is sufficient documentation on which Mr. Cardeal Rodrigo de Castro “in order to
state all the architectural features as more limbs had to be constructed or
building specifying that the dimensions should be included more“ measures
second Vignola insignia not seu book of five orders of architecture ”193 and,
(architectural elements) and ornaments within the temple (…) must be of
Corinthian order” specifying, with thoroughness, all the details to which
the different architectural elements of the igrexa construction should be added
( pilasters, entablamento, arches, vaults, scallops, xanelas do cruziro, dome,
ships laterais, choir, portas, …) as well as
at the quality of
two materials to undertake (pedro berroqueña, and say granite, ben carved in
everything or that does not properly walls), two decorative elements
(balusters, pyramids and booms, …) and “propaganda” (shields) and, mesmo, it
was stipulated that or official who started the work should finish it off if he
could transfer it to another official, yet there will be several mestres of
works that will intervene in construction (Irmáns Fatón, Simón de Mosteiro,
two that could be deduced that, perhaps, or Cardeal desxes facer unha replica,
even that on a smaller scale, do Escorial de aí or emprego do novo Escurialense
ou Herreriano style that Felipe II, after or Council of Trento, imputes in
Spain, and that can be defined as a faithful Spanish mannerism to the most pure
principles of classicism and that seem to be as much or as Cardeal itself,
among its six books there were some of art, such as works, Simón de Mosteiro,
xa that a preserved document did not convince monfortino das Clarisas recolle
that among those su pertenzas there were “outra pictures two temples of Rome
(…) gornecidos en coiro”.
seems obvious, pois, that either Cardeal wanted to record proof for subsequent
personal greatness but, likewise, it gives Grandeza do territory or solar co
that was identified and that it was or two six ancestors by isole that to work
of Colexio , or mesmo that El Escorial, is unparalleled at any time.
There are events that are surprising, pleasant, curious…. Today from our WEB we want to share one of them. Days ago we received a subscription to our “Circle of Patrons” program from the United States. Our surprise was very great and we are very honored to know that the subscriber is a whole family and that of this family the father is descended in the ninth generation of D. Francisco de Moure and the children are therefore the tenth generation.
In the photos, the three children of this family: Grace, Lucas and Diego, are with one of the most significant works of his great-great-great grandfather, Mr. Francisco de Moure. This is the “Knight Orante of Santa María de Beade“, currently in the provincial museum of Orense.
Yesterday, November 14, the exhibition entitled “Galicia a world story” was inaugurated in which two pieces of our Foundation are exhibited. The inauguration was carried out by the Commissioner of the Exhibition D. Manuel Gago and finished off the interventions D. Alberto Núñez Feijoo.
The two programmed pieces are Sta Catalina one of the five works of Andrea
del Sarto that are exhibited in our gallery and the Final Judgment of Giovani
Witness and present at the opening of the exhibition I attached some photos
of the installation of our works.
Tolosa, Juan de. Salamanca, 1548 – Monforte de Lemos (Lugo), 1598. Jesuit (SI), rigger, architect. He had an artisan bonding in his family, finding himself related (Gutiérrez de Ceballos does not dare to specify if they were father and son or even brothers) with the rigger of the Monastery of San Lorenzo de El Escorial, Pedro de Tolosa, a teacher who introduced the influence of that Filipino work in the architectural style of the Valladolid area.
Juan could have worked with him, even before his entry into the Society of Jesus, in the city of Salamanca, in November 1572. He should not be the only member of his family who entered this religious institute, having followed him his brother Esteban, nineteen years younger than him. However, his first job as a Jesuit was that of a cook, to be linked a little later to that of carpenter and assembler.
He works in Monforte instead of Andrés Ruiz, who was absent from the factory repeatedly (probably due to the completion of the Lugo Seminary), named Jesuit Tolosa in 1593, master teacher of the works of the College. Tolosa will be the one who transforms the idea into matter from 1593, directing a large number of construction and stonework teachers. Although Ruiz returns to the factory and signs the traces of the annexes to the facade in June 1594 at the request of the Cardinal, who was from July to November of that same year in Monforte de Lemos, exactly this was not carried out but instead they modified the additions based on a new trace that responds to the Universal Trace that Tolosa will propose to the Cardinal, and that will lead to modifying the entire planimetric system to bring new meaning and symbolism to the College. That there was a radical change between what was initially projected by Ruiz and what Tolosa materialized, is evident in the “Appraisal of the work and clauses for the continuation of the Monforte de Lemos College” that Tolosa himself performs in 1598, in which he says : “The trace in which they were finished was not saved, but everything should be removed and returned to another form.” Both what has been done so far and what has yet to be done have been modified, and this will be broken down throughout the work. The plague arrived in Monforte in 1599, greatly reducing both the operators’ companies and the religious community, Tolosa being one of its victims.