FUNDACIÓN COLEGIO Nª Sª DE LA ANTIGUA.

Where the two El Greco paintings once stood, poor-quality photographic reproductions were placed to fill the empty spaces. Now that all the altarpieces have been restored, these copies desperately needed to be replaced with something of better quality. The oil copy of Saint Lawrence has already been placed in its position on the altarpiece of the Holy Christ of Cioli, and the photographic copy of the painting of Saint Francis of Assisi with Brother Leo will soon be replaced by an oil copy on the altarpiece of Saint Joseph.
JAG

This work, of considerable dimensions (204 x 123 cm), is a portrait of José de los Ríos y Lamadrid, Bishop of Lugo, painted by Luciano Sánchez Santaren. It is currently being restored by the company TAU Restauración.

José de los Ríos y Lamadrid was appointed Bishop of Lugo on September 25, 1857, and died in Lugo on March 8, 1884. He is of particular importance to the people of Lugo because he obtained from Pope Pius IX the concession of a plenary indulgence for any day of the year, which could be obtained by those faithful who, after confession and communion, visited the Blessed Sacrament exposed in the Cathedral of Lugo. He communicated this to his faithful in a pastoral letter dated August 5, 1867.
JAG

These days they are removing the scaffolding from the restoration work carried out by the Galician Regional Government’s Department of Culture, at a cost of over €550,000. This work was much needed, as water was leaking through the dome every time it rained. The problem appears to be solved, although it will require regular maintenance, especially to prevent the growth of plants, lichen, etc., which can gradually damage the dome.

The scaffolding for the elevator used to transport restoration materials and dome scaffolding elements still needs to be removed from the rear.

JAG

This week, a new oil painting will be hung in the Art Gallery of the Royal Piarist Fathers’ College, following its restoration. Its unique feature lies in its subject matter. It is an anonymous work from the 17th or 18th century. The theme is quite original: we have decided to title it “Monks Looking at Plans.”

“In a vertical format, this painting depicts a group of four monks dressed in dark habits and pointed hoods. These religious figures are gathered around a table in an austere interior space, presumably belonging to a monastery. Two of the figures are seated while the other two stand, subtly leaning towards the center of the composition, thus directing the viewer’s attention to something that appears to be displayed on the table.

The light, which enters from the left side of the composition, falls obliquely on the figures, selectively highlighting the folds of their habits and their partially illuminated faces. This lighting treatment suggests a natural light source located outside the picture plane. The resulting chiaroscuro not only emphasizes the monks’ concentration on their task but also lends a spiritual dimension to the scene, as if their activity were imbued with a transcendent purpose.

From a compositional point of view, the closed arrangement of the figures around the table creates a space The painting is hermetic and intimate within the frame. This spatial configuration thematically reinforces the representation, which can be associated with monastic activities such as the study of sacred texts, the copying of manuscripts, the observation of architectural plans, or deliberations on matters concerning the monastery itself.

The painting technique employed is oil on canvas, with brushstrokes that combine precision and freedom, lending a restrained dynamism to the figures and objects depicted.” (From the THAU restoration report)

P. Javier Agudo García Director Gerente de la FCNSdlA

Last Wednesday, November 12th, the dome of Our Lady of Antigua Church was transformed for over two hours, at times under a relentless downpour, into another classroom for the school, in this case at the university level. Fifteen students from the MURA (Master’s Degree in Architectural Rehabilitation) program at the School of Architecture, University of A Coruña, were learning about architectural rehabilitation firsthand. They were led by their professor, Manuel Freire, who is also the architect in charge of the dome’s rehabilitation, renovation, and sealing.

A few days earlier, the school’s teachers, in small groups of nine, were also able to climb to the top of the dome, up to the cross, to hear the architect from the company responsible for the rehabilitation explain the process of restoration, consolidation, and renewal of certain elements to achieve a perfect result that will last for many years.

PHOTO 1: Father Javier, Director-Manager of the Nuestra Señora de la Antigua School Foundation, next to the cross on the dome.
PHOTO 2: Group of teachers showing interest in the restoration work on the school’s dome.

Father Javier, Director-Manager of the Nuestra Señora de la Antigua School Foundation

P. Javier Agudo Director-Gerente de la FCNSdlA

In the last of the conferences that the Fundación Colegio Nª Sª de la Antigua scheduled to celebrate the 400th anniversary of the main altarpiece, the work of Francisco de Moure, Dr. Ana Diéguez suggested an insight that is of great interest to scholars of our main altarpiece and the Figura de Moure.

The issue is in the altarpiece bench, where the four evangelists and the four theological virtues can be seen carved in walnut.

The evangelist, Saint Matthew, is usually accompanied by an angel, most often, or by the figure of a man, less commonly. In the case of our altarpiece, we find Saint Matthew accompanied by a man, standing behind and clearly in dialogue with the evangelist. This man, beardless, with a bobbed head of hair and a turned-up mustache, similar to the style we call imperial today. He is wearing a loose shirt with wide shoulders and rounded tips. The style of his clothing and the addition of his long hair and mustache place us before a 17th-century man.

The question is: could this be a self-portrait by Moure? It was not unusual for artists of the time to depict themselves in their works. Therefore, we could answer that this is possibly the case. We will have to study this detail more closely and consider the possibility that Don Francisco de Moure gave us a“photograph” of himself from the first third of the 17th century.

Evangelist Saint Matthew with the possible self-portrait of Francisco de Moure

We would like to commemorate the 2nd conference, which will be held in the church of the Royal College of the Piarists next Thursday, October 9th, at 7:30 p.m., to commemorate the 4th centenary of the Moure altarpiece.

WE REMEMBER:

Thursday, October 9th:

2nd CONFERENCE on the Moure Altarpiece, entitled

“Francisco de Moure and the main altarpiece of the Society of Jesus in Monforte de Lemos. The swan song of a great sculptor.”

By Ana Diéguez Rodríguez

• PhD in Art History from the University of Santiago de Compostela
• Director of the Möll Institute
• Professor of Art History at the University of Burgos.
• She is the author of the books “The Altarpiece in the Archpriesthood of Monforte de Lemos in the 17th and 18th Centuries” and “Flemish Painting of the 16th Century in Osuna (Seville). Art, Devotion, and Meaning for the Counts of Ureña.”
• She collaborated on the books “Jordaens and Spain” and “Van Dyck in Spain,” the latter of which won the 2014 Europa Nostra Award for research.
• She edits the center’s journal, Möll Philostrato: A Journal of History and Art.
• Since 2024, she has been a full member of the Royal Spanish-American Academy of Sciences, Arts, and Letters, corresponding to the Spanish Royal Academy of Cádiz, in the Mexico section.

We want to remind you of the conference celebrating the 4th centenary of the Moure altar, which will be held at the church of the school next Thursday, September 18th at 7:30 PM. WE REMEMBER:

Thursday, September 18th:

Title of the conference: “Form at the Service of Dogma. Francisco de Moure and the Reflection of the Catholic Reformation of Trent.”

Presented by Juan M. Monterroso Montero (University of Santiago de Compostela. CISPAC. Iacobus Research Group (GI-1907-USC)

• Degree in Geography and History (1987).
• PhD in Art History from the University of Santiago de Compostela (1995).
• Associate Professor at the University of A Coruña from 1999 to 2001.
• Associate Professor at the University of Santiago de Compostela since 2001.

On the occasion of the 4th centenary of the FRANCISCO DE MOURE ALTARPIECE, the Nª Sª de la Antigua School Foundation has scheduled two extremely interesting lectures that will undoubtedly make us appreciate the historical, cultural, and artistic value of this altarpiece in our church. These lectures will be:

Thursday, September 18:

Lecture title: “Form at the service of dogma. Francisco de Moure and the reflection of the Catholic Reformation of Trent.” By Juan M. Monterroso Montero (University of Santiago de Compostela, CISPAC, Iacobus Research Group (GI-1907-USC)

Thursday, October 9:

Lecture title: “Francisco de Moure and the main altarpiece of the Society of Jesus in Monforte de Lemos. The swansong of a great sculptor.” By Ana Diéguez Rodríguez (Director of the Möll Institute and Professor at the University of Burgos).

These days, the foundations of the Church of Our Lady of the Ancient are supporting approximately 27 tons in addition to the weight of the immense dome. This impressive scaffolding is being erected to facilitate the waterproofing work on the church’s dome, which unfortunately leaked water on days of heavy rain.

The work is estimated to last another four or five months, with completion estimated for the end of the year.

We are grateful for the professionalism of the team involved in this project—architects, restorers, construction company, etc.—as well as to the Xunta de Galicia, which is funding this work on the dome of Our Lady of the Ancient Church.