María Rivo Vázquez, in his work on the façade of the School of the Company, with the guarantee of the Universidade of Santiago of Compostela, affirm that: ?Although of unquestionable sustrato clasicista herreriano, the façade eclesial of the School of Monforte is revestida of a manierismo that, without desbocarse, sobrepasa the field strictly ornamental of almohadillados, tips of diamond and forms enrolladas. The split of the frontón, the brusca finalización of the cornice of the cover and, especially, the inexacta superposición of them bear merman the structural clarity typical of the façades previñolescas. Like this pues, could aventurar the hypothesis of an initial design controlled essentially by Vermondo Subtracts, author more italianizante and next to the manierismo that Ruiz.
In the changes that deduce of the fold of conditions perhaps had a paper highlighted Juan of Tolosa. In fact the fault of correspondence between them bear of the first and second body could owe, more that to a conscious licence proper of the manierismo, to a desajuste fruit of modifications entered by a least expert teacher, such time Tolosa. Besides, the sustitución of the corintio by dórico and jónico and the elimination of a óculo that owed to occupy a central place, suggest a subtle deviation to an aesthetics more herreriana from solutions italianizantes.
A path that well could go of Subtract to Tolosa. In any case, does not fit doubt that Serlio and Vignola are the key sources of the façade. The footprint of the façade of the church of the School of the Cardinal in the architecture gallega is practically irrelevant. Bonet Mentions emulaciones of his friso with metopas of circles gallonados in the churches of Monfero, Oseira, Saint Vicente of the Pino of Monforte and Saint Bartolomé of Pontevedra, this last also calm jesuítica; and go in Oseiray Saint Vicente the presence of other architectural elements of the School Monfortino, although worse articulated. Like this pues, treat of an of the few samples of classicism herreriano in Galicia that, however, seems to have been “temperada” to conciliate manierismo and classicism, romanismo and herrerianismo, and, in definite, adapt to circumstances, people and places -and Saint Ignacio prescribed to his supporters- inside an Order cuya structure jerárquica, however, never left to be roman centrical.?