no with good criteria. We had proposed to place the replica in the original place and that was the mistake,” they admit from the foundation.

What many territories are now babbling about, Uncastillo already talked about without ambiguity more than two decades ago. Of generating opportunities in the villages in the face of the real and near abyss of depopulation. “We had it very clear,” they emphasize. Although the model of success of the Aragonese people, it must be recognized, is still a rara avis. “It takes motivated people, with desire and very clear ideas. The rural environment is unfavorable towards something as misunderstood as heritage or culture,” the trustees recognize. This is the only way the Uncastillo Foundation has been able to carry out projects that, in addition to halting the certain loss of part of a centuries-old legacy, provide work for specialized profiles in heritage management. “Without inventing anything, with our own resources, we have been able to generate opportunities so that local talent and qualified people can stay and work here,” proclaims García.

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How do you prove spoliation of evidence? online

1Before beginning this reflection on numismatic plundering from a museum perspective, it seems appropriate to review, first of all, the itinerary that starts from the original nature of the coin to reach the historical-heritage category acquired after the formation of monetary collections and the development of numismatics as a discipline. All this in order to become aware of the evolution of the concept of plundering applied to the numismatic field and the need to analyze and understand it in its changing historical context.

2Coin was born as a form of money that allows the issuing authority to have an official measure of value that facilitates exchanges and payments of goods and services, as well as an easy accumulation of wealth in the hands of the same authority and, also, of individuals. All its characteristics urge it to move both in the immediate monetary circuits and, much further, as a result of booty or long-distance trade1. In its context, it is condemned to circulate from hand to hand until it is recast or until it rolls away and gets lost in a loophole or is hidden in a closed treasury, either expressly or accidentally, and not recovered.

How do you prove spoliation of evidence? 2022

The lawsuit filed by the City Council of Santiago refers to two sculptures representing the prophets Abraham and Isaac, originally belonging to the facade located in front of the Portico de la Gloria of the Cathedral of Santiago and that were removed during the works of the sixteenth century.

Santiago’s claim was supported, shortly after the beginning of the actions, with the location in the archive of the University of Santiago of the file of acquisition of the pieces, as well as the notarial deed itself, stating all the characteristics of the statues, of the municipal ownership.

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In the brief that the defendants have filed in court, the seven grandchildren of Francisco Franco and Carmen Polo –children of Carmen Franco Polo and heirs of the dictator– allege that the statues were “acquired” by the “couple” from a “private individual, through an antique dealer” and claim that the City Council of Santiago has not proved that they ever had them in their possession.

How do you prove spoliation of evidence? en línea

As fate would have it, the long-awaited return of the Pazo de Meirás practically coincides with the celebration of the centenary of the death of its original owner, the writer Emilia Pardo Bazán, which will be commemorated in 2021.

With this air of novelistic suspense, Eva Acosta’s exhaustive study begins with a revealing chapter on the Pazo de Meirás, without the historian suspecting at the time that the publication of the work would coincide with a great media and political controversy over the ownership of the historic property.