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.
We have included in our WEB menu an access to our virtual store. For now there is nothing more for sale than Father Esteban’s book, 2nd Edition. Soon we will sell some souvenir of the College. From that menu you will have access to the store and the cart.
Therefore, if you want a copy of Fr. Esteban’s book entitled “COLEGIO DE Nª Sª DE LA ANTIGUA” you can BUY it through our store and we will send it to you shortly.
This option will be good for alumni and other people interested in our school, its history, its building … and who do not live in Monforte.
Valerio Cioli, also called Cigoli or Giogoli was born in Settignano (Italy) in 1529 and dies in Florence in 1599, a year before Cardinal Rodrigo de Castro) was an Italian sculptor of the Mannerist era.
His most famous work is the Fontana del Bacchino del Giardino di Boboli, near the entrance of the Piazza Pitti in Florence. It depicts a jester from the court of Cosme I de Médici, ironically called nano Morgante (by Morgante, the giant of Luigi Pulci’s poem), naked and sitting on a turtle like a drunken Bacchus. In the same garden there are two other works by Cioli in collaboration with Giovanni Simone Cioli: the Uomo che vanga (“man who digs”) and the Uomo che scarica il secchio in un tino (“man who empties the bucket in a tub) Also among other known pieces is the allegory of the sculpture nothing less than in Michelangelo’s tomb.
From this famous sculptor we have in our church in Monforte the Christ in marble that was given to Cardinal Rodrigo de Castro by Felipe Segundo. Today we bring this entry on our page to have photographed the signature of Cioli, on the purity cloth of Christ, four photos that give us a complete message: VALERIUS CIOLIS · F · MDVC That we can well understand as De Valerio Cioli. Made in 1595.
He was born around 1555 in the Italian city of Milan, in the province of Umbria. His parents were Alejandro Resta and Isabel Milach. He moved to Seville in 1585 with Cardinal Rodrigo de Castro.
As first documented works, he adds that unfortunately disappeared, you were
hospitalized from Espírito Santo and Do Amor de Deus for those who were traced
between 1587 and 1588, both of which were completed in 1602. They were
expressly in charge of Cardinal Rodrigo de Castro, who was in charge of Hispanic
archdiocese from 1582 to 1600.
He was appointed senior teacher of the Archbishopric of Seville in 1588.
Between 1601 and 1603 he carried out some minor works and some commissions for
the Alcazar and in 1603 he was appointed senior master of it.1 The role of this
Milanese may have been to project only the facade of the church, since its
composition, orders and decorative motifs of Italian progeny are clearly
unmarked from the rest of the factory that follows the classical Mannerist
conception. Its design does not correspond to the line that Ruiz, Tolosa or
Monasterio followed. On the other hand, the acroteras and auction pyramids are
surely designs added afterwards by the teachers who worked in the factory. The
fact that he did not arrive in Monforte until the summer helps him as tracer of
the facade of the church. of 1593, therefore exempt from controlling the
collection of materials and the realization of the foundations, and thereafter
remained 15 months, sufficient time to at least raise all the details of the
facade, which is not known when it was finished , but it is known that it was
before 1598, since at that time the facade of the College was finished off as
it is exposed in the appraisal of Juan de Tolosa.
With the intention of disseminating the work of Fr. Este4ban Martínez and with the function of helping the Foundation’s projects, we have put the book of the 2nd edition of the History of the College of Nª Sª de la Antigua. We hope that many good readers will download their copy to know a little more about the history of this, which will soon be a new BIC building in Monforte de Lemos. We leave here the link to access this version.
In 1594 Cardinal
Rodrigo de Castro decided to expand the original traces of the school with two
extensions on both sides of the facade next to the corner towers. For this, two
great Renaissance architects of one Spanish, the Jesuit Andrés Ruiz and another
Italian Veremondo Resta, will be present in Monforte, coinciding in the city of
Lemos with the Cardinal.
This year, the
Cardinal decides to undertake a trip to Galicia to meet the Jubilee and, at the
same time, solve different issues concerning the foundation and the work that
is being done in his great work. On May 22, part of the Hispanic city with
direction to Madrid, among its companions is the architect Vermundo Resta. Once
in this city the signing of the deed of the foundation takes place, dated June
11. It may be strange, but the implementation of the works precedes the
confirmation of the foundation. At the beginning of July 1594 he resumed his
trip to Galicia. Previously, the Milanese architect has had to leave for Monforte
because on June 11 he attends the work by order of the Cardinal.
This same year
there is evidence of the presence of Jesuit Andrés Ruiz in Monforte once again
serving as a senior teacher and “wearing the work. This teacher in the company
of Vermundo Resta and, possibly, at the request of D. Rodrigo, still in Madrid,
add two “quarters parts” to the original traceto go close to the
towers of the main facade, by order of the Cardinal. The contract for this work
is made on June 11 with the stonework teachers Pedro de Marlote and Juan de la
In the light of the work entitled: “The town of Monforte in the light of the Cadastre of Ensenada (Part I)” An example of capital of a stately state “” by Rosa Mª Guntiñas Rodríguez, and specifically, in relation to the College of the Cardinal news of the first documents dating from January 1592 and refer to five sales of land (vineyards, orchards, “leiras” or farms) of individuals (a silversmith, a tailor of the “Arrabal” and a neighbor of “Remberde”) “) And of some houses of Francisco Díaz and Francisco Rodríguez, which had brought them up the monastery of S. Vicente del Pino but that” the Count of Lemos (…) on behalf of said Mr. Cardinal asked us to sell him and monastery has agreed to build a College of the Society of Jesus (…) on the bridge of S. Lázaro (…) where grammar is going to be read ”.
Documents that highlight, once
again, that the monastery of S. Vicente del Pino would have facilitated, as it
will do in the case of the Convent of the Poor Clares, the construction of the
College. Purchases that are complemented in February 1593 with a donation of
land by the Council so that the College “had on the facade and in front of
the square” 190, the College “whose dedication has to be (…) Our
Madame de la Antigua ”191 which seems to contradict the provisions of the 1741