Real Fábrica de Cristales de La Granja ('Royal Factory of Glass and Crystal of La Granja') was a Spanish royal manufacturing factory established in 1727 by Philip V of Spain. In that year, funded by the crown, the Catalan artisan Buenaventura Sit installed a small oven which manufactured float glass for the windows and mirrors of the Royal Palace of La Granja de San Ildefonso, which was under construction in the 1720s. Sit had previously worked at Nuevo Baztan where a glass factory failed because of inadequate fuel supplies. At La Granja there was an abundant supply of wood for the factory in the Sierra de Guadarrama.
Bartolome Sureda y Miserol, previously director of the Real Fabrica de Porcelana del Buen Retiro, the Real Fabrica de Pano in Guadalajara, and the Real Fabrica de Loza de la Moncloa, became director of the Real Fábrica de Cristales de La Granja in 1822. Glass blowing and glassware production could be viewed at the factory. The wares of the royal factory were exported to the Americas, which caused financial losses to the other countries who exported as well. By 1836, with the royal factory experiencing financial hardship, the Royal Treasury formally took over the facility which, unlike other royal factories, failed to financially support itself.
To revive the traditions of the Royal Glass Factory, the National Glass Centre Foundation was established in 1982 in the eighteenth-century building.
References:Střekov Castle (Schreckenstein) is perched atop a cliff above the River Elbe, near the city of Ústí nad Labem. It was built in 1316 for John of Luxembourg, the father of the Holy Roman Emperor Charles IV, to guard an important trade route to Germany. After changing hands several times, the castle was acquired by the Lobkowicz family in 1563. Its strategic importance led to occupations by Imperial Habsburg, Saxon, and Swedish forces during the Thirty Years' War, as well as successive sieges by Austrian and Prussian armies during the Seven Years' War.
Although Střekov Castle was heavily damaged during those conflicts and abandoned as a military installation by the end of the 18th century, the 1800s saw many poets and artists visiting the castle, drawn by a new trend of interest in romantic ruins.