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Nuevos datos del arquitecto y escultor Luis Ortiz de Vargas y sus obras realizadas en Écija y Córdoba.

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2022-12-21
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Universidad Pablo de Olavide
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En este artículo se proporcionan datos inéditos de Luis Ortiz de Vargas sacados de los archivos astigitanos, los cuales nos acercan a la fecha de su nacimiento y a sus inicios en el antiguo reino de Sevilla. En la ciudad de Écija trabaja bajo el mecenazgo del jurado Cristóbal Gómez, quien actúa como su principal pagador y fiador de su morada, y le encarga las primeras obras de renovación de su capilla. También realizó trabajos para conventos e iglesias, de los cuales algunos se conservan, aunque se creían perdidos. Del retablo mayor de Santa Cruz de Écija creemos que pertenece el san Crispín; y del retablo mayor de los carmelitas descalzos de la misma localidad, pervive la estructura de los cuatro fustes clásicos con guirnaldas. En su primera etapa sevillana también trabajó para las localidades de Carmona y Córdoba. De esta última se ha podido identificar el retablo que hizo para la catedral, y que se mencionaba en un contrato de obligación de una mesa de caoba para Francisco de Herrera el Viejo.
In this article, we share unreleased information about Luis Ortíz de Vargas from the records of Écija, which helps us ascertain his birth date as well as his beginnings in the former Kingdom of Seville. In the town of Écija, he worked under the patronage of the judge Cristóbal Gómez, who acted as his main payer and guarantor of his house. Promptly, the patron assigned him the first renovation works of his chapel. In addition, the sculptor undertook other works for convents and churches, from which some works, that were thought to be lost, are extant. Besides, we assume that the figure of Saint Crispin from the main altarpiece of the Santa Cruz Parish Church (Écija) belongs to him. In the Church of the Discalced Carmelites from the same town, the artist worked on the realisation of the main altarpiece from which the structure of the four giant classical columns with garlands have survived. During his first stage in Seville, the sculptor also worked for the towns of Carmona and Córdoba. From the latter, the altarpiece of the cathedral has been identified; work that was mentioned in a bond indenture for the realisation of a mahogany table for Francisco de Herrera the Elder.
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Atrio. Revista de Historia del Arte, ISSN 0214-8293, ISSN-e 2659-5230, Nº. 28, 2022, págs. 78-96.
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