Three Fountains from Gonzalo De La Bárcena's Workshop

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Article Renaissance Drawings of the 16th Century in the City of Lugo: Three Fountains from Gonzalo de la Bárcena’s Workshop

José Antonio Franco Taboada 1,* ID and Ana E. Goy Diz 2 ID

1 Department of Architectural Graphics, Higher Technical University College of Architecture, University of A Coruña, 15071 A Coruña, Spain 2 Department of History of Art, Faculty of Humanities, University of Santiago de Compostela, 27002 Lugo, Spain; [email protected] * Correspondence: [email protected]; Tel.: +34-619-316-435

Received: 23 January 2018; Accepted: 12 March 2018; Published: 16 March 2018

Abstract: Historically, urban fountains have been underestimated to the point of not being considered worthy of conservation. The foregoing reason, together with the lack of sufﬁcient archaeological data on this type of element in the Renaissance city, makes it necessary to document and carry out graphic research to correct this deﬁciency and establish the relevance of these constructions. The present work shows, through the concrete case method, the analysis of three Renaissance fountains from the Spanish city of Lugo and the importance of these elements as urban landmarks that marked the essential lines of the development of cities after the medieval period. It also analyses the work of their constructors, who belonged to a workshop of plumbers and master builders from the historical territory of Trasmiera (Cantabria) and who took their art throughout the Spanish kingdom.

Keywords: architecture; renaissance; representation; fountains; lugo

1. Introduction In the reigns of Carlos I and his son Felipe II, architects and engineers from other parts of Europe came to Spain, especially Flemish and Italian ones, and brought with them the first Renaissance treatises, which in turn stimulated significant development in these fields. Among the first of these was the Italian engineer from Cremona, Giovanni Torriani, known as Juanelo Turriano, creator of a hydraulic machine, possibly inspired by those of Leonardo da Vinci, which was used to raise water 90 metres from the Tagus River to the castle and the city of Toledo. Unfortunately, this is no longer standing today, but its impact on the landscape was immortalised by El Greco in his View of Toledo, which he painted around 1599–1600 (Figure1, left). In addition to these foreign masters, the main architects of the court, such as Juan Bautista de Toledo, Juan de Herrera and Jerónimo Gil, were involved in leading hydraulic projects, such as Los Caños del Peral Fountain in Madrid, the Ontígola Sea and the Big Fountain in Ocaña. Without reaching these levels of engineering skill, workshops of master builders, such as those from the historical Cantabrian territory of Trasmiera, whose citizens were known as “trasmeranos”, among which were entire families of the likes of Anzillo, Arce, Bárcena, Campo, Castillo and Cerecedo, among many others, demonstrated great expertise on these matters [1]. Among these, possibly the best were Juan de Herrera [2] and Simón de Monasterio.

Buildings 2018, 8, 44; doi:10.3390/buildings8030044 www.mdpi.com/journal/buildings Buildings 2018, 8, 44 2 of 17 Buildings 2018, 8, x FOR PEER REVIEW 2 of 17

Figure 1. On the left, View of Toledo by El Greco [3]. On the right, reproduction of a plate of Hans Figure 1. On the left, View of Toledo by El Greco [3]. On the right, reproduction of a plate of Hans Vredeman de Vries’s Artis perspectivae formulae, depicting a fountain in perspective [4]. Vredeman de Vries’s Artis perspectivae formulae, depicting a fountain in perspective [4].

These masters from Trasmiera worked throughout the entire Peninsula and in the Canary Islands,These and masters even reached from Trasmiera the continent worked of America throughout in the the case entire of PeninsulaRodrigo Gil and de inRozillo, the Canary known Islands, also andas evenRodrigo reached de Liendo the continent because of he America came from in the that case Cantabrian of Rodrigo town Gil de where Rozillo, he knownbuilt the also San as Andrés Rodrigo dehermitage Liendo because [5]. During he came his fromAmerican that Cantabrian phase, he townwas whereresponsible he built forthe important San Andr worksés hermitage in Santo [5 ]. DuringDomingo, his Americanincluding phase,the Fortress, he was the responsible Convent of for La important Merced and works San inFrancisco Santo Domingo, church. In including his role as the Fortress,“plumber”, the Conventhe brought of water La Merced to the and city. San Evidentl Franciscoy, no church.works were In his undertaken role as “plumber”, which could he broughtmatch waterthe importance to the city. and Evidently, technical nonovelty works of werethe “Artificio undertaken de Juanelo” which couldor the matchornamental the importancerichness of the and technicalfountains novelty imagined of the by “ArtificioVredeman de de Juanelo” Vries, such or the as ornamentalin Figure 1 (right-hand richness of side). the fountains imagined by VredemanIn this de work Vries, we such will as focus in Figure on an1 (right-hand important work side).shop in the field of hydraulic engineering in Spain,In thisthat workof Gonzalo we will de focus Bárcen ona an[6], important who came workshop to hold the in title the fieldof “The of hydraulicKing’s Plumber” engineering under in Spain,Felipe that II and of Gonzalo who was de involved Bárcena in [6 both], who hydraulic came to holdworks the and title architectural of “The King’s design. Plumber” under Felipe II andThe who importance was involved and in originality both hydraulic of the research works and we architectural are presenting design. is based on the fact that it has beenThe possible importance to achieve and originalityits main objective: of the research to represent we are the presenting public fountain is baseds built on in the Lugo fact thatoverit the has beenlast possiblequarter of to the achieve 16th century its main using objective: the original to represent drawings the public that were fountains attached built to inthe Lugo work over contracts the last quartersigned of between the 16th the century Lugo usingCouncil the and original the aforemen drawingstioned that wereworkshop. attached Today, to the two work of these contracts fountains signed betweenare no longer the Lugo standing. Council The and third the remains, aforementioned but is highly workshop. altered, Today, but at twoleast of it these has been fountains possible are to no longerrecover standing. it as a lost The architectural third remains, asset but that is highly has beco altered,me part but of at the least collective it has been memory possible of tosociety. recover In it asSpain, a lost there architectural are few assetoriginal that designs has become preserved part offrom the this collective time, so memory the case of of society. the fountains In Spain, in Lugo there is are fewexceptional original designsbecause, preservedfor various fromreasons, this most time, have so thebeen case lost. of the fountains in Lugo is exceptional because,Underlying for various the reasons, main conclusions most have beenobtained lost. is another of the fundamental objectives of this work—toUnderlying show how the mainbehind conclusions the apparent obtained formal simp is anotherlicity of these of the urban fundamental elements is objectives always hidden of this a complex underground hydraulic infrastructure project, which required an enormous mastery of work—to show how behind the apparent formal simplicity of these urban elements is always hidden architectural technique by its authors, the “trasmeranos”. a complex underground hydraulic infrastructure project, which required an enormous mastery of For the virtual reconstruction of the fountains, we could have used any technology or 3D architectural technique by its authors, the “trasmeranos”. software that could admit hyperrealistic finishes—given the wide range available in the market—but For the virtual reconstruction of the fountains, we could have used any technology or 3D software also any classic 2D program that would allow us to perform the graphic survey according to the that could admit hyperrealistic finishes—given the wide range available in the market—but also any current rules of architectural technical drawing. classic 2D program that would allow us to perform the graphic survey according to the current rules Finally we chose an intermediate solution. That is, to use a program that allows us to generate of architectural technical drawing. images that are easily understandable but at the same time being reliable reconstructions. To do this, we Finallyopted for we the chose creation an intermediate of 3D models solution. with Sket ThatchUp is, Pro to use2017. a programFor the rendering that allows of the us toviews, generate we imagesused the that free are Visualizer easily understandable application, but but with at the the same models time opened being in reliable SketchUp reconstructions. Pro 2014, because To do this this, wesoftware opted fordoes the not creation work with of 3Dthe 2016 models and with later SketchUpversions. Lastly, Pro 2017. the images For the were rendering treated with of the a sepia views, wefilter used to theevoke, free in Visualizer some way, application, the antiquity but of withthe fountains. the models opened in SketchUp Pro 2014, because this softwareThe models does were not work generated with thein grey 2016 scale and laterdue versions.to the impossibility Lastly, the of images making were an treatedexact digital with a sepiarecreation filter to of evoke,the materials in some and way, textures the antiquity used in the of theoriginal fountains. constructions, since the only material that we could verify that had been used was granite, as it is stated in the works contracts of the Provincial Buildings 2018, 8, 44 3 of 17

The models were generated in grey scale due to the impossibility of making an exact digital recreation of the materials and textures used in the original constructions, since the only material that we could verify that had been used was granite, as it is stated in the works contracts of the Provincial Historical Archive of Lugo. But since, in Galicia, there are many types of granite—colours that go from the white “Alba” to the black “Galicia”, passing through the “Albero”, the yellow “Vilachán”, the pink “Porriño” or the grey “Mondariz” (these commercial names are not technical but indicative), among others—and that, in addition, it is a material whose content in mica and type of grain increases even more the variability of its surface and therefore, of its aspect, this process was discarded due to the lack of contrasting data that would allow us to make a more realistic representation than the essentially volumetric one we present [7]. Therefore, we present reconstructions that have been carried out as thoroughly as possible with the aim of giving priority to understanding architectural form over any other more subsidiary or merely ornamental aspect which could distract attention from the main objectives of the work.

2. Hydraulic Engineering in the Spanish Renaissance: The Case of the City of Lugo As García Tapia points out [8], supplying water to cities in the Renaissance period was one of the most difficult and delicate problems for any council. The growing population, the refinement of society and, above all, the new humanistic mentality with regard to the use of water all favoured quick progress being made, placing many of these Spanish nuclei on the front line as far as water supply is concerned. These advances were helped by the approval of a series of regulations that, from the time of the Catholic Monarchs (1474–1504), allowed municipalities to implement the tax increases necessary to finance these works [9]. This made it possible for the myth of imperial Rome, as the leading city of antiquity, to become a reference for Hispanic rulers at the time of the Renaissance. Thus, in the towns that had a Roman past, an attempt was made to recover that idyllic image. This was the case for Lugo, a city founded between 15 and 13 BC by order of the emperor, Octavio Augusto, which became the capital of one of the conventus iuridicus of the province of Gallaecia [10]. Like many other Hispanic cities in Renaissance times, Lugo was experiencing a moment of expansion and modernisation that left a deep mark on the image of the city, improving the infrastructures (roads, hydraulics, etc.), planning the urban layout, configuring public areas and improving public buildings. As part of that transformation process, the modernisation of the water supply system was promoted as a project to be carried out in two stages. In the first stage, during the 1670s, the reconstruction of the Roman aqueduct was entrusted to Gonzalo de la Bárcena’s workshop, to ensure the regular and continuous supply of water to the main squares of the city. The second stage, however, which took place during the 1680s, addressed the reconstruction of the main fountains that were not connected to the supply because they had their own springs [11]. This second stage of the project was entrusted to the same workshop that consisted of Gonzalo de la Bárcena himself, his cousin Pedro de la Bárcena Hoyo and Juan de Caxigal.

3. The Architect–Plumber: Gonzalo de la Bárcena Gonzalo de la Bárcena (1530–1597) was one of the many masters coming from the historical territory of Trasmiera, specifically from Güemes (Santander). He trained in the art of cutting stone and plumbing and left his region in search of work. His years of training seem to be linked to the workshop of Martín de la Bárzana, who was involved in important plumbing projects in Alto and Bajo Aragón, as well as to the workshop of the Vélez and Camino families, as Heredia Alonso has recently demonstrated (see reference [6] (pp. 71–78)). It is true that, until now, the professional facet of the plumber associated with that of the stonemason has been valued, but when analysing these creations in detail, it is obvious that this type of work required very precise and exact preparation, especially when it was the plumber who was responsible for creating the drawing of the water supply, the design of the fountains and their Buildings 2018, 8, 44 4 of 17 subsequent construction, as occurred with Gonzalo de la Bárcena and his workshop, so perhaps we should reflect on the recognition of these masters. The recent studies carried out by Heredia Alonso [12,13] have demonstrated the large amount of work carried out by this workshop during the last third of the 16th century in the north-west of Spain, directing the main hydraulic engineering projects undertaken in the most important cities. A detailed listing of these is beyond the scope of this work, but it might be worth remembering that, after a trainingBuildings stage 2018 in, 8, Aragx FOR PEERón and REVIEW Navarre, Gonzalo de la Bárcena started to manage his own4 of projects 17 as a master of recognised prestige, forcing him to move throughout the regions of Asturias, Galicia, Leónafter and Cantabriaa training tostage take in on Aragón new projects. and Navarre, Among Gonzalo the most de la important Bárcena werestarted the to designmanage of his the own supplies in A Coruña,projects as Le aó mastern, Benavente of recognised (Zamora), prestige, Padr forcinón (Pontevedra),g him to move Santiagothroughout de the Compostela, regions of Asturias, Mondoñedo (Lugo),Galicia, Oviedo, León Avil andé s,Cantabria Gijón, Valladolid, to take on new Medina projects. de Rioseco, Among Santathe most Mar importantía de Palazuelos were the anddesign Simancas, of the supplies in A Coruña, León, Benavente (Zamora), Padrón (Pontevedra), Santiago de Compostela, these last three in the province of Valladolid. Mondoñedo (Lugo), Oviedo, Avilés, Gijón, Valladolid, Medina de Rioseco, Santa María de Palazuelos Overand Simancas, his entire these professional last three in career,the province Gonzalo of Valladolid. de la Bá rcena took on an almost unmanageable volume ofOver work his that entire was, professional however, madecareer, manageable Gonzalo de thanksla Bárcena to histook faultless on an almost organisation unmanageable of the work. Part ofvolume his success of work lay that in thewas, creation, however, on made 13 May manageable 1580, of thanks a professional to his faultless company organisation formed byof the himself, his cousin,work. Part Pedro of dehis lasuccess Bárcena lay Hoyoin the creation, and the stonemason,on 13 May 1580, Juan of a de professional Caxigal. According company formed to the notarialby deed,himself, each of his them cousin, could Pedro be de involved la Bárcena in Hoyo plumbing and the or stonemason, architectural Juan works de Caxigal. in the According regions to of the Galicia, Asturiasnotarial and deed, Castile, each and of them the workshop could be involved would assumein plumbing the responsibilityor architectural forworks carrying in the outregions the of works, regardlessGalicia, of Asturias who were and listedCastile, as and the the contractor workshop forwould the assume work [ 14the,15 responsibility]. As a general for carrying rule, Gonzalo out the was responsibleworks, regardless for designing of who the were project liste andd as draftingthe contractor the conditions for the work for [14,15]. the work, As a general whereas rule, Pedro Gonzalo and Juan was responsible for designing the project and drafting the conditions for the work, whereas Pedro were in charge of carrying out the work, aided by an important team of stonemasons and builders. and Juan were in charge of carrying out the work, aided by an important team of stonemasons and Althoughbuilders. many of the works planned by this workshop have been lost, we can precisely define the model ofAlthough fountain thatmany Gonzalo of the works de la planned Bárcena by designed this workshop and disseminatedhave been lost, throughoutwe can precisely the north-westdefine peninsular.the model It was of fountain a monumental that Gonzalo fountain de lawith Bárcen walls,a designed either and attached disseminated or free-standing, throughout made the north- in granite dressedwest stone peninsular. and designed It was a monumental in the style fountain of a façade, with framed walls, either by pilasters attached andor free-standing, sometimes toppedmade in with a gable.granite This dressed model stone was and inspired designed by in the the monumentalstyle of a façade, fountains framed by built pilasters during and sometimes the reign topped of emperor Carloswith I, of a gable. which This one model of the was most inspired representative by the monumental examples fountains with attached built during walls, the is reign the of Pilar emperor de Carlos V at theCarlos Alhambra I, of which in one Granada—the of the most representative work of Pedro examples Machuca—that with attach symbolisesed walls, is the Pilar three de rivers Carlos of the V at the Alhambra in Granada—the work of Pedro Machuca—that symbolises the three rivers of the city (Figure2, left). In the time of Felipe II, this type was still used, but the entire decorative element city (Figure 2, left). In the time of Felipe II, this type was still used, but the entire decorative element was eliminated, in accordance with principles of ornamental austerity that ended up being imposed was eliminated, in accordance with principles of ornamental austerity that ended up being imposed in Spain.in Spain. Here, Here, we we have have thethe example example of of the the Caño Caño Fountain Fountain in Torrelodones-Madrid, in Torrelodones-Madrid, which was which free- was free-standingstanding (Figure (Figure 2,2 ,right). right).

Figure 2. To the left is the Pilar de Carlos V, Pedro de Machuca, 1545, Alhambra in Granada. The Figure 2. To the left is the Pilar de Carlos V, Pedro de Machuca, 1545, Alhambra in Granada. photograph was provided by © Nicolas Vollmer CC-BY-2.0, via Wikimedia Commons. To the right The photograph was provided by © Nicolas Vollmer CC-BY-2.0, via Wikimedia Commons. To the is the Caño Fountain, 1591, Torrelodones (Madrid). The photograph was provided by © Esetena, CC- right is the Caño Fountain, 1591, Torrelodones (Madrid). The photograph was provided by © Esetena, BY-SA-3.0, via Wikimedia Commons. CC-BY-SA-3.0, via Wikimedia Commons. Due to the influence of Portuguese masters, in the second half of the 16th century, a second type Dueof fountain to the was inﬂuence disseminated of Portuguese throughout masters, Spain, espe in thecially second in the half regions of the bordering 16th century, the neighbouring a second type of fountaincountry. was This disseminated was a free-standing throughout fountain Spain, model especially with a circular in the or regions mixed-line bordering basin from the neighbouring which a column rose up to support one or two overlapping bowls that collected the water flowing from the top. In Galicia, this second type was the most widely used, and the model was based on the Viana do Castelo Fountain, located close to Galicia’s border with Portugal, which was built by Joao Lopes o Velho and his son, Joao Lopes o Moço (Figure 3). Buildings 2018, 8, 44 5 of 17 country. This was a free-standing fountain model with a circular or mixed-line basin from which a column rose up to support one or two overlapping bowls that collected the water ﬂowing from the top. In Galicia, this second type was the most widely used, and the model was based on the Viana do Castelo Fountain, located close to Galicia’s border with Portugal, which was built by Joao Lopes o Velho and his son, Joao Lopes o Moço (Figure3). Buildings 2018, 8, x FOR PEER REVIEW 5 of 17

Figure 3. Fountain in the Republic Square, Viana do Castelo (Portugal), de Joao Lopes o Velho and Figure 3. JoaoFountain Lopes o inMoço, the 1545–1580. Republic The Square, photograph Viana was doprovided Castelo by © (Portugal), ADSUBIA CC de BY-SA Joao 4.0, Lopes via o Velho and Joao LopesWikimedia o Moço, Commons. 1545–1580. The photograph was provided by © ADSUBIA CC BY-SA 4.0, via Wikimedia Commons. 4. The Fountains of Gonzalo de la Bárcena’s Workshop in Lugo 4. The FountainsWithin of the Gonzalo city’s water de la supply Bárcena’s project, Workshop once the aqueduct in Lugo refurbishment works had been completed, the Council undertook the improvement of the public fountains and wells. This second Withinstage the began city’s in 1582, water when supply the councillors, project, taking once advantage the aqueduct of the fact refurbishmentthat Gonzalo de la worksBárcena had been completed,was the continuing Council to undertook manage the the supply improvement works in A ofCoruña, the public proposed fountains that he refurbish and wells. Lugo’s This second stage beganfountains. in 1582, Again, when the the architect councillors, and his taking workshop advantage undertook of the the improvement fact that Gonzalo of the system, de la Btoá rcena was capture water from the springs and the channelling network that supplied each fountain. continuing to manage the supply works in A Coruña, proposed that he refurbish Lugo’s fountains. Again, the4.1. architect Miñá Fountain and his workshop undertook the improvement of the system, to capture water from the springsOf the and three the fountains, channelling the first network to be designed that supplied was the Porta each Miñá fountain. Fountain, the only one that remains today, albeit very altered, and probably the one that was of greatest urban interest, because 4.1. Miñá Fountainits creation paved the way for the subsequent development of the hamlet in the area close to the gate in the wall. This gate is the only one that retains its original design from Roman times and is of great Of thesymbolism three fountains, within the thecity because first to it be was designed the route taken was theby the Porta pilgrims Miñ oná Fountain,the Way of St. the James. only one that remains today,This is albeit perhaps very why altered, this fountain and was probably designed the with one a monumental that was of character. greatest urban interest, because its creation pavedInthe February way for1583, the the subsequent Council contracted development Gonzalo ofde thela Bárcena hamlet who in thewas arearesponsible close tofor the gate in producing the drawings and work conditions for the sum of 52 ducats [16]. He designed the fountain the wall. Thisusing gatea model is theof granite only dressed one that stone retains walls, topped its original with a gable, design presided from over Roman by the times city’s coat and of is of great symbolismarms within and finished the city off becausewith candle it holders was the and route with two taken connected by the pools pilgrims or basins on at the the front Way that of St. James. This is perhapshad different why thisfunctions. fountain One was was de designedsigned to supply with people, a monumental and the other character. was for animals. This type In Februarywas in keeping 1583, with the the Council Caños Fountain contracted in Avilés, Gonzalo designed by de the la architect Bárcena himself, who but was the novelty responsible for of the Porta Miñá design resides in Bárcena’s planning of the area around it. Taking advantage of the producingfact the that drawings the site on and which work the fountain conditions was built for was the delimited sum of 52by ducatsCalle de la [16 Tinería]. He and designed the current the fountain using a modelTravesía of del granite Miño, dressedwhich descended stone walls,towards topped the gate in with the wall, a gable, in front presided of the fountain over he by designed the city’s coat of arms and finisheda small square off with at a lower candle level holders than the and surrounding with two streets, connected accessible pools by two or basinsadjacent atroutes—by the front that had different functions.stairs that adjoined One was the designedfaçade of the to fountain supply or people, by the andfront theramp other access was that forallowed animals. animals This to type was pass. To protect the small square from the traffic of carriages and horses, Gonzalo de la Bárcena built in keepingsome with retaining the Caños walls Fountain that delimited in Avil thisé publics, designed space, and by he the built architect a bench himself,seat where but people the noveltywho of the Porta Miñácongregateddesign resides there to in collect Bárcena’s water planningcould rest. ofThis the concept area around of the fountain it. Taking as a advantagechamfer seems of to the fact that the site onherald which solutions the fountain that the baroque was built style was would delimited consecrate. by Calle de la Tinería and the current Travesía del Miño, whichThe descendedanalysis of the towards fountain’s the technical gate in drawing the wall, (Figure in front 4), an of example the fountain of the first he designedgraphic a small appearances of Renaissance representation in Spain [17], gives a first impression that it is square at a lower level than the surrounding streets, accessible by two adjacent routes—by stairs that adjoined the façade of the fountain or by the front ramp access that allowed animals to pass. To protect the small square from the traffic of carriages and horses, Gonzalo de la Bárcena built some retaining Buildings 2018, 8, 44 6 of 17 walls that delimited this public space, and he built a bench seat where people who congregated there to collect water could rest. This concept of the fountain as a chamfer seems to herald solutions that the baroque style would consecrate. TheBuildings analysis 2018, 8, x ofFOR the PEER fountain’s REVIEW technical drawing (Figure4), an example of the first6 graphicof 17 appearances of Renaissance representation in Spain [17], gives a first impression that it is undoubtedly a undoubtedly a faithful representation of the work that would eventually be constructed. However, a faithful representation of the work that would eventually be constructed. However, a careful reading of careful reading of the written documentation raises several doubts when it comes to reconstructing the written documentation raises several doubts when it comes to reconstructing its possible appearance its possibleBuildings appearance2018, 8, x FOR PEER in reality,REVIEW especially in the interior area of the stairs located at the6 backof 17 with in reality,regard especially to the side in benches. the interior area of the stairs located at the back with regard to the side benches. undoubtedly a faithful representation of the work that would eventually be constructed. However, a careful reading of the written documentation raises several doubts when it comes to reconstructing its possible appearance in reality, especially in the interior area of the stairs located at the back with regard to the side benches.

Figure 4. Drawings of the Porta Miñá Fountain, Gonzalo de la Bárcena, 1583. Provincial Historical Figure 4. Drawings of the Porta Miñá Fountain, Gonzalo de la Bárcena, 1583. Provincial Historical Archive of Lugo: Maps, plans and drawings, No. 98. Archive ofFigure Lugo: 4. Maps,Drawings plans of the and Porta drawings, Miñá Fountain, No. 98.Gonzalo de la Bárcena, 1583. Provincial Historical His Archivearchitectural of Lugo: knowledgeMaps, plans and must drawings, have No. been 98. far superior than his skill in representing it, Hisalthough architectural Hiswe canarchitectural easily knowledge deduce knowledge must that havehemust must beenhave have farbeen been superior far awaresuperior than of thethan his Medidas skillhis skill in del representing in Romanorepresenting, by it, Diego it, although de we can easilySagredo, deducealthough published thatwe can he easilyin must 1526 deduce have [18], beenthat or hethe aware must works have of theof been Serlio,Medidas aware such of del the as Romano Medidas Libro ,III bydel, DiegowhoseRomano , de detailsby Sagredo,Diego about de published the in 1526cornices [18Sagredo,], or on the the published works gables ofseem in Serlio, 1526 to have[18], such directlyor as theLibro works inspired III ,of whose Serlio, him, detailssuch since, as in aboutLibro 1552, III the it, whosehad cornices already details on beenabout the published gables the seem to cornices on the gables seem to have directly inspired him, since, in 1552, it had already been published havein directly Castilian inspired (Figure him, 5). since, in 1552, it had already been published in Castilian (Figure5). in Castilian (Figure 5).

Figure 5. To the left, illustrations of the second chapter of Medidas del Romano, by Diego de Sagredo, Figure 5. Towhich the explainsleft, illustrations how the cornice of shou theld second be formed chapter and what of theMedidas mouldings del that Romano compose, by it are. Diego In the de Sagredo, Figure 5. To the left, illustrations of the second chapter of Medidas del Romano, by Diego de Sagredo, which explainscentre are how models the corniceof the Tercero should y quarto be formedlibro de Architectura and what bythe Serlio mouldings [19]. To the thatright composeare details of it are. In the which explains how the cornice should be formed and what the mouldings that compose it are. In the centre arethe models proposed ofthe virtualTercero reconstruction y quarto libroof the de Port Architecturaa Miñá Fountain.by Serlio The image [19]. Towas the providedright areby the details of the centre are models of the Tercero y quarto libro de Architectura by Serlio [19]. To the right are details of proposedauthors. virtual reconstruction of the Porta Miñá Fountain. The image was provided by the authors. the proposed virtual reconstruction of the Porta Miñá Fountain. The image was provided by the authors. Buildings 2018, 8, 44 7 of 17

The proposed solution in the plan and elevation in Figure6 seems to fit quite well with the original drawing.Buildings However, 2018, 8, x FOR when PEER trying REVIEW to represent the possible fountain in a conventional perspective,7 of 17 such as in Figure7, the lack of sufficient remains or graphic documentation means that the result The proposed solution in the plan and elevation in Figure 6 seems to fit quite well with the cannot be considered definitive. original drawing. However, when trying to represent the possible fountain in a conventional In theperspective, 17th and such 18th as centuries,in Figure 7, this the sectorlack of sufficient of the city remains became or onegraphic of the documentation favourite areas means for that the urban elite, andthe the result city’s cannot leading be considered families definitive. settled there, such as the Marquises of Ombreiro, the Miraz family and the lordsIn ofthe Orb 17thán and who, 18th in centuries, 1730, erected this sector their of palace the city next became to the one fountain. of the favourite Some areas years for later, the in 1765, José Javierurban de elite, Armesto and the Quiroga, city’s leading a descendant families settled of there, this lineage,such as the asked Marquises for the of Ombreiro, Council’s the permission Miraz to extend thefamily house and the towards lords of the Orbán fountain who, in and 1730, build erected a largetheir palace arch overnext to it the that fountain. would Some allow years the later, building to in 1765, José Javier de Armesto Quiroga, a descendant of this lineage, asked for the Council’s be firmlypermission secured. to The extend Council the house authorised towards the this, fountain as long and as build the a supply large arch of waterover it that to the would neighbourhood allow was assured.the building It was to be then firmly that secured. the fountain The Council was auth builtorised into this, the as building’slong as the supply foundations, of water significantlyto the alteringneighbourhood its structure was and assured. making It thewas atriumthen that that the fo Gonzalountain was de built la B intoárcena the building’s had designed foundations, in front of it practicallysignificantly disappear. altering Thanks its structure to a plan and from making 1867, the atrium preserved that Gonzalo in theProvincial de la Bárcena Archive, had designed we know in that the originalfront of delimiting it practically walls disappear. of the Thanks square to werea plan demolishedfrom 1867, preserved and others in the Provincial were built Archive, in line we with the know that the original delimiting walls of the square were demolished and others were built in line façades of the house, and the access ramp for horses was replaced with a flight of stairs. In the late 19th with the façades of the house, and the access ramp for horses was replaced with a flight of stairs. In or earlythe 20th late century, 19th or early the fountain 20th century, lost the its functionfountain lost and its the function atrium and was the cementedatrium wasand cemented filled and in to street level, untilfilled it in was to street located level, at until the beginning it was located of thisat the century beginning following of this century excavations. following It excavations. was recovered It in its final condition,was recovered very in far its from final condition, its initial very one far (Figure from 8its). initial one (Figure 8).

Figure 6.FigurePlan 6. and Plan elevation and elevation of the of virtual the virtual reconstruction reconstruction of of the the Porta Porta Miñ Miñáá Fountain Fountain in Lugo. The The image image was provided by the authors. was provided by the authors. Buildings 2018, 8, 44 8 of 17 Buildings 2018, 8, x FOR PEER REVIEW 8 of 17

Buildings 2018, 8, x FOR PEER REVIEW 8 of 17

Figure 7. Bird’s eye view of the virtual reconstruction of the Porta Miñá Fountain in Lugo. The image Figure 7. Bird’s eye view of the virtual reconstruction of the Porta Miñá Fountain in Lugo. The image wasFigure provided 7. Bird’s by theeye authors.view of the virtual reconstruction of the Porta Miñá Fountain in Lugo. The image was provided by the authors. was provided by the authors.

FigureFigure 8. 8.To To the the left left, ,details details ofof thethe GeneralGeneral Town PlanningPlanning PlanPlan of of Lugo. Lugo. To To the the right right, current, current Figure 8. To the left, details of the General Town Planning Plan of Lugo. To the right, current appearanceappearance of of the the Porta Porta Miñá Miñá Fountain Fountain fromfrom the area ofof thethe semi-cylindricalsemi-cylindrical towers towers on on the the wall wall that that appearance of the Porta Miñá Fountain from the area of the semi-cylindrical towers on the wall that flankflank its its gate. gate. The The fountain fountain is is located located between between the wallll andand Calle Calle de de la la Tinería Tinería and and the the current current Travesía Travesía ﬂank its gate. The fountain is located between the wall and Calle de la Tinería and the current Travesía deldel Miño. Miño. Photgraphs Photgraphs were were provided provided byby thethe authors. del Miño. Photgraphs were provided by the authors.

4.2.4.2. Magdalena Magdalena Fountain Fountain 4.2. Magdalena Fountain TheThe Magdalena Magdalena fountain fountain was was in in thethe vicinityvicinity of the GateGate known, known, over over time, time, as as both both Postigo Postigo and and The Magdalena fountain was in the vicinity of the Gate known, over time, as both Postigo and Santiago,Santiago, on on the the side side of of the the road road that that linkedlinked the city withwith thethe bridge bridge over over the the river river Miño. Miño. In Inolden olden Santiago,times, this on thefountain side of supplied the road the that neighbourhood linked the city of with Recatelo the bridge or Arrabal over de the la river Magdalena, Miño. In as olden this area times, times, this fountain supplied the neighbourhood of Recatelo or Arrabal de la Magdalena, as this area thiswas fountain also known. supplied Archaeological the neighbourhood excavations of Recatelohave allowed or Arrabal us to discover de la Magdalena, that this sector as this of the area city was was also known. Archaeological excavations have allowed us to discover that this sector of the city alsowas known. configured Archaeological in the High excavationsRoman Imperial have period allowed and usthat to it discover became densely that this populated, sector of thebut cityit was was was configured in the High Roman Imperial period and that it became densely populated, but it was conﬁguredone of the in neighbourhoods the High Roman that Imperial was periodsacrificed and when that itthe became wall was densely built populated, during the but Low it was Roman one of one of the neighbourhoods that was sacrificed when the wall was built during the Low Roman theImperial neighbourhoods period, at the that end was of sacriﬁcedthe third century when the[20]. wall was built during the Low Roman Imperial Imperial period, at the end of the third century [20]. period,Halfway at the end through of the thirdof the century Middle [20 Ages,]. this area became occupied again because it had an Halfway through of the Middle Ages, this area became occupied again because it had an abundantHalfway and through well-known of the Middle spring Ages,that, thistogether area becamewith the occupied surroun againding agricultural because it had land, an abundantwould abundant and well-known spring that, together with the surrounding agricultural land, would andundoubtedly well-known be spring enough that, of togethera lure to attract with the new surrounding immigrants. agricultural This gave rise land, to wouldthe construction undoubtedly of a be undoubtedly be enough of a lure to attract new immigrants. This gave rise to the construction of a Buildings 2018, 8, 44 9 of 17 enough of a lure to attract new immigrants. This gave rise to the construction of a chapel dedicated Buildings 2018, 8, x FOR PEER REVIEW 9 of 17 to St. Mary Magdalene, with its associated cemetery, which, in 1155, would become one of the city’s fourchapel parochial dedicated churches to St. Mary [21]. Magdalene, with its associated cemetery, which, in 1155, would become one ofThroughout the city’s four the parochial Modern Age,churches it was [21]. often referred to as the city’s main fountain and the one that suppliedThroughout a larger the Modern population, Age, it which was often is why referred references to as the to city’s repairs main and fountain improvements and the areone verythat abundantsupplied a [22 larger]. It was population, fed by several which springs is why that refe wererences located to inrepairs the area and of Garañimprovementsón, from whichare very the waterabundant descended, [22]. It was channelled fed by several to supply springs the fountain.that were located in the area of Garañón, from which the waterThere descended, were ongoing channelled supply to supply problems the fountain. during the second half of the 16th century, so, in 1583, the CouncilThere were commissioned ongoing supply Gonzalo problems de la Bduringárcena the to refurbishsecond half it, alongof the with16th thecentury, one inso, Puerta in 1583, Miñ theá, forCouncil the sum commissioned of 64 ducats Gonzalo [23]. For de thisla Bárcena money, to he refurbish was committed it, along with to improving the one in the Puerta channelling Miñá, for and the buildingsum of 64 a ducats tank or [23]. a 3.92 For m this× money,1.25 m granitehe was dressedcommitted stone to improving deposit, with the achannelling vaulted roof, and a building decanting a welltank andor a an3.92 access m × 1.25 door m for granite maintenance dressed stone which depo wouldsit, bewith similar a vaulted to that roof, designed a decanting for the well aqueduct and an (Figureaccess door9). for maintenance which would be similar to that designed for the aqueduct (Figure 9).

Figure 9. 9. DepositDeposit of of Lugo’s Lugo’s water water supply supply attributed attributed to to Gonzalo Gonzalo de de la laBárcena Bárcena [24]. [24 Photgraph]. Photgraph supplied supplied by bythe theauthors. authors.

Pedro de la Bárcena was responsible for turning the design into reality and he faithfully followed Pedro de la Bárcena was responsible for turning the design into reality and he faithfully followed the model of walls proposed by Gonzalo that was also repeated in the San Pedro Fountain. Unlike the model of walls proposed by Gonzalo that was also repeated in the San Pedro Fountain. Unlike the the other two fountains, the Magdalena fountain was a construction attached to the water supply other two fountains, the Magdalena fountain was a construction attached to the water supply tank. tank. According to the drawings [25], it had three pools or basins: a main one that ran the entire width According to the drawings [25], it had three pools or basins: a main one that ran the entire width of the of the fountain and two secondary one, at a lower level that were used for human and animal fountain and two secondary one, at a lower level that were used for human and animal consumption consumption (see reference [22]) (Figure 10). (see reference [22]) (Figure 10). According to the conditions for the work, Pedro de la Bárcena had to make some changes from According to the conditions for the work, Pedro de la Bárcena had to make some changes from the drawings when building, including being ordered to place, at the top of this fountain, the crenels the drawings when building, including being ordered to place, at the top of this fountain, the crenels seen in what was known as the “New Fountain”, located in the vicinity of this one and that would have to be moved here. It is easy to deduce from the plan produced (Figure 10), which attempts to combine the elevation view with the perspective in a clumsy kind of cavalier perspective, that the master was not an expert in architectural design and that the contract was essentially based on the detailed specifications transcribed above. In any case, the graphic document includes the signatures of all authorities involved. Buildings 2018, 8, 44 10 of 17 seen in what was known as the “New Fountain”, located in the vicinity of this one and that would have to be moved here. It is easy to deduce from the plan produced (Figure 10), which attempts to combine the elevation view with the perspective in a clumsy kind of cavalier perspective, that the master was not an expert in architectural design and that the contract was essentially based on the detailed speciﬁcations transcribed above. In any case, the graphic document includes the signatures of all authorities involved. Buildings 2018, 8, x FOR PEER REVIEW 10 of 17

Figure 10. Drawings of the Magdalena Fountain, Gonzalo de la Bárcena, 1583. Provincial Historical Figure 10. Drawings of the Magdalena Fountain, Gonzalo de la Bárcena, 1583. Provincial Historical Archive of Lugo: Maps, plans and drawings, No. 2. Archive of Lugo: Maps, plans and drawings, No. 2. We have interpreted the original drawing in such a way that the back of the fountain is supportedWe have on interpreted a pre-existing the originalwall that drawing undoubtedly in such co antains way thatthe deposit the back in ofa slightly the fountain posterior is supported plane. onBehind a pre-existing this wall wall appears, that undoubtedly diagonally, the contains schematic the drawing deposit inof athe slightly water posteriorsupply to plane.the fountain. Behind As this wallthe appears, plan that diagonally, was made thefor the schematic San Pedro drawing fountain of theseems water more supply detailed to theand fountain. precise, an As attempt the plan has that wasbeen made made for to the make San a Pedroconsistent fountain interpretation seems more of bo detailedth fountains. and In precise, Figure an11, attemptthe proposal has beenhas been made drawn for the plan and elevation, and in Figure 12, the possible overall appearance has been represented in perspective. Buildings 2018, 8, 44 11 of 17

toBuildings make a 2018 consistent, 8, x FOR PEER interpretation REVIEW of both fountains. In Figure 11, the proposal has been11 drawnof 17 for the plan and elevation, and in Figure 12, the possible overall appearance has been represented in perspective. Buildings 2018, 8, x FOR PEER REVIEW 11 of 17

Figure 11. Proposal of the plan and elevation of the virtual reconstruction of the Magdalena fountain Figure 11. Proposal of the plan and elevation of the virtual reconstruction of the Magdalena fountain Figurein 11.Lugo. Proposal The image of the was plan provided and elevationby the authors. of the virtual reconstruction of the Magdalena fountain inin Lugo. Lugo. The The image image was was provided provided by by thethe authors.authors.

Figure 12. Perspective of the graphic reconstruction of the fountain of La Magdalena in Lugo. The image was provided by the authors.

Figure 12. Perspective of the graphic reconstruction of the fountain of La Magdalena in Lugo. The Figure 12. Perspective of the graphic reconstruction of the fountain of La Magdalena in Lugo. The image image was provided by the authors. was provided by the authors.

Buildings 2018, 8, 44 12 of 17

4.3. San Pedro Fountain or the Fountains of San Pedro According to the documentation from that time, this fountain was the second most important in the city’s supply after the Magdalena fountain. As in the previous case, we believe that its existence must have led to the emergence and consolidation of a neighbourhood or congregation [26] that began in medieval times and was consolidated in the Modern Age due to its strategic position, being on the edge of one of the city’s main entrance and exit routes. In fact, in the last third of the 16th century, we can see how this sector outside the wall was being configured through the installation of taverns and wineries, as well as workshops which had more space to settle in this part of the city [27]. In 1580, the Council ordered the stonemason, Gregorio do Barrio, to channel the springs for the fountains of San Pedro and Los Ojos into a single fountain to supply the population settled in the vicinity. Gregorio do Barrio had already worked for this institution previously but on minor projects. This assignment must have been particularly complicated for a master who did not know how to sign, as specified in the documentation. In fact, he promised that the refurbishment would have a guarantee of ten years, although one year later, the channelling was causing problems, so the Council decided to ask Pedro de la Bárcena to take charge of the project, and introduce any changes deemed necessary for the fountain to work again [28]. Once Pedro de la Bárcena had moved to Lugo and inspected the work, he presented his refurbishment proposal to the Council, in which he argued for the need to undo everything done by master Gregorio do Barrio and carry out the entire work ex novo, starting with deepening the tanks to achieve a greater flow from the springs. The refurbishment had a budget of 130 ducats, an amount that Pedro de la Bárcena refused to negotiate with the Council given the complexity of the project [29]. Nothing from this fountain has been preserved. We know how important it was since it was in one of the city’s main communication routes where many of the inns and taverns were located, but we have not found any references to it in the plans from the beginning of the 19th century, so we can deduce that by then it might have fallen into disuse and it was not interesting enough to be included in the historical planimetry. The model proposed by Pedro de la Bárcena does not differ from those designed by his cousin, Gonzalo de la Bárcena, maintaining the fountain’s wall type, topped by a simple cornice crowned with candleholders and crenels and with the two connected basins, as seen in the examples studied above of the Puerta Miñá and Magdalena fountains. In this case, two designs have been preserved. That from 1580, the work of Gregorio do Barrio, is an almost exclusively “technical” plan with the set of four tanks and their relative positioning on the land. We should mention that the signatures of the authorities who commissioned the project appear on this plan (Figure 13, right). The other, from 1583, is by Pedro de la Bárcena (Figure 13, left), who, above all, attempted to provide a “realist” view of the future appearance of the fountain, without forgetting the “technical” details of tanks and pipelines and how they reach the two pipes from which the water flows through lion heads. Although this plan is apparently very similar to that of the Magdalena fountain, a careful look allows us to appreciate its greater rigour within what seems to be a formal convention of the time in this type of architectural representation: a combination of elevation for the supporting wall and a cavalier perspective for the basins, seeking an overall result of a cavalier perspective. Similar to the above case, the proposed 3D reconstruction is presented in two images. Figure 14 presents the solution in plan and elevation, whereas Figure 15 shows a perspective. In this case, the precision of the original drawing (as well as the documentary data) allows for an interpretation that can be considered quite reliable. Buildings 2018, 8, 44 13 of 17 Buildings 2018, 8, x FOR PEER REVIEW 13 of 17

Buildings 2018, 8, x FOR PEER REVIEW 13 of 17

Figure 13. To the right, Gregorio do Barro’s 1580 plan for the Fountain of San Pedro. Provincial Figure 13. To the right, Gregorio do Barro’s 1580 plan for the Fountain of San Pedro. Provincial HistoricalFigure Archive13. To the of right Lugo:, Gregorio Maps, plansdo Barro’s and drawings,1580 plan forNo. the 103. Fountain To the ofleft San, Pedro Pedro. de Provincial la Bárcena’s Historical Archive of Lugo: Maps, plans and drawings, No. 103. To the left, Pedro de la Bárcena’s versionHistorical of the Archive 1583 plan. of Lugo: Provincial Maps, Historical plans and Ardrawings,chive of No. Lugo: 103. Notarial To the left protocols,, Pedro de0014-01. la Bárcena’s f. 140. version of the 1583 plan. Provincial Historical Archive of Lugo: Notarial protocols, 0014-01. f. 140. version of the 1583 plan. Provincial Historical Archive of Lugo: Notarial protocols, 0014-01. f. 140.

Figure 14. Plan and elevation of the virtual reconstruction of the San Pedro fountain in Lugo. The Figure 14. Plan and elevation of the virtual reconstruction of the San Pedro fountain in Lugo. The image image was provided by the authors. wasFigure provided 14. Plan by theandauthors. elevation of the virtual reconstruction of the San Pedro fountain in Lugo. The image was provided by the authors. Buildings 2018, 8, 44 14 of 17 Buildings 2018, 8, x FOR PEER REVIEW 14 of 17

Figure 15. Perspective of the virtual reconstruction of the San Pedro fountain in Lugo. The image was Figure 15. Perspective of the virtual reconstruction of the San Pedro fountain in Lugo. The image was provided by the authors. provided by the authors.

5. Conclusions and Future Works 5. Conclusions and Future Works Traditionally, the construction of fountains has been understood as minor work. However, we Traditionally, the construction of fountains has been understood as minor work. However, must consider these items to be the tip of the iceberg—that is, as the only evidence of a complex we must consider these items to be the tip of the iceberg—that is, as the only evidence of a complex design, namely the system for channelling springs. This involved underground infrastructure work design, namely the system for channelling springs. This involved underground infrastructure work whose complexity was not visible to the public, with the fountains being the only architecture on whose complexity was not visible to the public, with the fountains being the only architecture on view. view. In a period like the Renaissance, when cities are going through a modernisation process, In a period like the Renaissance, when cities are going through a modernisation process, water water becomes the symbol of the new times because its use is a clear sign of a society’s level of becomes the symbol of the new times because its use is a clear sign of a society’s level of refinement. refinement. At that time, this liquid was becoming increasingly necessary for urban development, At that time, this liquid was becoming increasingly necessary for urban development, for human and for human and animal consumption, for hygiene, for the adornment of squares, for irrigation, for the animal consumption, for hygiene, for the adornment of squares, for irrigation, for the proper proper functioning of the workshops and finally, to be able to extinguish the terrible fires that threatened functioning of the workshops and finally, to be able to extinguish the terrible fires that threatened the the population. The goal of every city was high quality, clean and healthy water that did not create a population. The goal of every city was high quality, clean and healthy water that did not create a health risk and that provided a constant flow that guaranteed the supply. health risk and that provided a constant flow that guaranteed the supply. Hence, the interest in this study about the architecturally minor but hydraulically important Hence, the interest in this study about the architecturally minor but hydraulically important works of this family of Cantabrian master stonemasons in the city of Lugo, allowed us to see their lack works of this family of Cantabrian master stonemasons in the city of Lugo, allowed us to see their of graphic training, but also their technical knowledge about the architectural formations. lack of graphic training, but also their technical knowledge about the architectural formations. It is also necessary to highlight the importance of this significant group of Cantabrian families It is also necessary to highlight the importance of this significant group of Cantabrian families who, starting from a rural area, namely, the historical territory of Trasmiera, moved first to Valladolid, who, starting from a rural area, namely, the historical territory of Trasmiera, moved first to then to the capital of the kingdom, before spreading quickly throughout the Crown of Castile and even Valladolid, then to the capital of the kingdom, before spreading quickly throughout the Crown of reaching the recently discovered American territories in the case of Rodrigo de Liendo, as we have Castile and even reaching the recently discovered American territories in the case of Rodrigo de already mentioned. Liendo, as we have already mentioned. Similarly, other masters from Trasmiera appeared in this rich 16th century, such as Gaspar de Similarly, other masters from Trasmiera appeared in this rich 16th century, such as Gaspar de Arce el Viejo and Francisco de la Sierra, with skilfully represented architectural designs. They were Arce el Viejo and Francisco de la Sierra, with skilfully represented architectural designs. They were still not following the canonical norms and created such original architectural results, such as the top still not following the canonical norms and created such original architectural results, such as the top body of the Bell Tower of the cathedral in this same city of Lugo. body of the Bell Tower of the cathedral in this same city of Lugo. The work of all these Cantabrian builders who travelled to Galicia is a relevant phenomenon both The work of all these Cantabrian builders who travelled to Galicia is a relevant phenomenon in qualitative terms, due to the importance of the developed constructions, as well as quantitative both in qualitative terms, due to the importance of the developed constructions, as well as terms, due to the high number of masters and works in which they participated and yet, even today, quantitative terms, due to the high number of masters and works in which they participated and yet, it still has not been documented, analysed and studied with sufficient rigor and depth. even today, it still has not been documented, analysed and studied with sufficient rigor and depth. We believe that their work, in collaboration with other masters of different origins, including the locals ones, led to a confluence of artistic influences that determined the particularities and idiosyncrasies of Galician art of this period [30], hence the need to elaborate a systematic that allows Buildings 2018, 8, 44 15 of 17

We believe that their work, in collaboration with other masters of different origins, including the locals ones, led to a confluence of artistic influences that determined the particularities and idiosyncrasies of Galician art of this period [30], hence the need to elaborate a systematic that allows us to deepen and recover the knowledge of these masters of stone whose legacy is already part of the history of architecture. With this research we wanted to lay the first stone of a new corpus of the architecture of the masters of building from Trasmiera in Galicia, following which we hope to continue contributing in the future. Within this line, it could be interesting to identify the granite varieties used in the original constructions, something that has not yet been possible due to the fact that neither the works’ contracts, nor the payment letters of the Provincial Historical Archive of Lugo, specify their origin or characteristics. Given the wide variety of this type of stone in Galicia, together with the fact that in Lugo the ruins of the old city were converted into improvised quarries—the reuse of Roman ashlars was very common—obtaining new data could shed light for the realization of more realistic reconstructions [31], which could have application in other areas, such as the teaching of cultural heritage or graphic computing [32]. On the other hand, we have also contemplated the possibility of documenting and analysing the urban architecture of water in Galicia beyond the origin of its authors—that is, expanding the object of study to all master builders who worked in this territory in the field of hydraulic infrastructures.

Acknowledgments: We want to thank Provincial Historical Archive of Lugo for the facilities they gave us in order to develop this research. This work has been carried out with financing from the Consolidation and Structuring Programme REDES 2016 (ED341D R2016/023) of the Government of Galicia; and the project HAR2016-76097-P (AEI/FEDER, UE), affiliated to the National Programme for Fostering Excellence in Scientific and Technical Research, State Subprogramme for Knowledge Generation. The research groups G-000477 and GI-1907, from the University of A Coruña and the University of Santiago de Compostela, respectively, participated in it. Author Contributions: Both authors are responsible of the whole article and participated equally in the research process. Conflicts of Interest: The authors declare no conflict of interest.

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