(J.A.G.) This morning the entire school celebrated the 150 years of the presence of the PP. Piarists in Monforte de Lemos. Students, teachers and parents have participated in the “congratulations” ceremony for those not inconsiderable 150 years.
With some photos we bear witness to our happy anniversary.
(J.A.G.) Within the actions approved by the Monforte City Council and in collaboration with the Royal College and Nª Sª de la Antigua Foundation, paving has begun on the school’s basketball court located in front of the sports center.
It will be given a polished cement finish and corresponding paint.
We are preparing for the beginning of the course that marks the 150th year of the presence of the PP. Piarists in Monforte de Lemos
Once the restoration work on this work in our Pinacoteca has begun, the results are encouraging. The cleaning tests and the cleaning carried out demonstrate the magnificent work carried out by the Crea company team.
The canvas, torn apart due to the seams of the canvases that make up the entire work, had to be repaired. They will be sewn again by hand, which will restore the tension necessary for proper installation to the canvas.
Work has been done on the frame and side bands will be added to facilitate fastening to the frame and its final installation.
With some photos we illustrate what was said.
These days the FCNSdlA has tackled the painting of the entrance to Primary and the climb to classes, something that was already sorely needed. The institutional colors blue and orange have been used to create a cheerful and clean environment.
One of the Foundation’s tasks is to support the Real Colegio PP. Piarists in their needs. We will shortly inform about the aid both in material and in scholarships and dining room scholarships that the foundation has provided, as well as the material improvements in which it has contributed.
With three photos we illustrate the intervention in the Primary stairs
Co-financing of the Concello de Monforte will deal with the restoration of the painting of Cardeal Rodrigo de Castro that was located in the Pinacoteca do Colexio on the entrance gate.
The restoration has all the authorizations from the General Directorate of Heritage second restoration project presented by the company CREA that works on our church restoring some two lateral altarpieces and the pulpit.
How many photos do we illustrate at the entrance that we offer to our friends and readers today.
The restoration works of the Chapel of the Relics of the church of Nª Sª de la Antigua, are progressing adequately. The bulk of the work will soon be finished, although there will be many touch-ups left for the complete completion of the restoration work.
Today we add here some photos of the floral backgrounds that, due to being semi-hidden behind thick oxidized varnishes, were not appreciated in their luminosity and splendor. Serve this as a sample button to understand the impact that the fully restored altar will produce. The photos correspond to the central niche, and the polychrome wooden coffered ceiling of the chapel. Our congratulations to the restoration team.
Once the work has been tendered and in the absence of the signature by the winning company, the restoration of the Chapel of the Relics will begin. Due to its complexity, the restoration will last an estimated time of six months, so hopefully by July we will be able to enjoy this new rehabilitated space. Probably, given its state, part of the altarpiece will have to be dismantled in order to renew the fastenings and restore its verticality and horizontality. The floor will be renewed in the same way and it will be seen to avoid the leaks that apparently exist in the wall of the façade. We will provide information on the development of these works.
The Writer Dolores Redondo made her first presentation at the Pinacoteca of the Royal College of the PP: Escolapios on December 21 in an exclusive act, before the official presentation that would take place a couple of hours later in the Monforte Multipurpose Pavilion.
Her new novel “Waiting for the Deluge” is the seventh novel by Dolores Redondo, a writer born in San Sebastián in 1969 who became a bestseller with the enormous success of her Baztán trilogy, a series that began in 2013 with El guardián invisible that mixes the noir genre with Basque myths and legends. With Offering to the Storm (2014) she closed that trilogy and began working on her next work with the challenge of sustaining the popularity that the three previous titles had brought her.
The vineyards of Minho
In Todo esto te daré, Dolores Redondo replaces the mists of the mountains in the north of Navarra with that of the slopes that fall into the Miño river in the Ribeira Sacra, but she does not change the tone. Her first novel after the Baztán novels is also a detective story wrapped in mysterious landscapes. The awarding of the Planeta prize helped him to keep the attention of the public, and to exceed sales figures that were difficult to improve. But it also had an unexpected effect on the Ribeira Sacra, which lived with All this will give you an unprecedented boost in popularity for a tourist territory that at that time was trying to establish itself as such and that today continues to receive visitors seeking the landscapes described in that novel.
The work of restoration and conservation of the altarpiece of Santo Cristo is completed. It is an anonymous altarpiece of carved, stuccoed, gilded and polychrome wood, from the first third of the 17th century in a classicist/mannerist style, whose image is made in marble by Valerio Cioli (1529-1599).
The state of conservation that it presented is not good, as stated in the project carried out by the restoration company TAU in charge of its restoration. Losses of matter originated by attacks of xylophagous insects can be seen on the support; misalignments of pieces and anachronistic additions such as a luminaire inside the niche, a modern altar front and the dimensional modification of the altar table and the stands.
As regards polychromy, it presented generalized blackening over the entire surface and a large number of wax drips, especially in the lower parts.
The sculpture, at the support level, was also covered in a layer of superficial dirt, and stains that darkened the marble. In addition, it presents breaks with displacements of the left pulse and arms, as well as the lack of two fingers of the right hand.
After the removal of the current front, it has been possible to confirm the existence of the original front. Its typology responds to the format of fronts that imitate fabrics with repeating floral decorations, all closed with a decorative frame, in this case with marbling in greenish tones. Part of the lower frame is hidden under a current pine wood flooring.
The main objective of the conservation and restoration works is none other than the protection and consolidation of the strata in danger of detachment; structural reinforcement treatment; disinsection; mechanical and chemical cleaning; sealing of cracks, holes and joints; and volumetric reintegration of the support.
A revision of the anchorages of the Christ and the cross was also carried out by means of an endoscopic camera due to the scarce separation of the bottom of the niche and the wall. After the revision, it has been possible to verify a slight unevenness of the cross forward that does not allow the arms to be brought to their original position, in addition to appreciating small loose elements on the wall just at the height of the anchors.
Although in principle it does not seem to present much instability, this area and the leveling of the withers will be further reviewed, requiring a partial disassembly of the rear part to reinforce the fastening points.
The original dimensions will also be returned to both the altar table and the stands.
