This week, the tiles have been placed again where the fallen stone of the tower had destroyed the roof. Quick and efficient repair, since our rainfall is high in these months, it was convenient to leave things as they should be as soon as possible.
We will briefly inform
you of the steps to renew the tower auction.
In fact, thanks to a former student of our School, Manuel
Garrido, and his magnificent drone, last Sunday February 2, in the afternoon we
were able to locate the location of the great iron cross that fell on December
19 due to the hurricane wind suffered by Monforte. The cross is in a place of
the same tower of very difficult access. We could also appreciate the damage
caused to the roofs by the detachment of the fragments of the stone. We will try
to repair the top of the tower as soon as possible. With a few simple images we
realize the state of the cross.
On December 19 in Monforte there was a lot of wind as in the whole region. La Voz de Galicia informed that day that Monforte was one of the towns most affected by Elsa. According to the newspaper, the rains and wind generated 112 more than a thousand incidents on the telephone and after the city of Lugo, the one in Monforte was the second one that generated the most calls.
These weather incidents affected the building of the College of the Cardinal. In fact the strong gusts of wind ended up breaking one of the granite balls that top each of the towers, specifically the one on the left. Apparently and as investigated the stone ball should already have a crack that between rain and ice subtracted strength from it. When blowing a continuous wind and with so much intensity the iron cross that finished off the set would vibrate until said tapping did the rest. The ball broke and the cross that apparently is still in the tower was lost.
This incident will be communicated to the corresponding Department of Heritage of the Xunta for your information.
Hopefully this architectural element can be replaced soon and return equality to the twin towers of our building.
The board of San Juan Bautista, recently restored, has been installed in the Pinacoteca. This table of S. XVI, is painted in oil, and is of a very good quality. We add here an already published photo of the restoration in addition to others at the time of being hung in the Pinacoteca, where we hope that soon it can be seen in all its splendor with a new and more modern lighting.
Rosa Ana Guerra Pestonit, in her work, with the same title
as this entry, refers us to the following:
“During some work of lifting the vaults of the cloister, a fortuitous circumstance caused me to discover in one of its walls (figure 1) the traces of what turned out to be a second montea of its vaults. Surprisingly, it had gone unnoticed until now, despite being located in a busy place and not listed in any of the sources consulted. This is a drawing executed with red pigment, possibly almagre, on the masonry wall corresponding to the first vault adjacent to the entrance from the goal. 5 The drawing (figure 2) represents the development of an eighth of the edge vault corner, along with the elevation of the half of the arch form that generates it. The described vault is regular, square, is executed in stonework and is decorated with a simple molding. It shows the distribution of the segments in the arch, their correspondence with the courses of the vault and the squares of the container volumes of these courses. Dovelas and rows appear numbered in three places. On the development the exploded view and the moldings are restated. As a curiosity, a double line of moldings appears on the mountain, which in the execution was simplified by eliminating the interior molding (figure 3). ”
This article entitled NEW MONTEA OF A DOME IN THE COLLEGE OF THE CARDENAL DE MONFORTE DE LEMOS, has become obsolete when a third montea appears on the walls of the cloister, a finding that soon we will provide information.
In her study entitled “The
effects of the Lisbon earthquake of 1755 on the monumental heritage of
Galicia”, her author Dª Begoña Ces Fernández two gives the following news
story of the difficulties that were encountered in the construction of the
College of the Cardinal:
“But the works had to
continue throughout the seventeenth century, since the master Simón de Mosteiro
worked in 1620 in the” front room that is now being done “but left
the works in November 1622 because he lacked the school of funds to complete
them ( Bonet Correa, 1984: 181-182) and among the documents kept in the Archive
of the College, are mentioned some provisions of the Royal Court, dated April
14, 1625, January 5, of the effects of the Lisbon earthquake of 1755 on the
monumental heritage of Galicia 1653 and August 22 of the same year so that the
timber needed was sold to the College and it was not prevented from passing the
carts of stone through the accustomed sites.
The monks have repeatedly come to
the Royal Audience to request their intervention. In 1625 the difficulty was
that some laborers were preventing the passage of the stone chariots for the
work of the church by the exits of their houses and fields, which meant that
works were still being carried out in the temple after their consecration. In
1653 the problem had arisen because the College needed much wood to proceed
with the enlargements they were making “for the increase of the generals
in the said school for the public studies there and for the necessity of the
subjects attending the said College” and the neighbors no longer wanted to
sell it. The work they refer to is a bedroom in the north-facing cloister, from
which the walls were already made but lacking beams and wood due to the
difficulty of finding who was selling them. “
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.