TOWER OF THE TEMPLARS OF CARAVACA DE LA CRUZ

The so-called Torre de los Templars is located in the place known as Fuentes del Marqués, about two kilometres from the town centre of Caravaca; A place very frequented by tourists and caravaqueños who appreciate the benefits of a landscape with great natural richness, abundant arboreal mass and channels of crystalline waters.

The tower and its exceptional surroundings are accessed by a paved road that part of the town of Caravaca itself. Once there, the visitor has ample parking, as well as various units dedicated to the hotel where to complete a pleasant visit. In addition, the entrance to the interior of the tower is today possible thanks to the establishment inside the centre of interpretation of the nature of the fountains of the marquis.

Origin, form and function

The origins of this construction are somewhat confusing and should be placed around the 16th and 17th centuries, when it is possible that the current tower is built on an older one. It seems that his contemporary name would already receive him by Remembrance century of the command of the order of the Temple, established in Caravaca by the crown of Castile during the first years since the reconquest. The current work would be related to a rural exploitation, in the opinion of Navarro Suárez, a state-type, who would take advantage of the excellent water resources of the place.

It is a work of quadrangular plant, of generous dimensions, on whose door a characteristic inoculum is opened. Its walls, raised with well carved ashlar, and its great vains, already denote the little – or null – warlike character of the tower.

The Tower of the Templars is declared well of Cultural interest by the second additional provision of law 16/1985, of 25 of June of the Spanish historical patrimony.

 

Architecture

The building is inscribed in a quadrangular plant, and its elevations can be divided into three bodies. To the left of the main entrance there is a small terraced building that houses the stairwell of the tower. To its exterior, in the main façade, four openings are opened: the door, crowned by a glass, and two windows that mark the two upper floors.

Inside, it stands out in the ground floor a stay dug in the rock, with vaulted ceiling, which may have had different uses (chapel, Reflectorio.). And although the first floor is accessed by a staircase that departs from the ground, the entrance to the upper floor is carried out by the outside, from the hill, taking advantage of the level of the rock on which the whole building was built.

The walls of the tower were erected with solid limestone ashlars locked with lime mortar, and finally the roof was made in four waters using Arabian tile.

 

Tower Germ

There are different hypotheses about the origin of the Tower of the Templars. It is possible that before the present there was in the place some type of fortification linked to the control of the existing sources, as well as to the fields that it could irrigate.The construction of this primordial tower could have been carried out during the second half of the thirteenth century, perhaps coinciding with the dominance of the order of the Temple on the Caravaqueñas lands in the years immediately to the reconquest, and from there it inherited its name. However, Navarro Suárez warns that this name could be received already during the nineteenth century.

 

Uses of the building

Outside as it was, it seems clear that the current tower could hardly have had a pure warlike character, and rather it would have to be linked to a seigniorial exploitation based on the place, which took advantage of the abundance of water. Thus it could arise-according to the author mentioned-towards the end of the XVI century or beginning of the XVII, this building so characteristic, more aimed at the residential use, apparent, of some character of the nobility Santiaguista with roots in Caravaca. And some data point to the fact that it was, indeed, a place of abode of Don Rodrigo de Moya, Warden of the fortress of Caravaca and one of the great oligarchs of the area in the seventeenth century. However, in the eighteenth century, the property of the tower and its surroundings was of the Marquis de Uribe.

 

Views from the tower of the Templars.

Source:http://www.regmurcia.com

 

 

THE HERMIT OR CHURCH OF SANTA ELENA IN CARAVACA DE LA CRUZ

The hermit of Santa Elena is located in a neighborhood of Caravaca located on top of a hill, the Cabezo de la Cruz, and next to the Plaza del Hoyo, now the Wine Horses.

It is a baroque church of the XVIII century, with a single nave, with a high choir at the foot, with three sections and covered by an arched vault with a cruiser. In the cruiser it presents / displays vault vaída.

In the hermitage there is a baroque altarpiece with the image of Our Father Jesus Nazarene. It is an image of dress, of great devotion.

In it takes place the besapié of the first Friday of March, and from here part the procession of Good Friday in the morning.

The image of Santa Elena accompanies the Santísima and Vera Cruz in the processions patronales of the month of May.

Titularity: Diocese of Cartagena

Address: CANALEJAS STREET. Caravaca de la Cruz

Architecture of the temple

Building of the XVIII century, of single nave with cruiser and lateral hornacinas, with high choir to the feet. The main altar is on a grandstand. In the interior we find arches of semicircular, pilasters and vaults of half cannon roped.

The facade is decorated with pilasters, capitals and friezes in ocher color simulating the jasper of the tower; also has a large balcony with wrought iron gate and on its right side a tower of a single body.

In the 1970s, the original mud tile floor was replaced by a modern terrazzo. This unsuccessful intervention was paid for by an industrialist from Caravaca.

Temple Heritage

This hermitage has a baroque altarpiece, the work of Agustín López, from 1707, with the image of Our Father Jesus Nazareno (18th-20th century); image of dress, of great devotion.

We also find modern images of deep popular tradition:

St. Helena, mother of the emperor Constantine, who thanks to her his son embraced the Catholic faith. The carving was donated to the Bando de los caballos del Vino and since 2005 it supplements the previous image that will remain in the Hermitage of Santa Elena in the processions patronales.

 

San Juan Evangelista, titular of the cofradía of the Whites, carving of the Murcia sculptor Jose Sánchez Lozano, of 1947.

 

The Prayer in the Garden, which parades the night of Holy Wednesday. Brotherhood of the Moraos.

Saint Lucia (20th century), image of great popular devotion. Advocate against sight-related diseases. Its celebrations were celebrated in the month of December.Santa Águeda, twentieth century.San José, twentieth century.La Dolorosa, twentieth century.

Painting:

Virgin of the Good milk with San Juanito and the Niño.Lienzo of the Crucified one.

 

History of the temple

There is a tradition that the hermitages of northwestern Murcia were built from the reconquest of Granada in the late fifteenth and early sixteenth centuries. This flourishing of the hermitages continued during the XVII and XVIII centuries with the so-called rural baroque, where the proportions of the buildings increased in their structure, obtaining a greater ornamentation in all the church, with altarpieces, painting to temper, etc. During the nineteenth century there was a stagnation of the construction of hermitages, knowing a new rebirth in the second half of the twentieth century, reaching to this day, with functional and utilitarian buildings.

As has been said, the eighteenth century will be the great century of architectural and decorative changes in terms of covers, wider cruises, domes, etc. It is at this moment when new hermitages appear like the one that concerns us of Santa Elena and the one of Santa Inés, this one attached to a stately cortijo in Caravaca. In the Campo de Moratalla, the one of San Juan Bautista, the one of San Pedro and the one of Sabinar are very similar to owning a portico to the feet, and in the urban helmet the one of Santa Ana. In Calasparra, the Sanctuary of Ntra. of the Hope and the hermitage of the Ecce Homo of unique invocation in the zone.

In the Cup of Bullas the hermitage of the Consolation today very transformed and in the garden of Cehegín the one of the Campillo de los Jiménez, that conserves the majority of its mural decoration.

At the end of the eighteenth century and beginning of the nineteenth century, bell-tower towers emerged, as in the case of the hermitage of Santa Elena.

Most of the liturgical services of the hermitages are very recent because of the destruction they suffered during the Civil War and even today.

Works by important artists

Among the proper names that appear linked to this hermitage is the one of Jose Sánchez Lozano, sculptor Murcia of century XX, follower of the aesthetics of Francisco Salzillo, who dedicated itself in the post-war period to make restoration sculptures so that the churches of the Region recover their Saints destroyed in the contest. For the hermitage of Santa Elena it realizes a sculpture of San Juan Evangelista of 1947.

Also appears the one of Agustín Lopez, who realized baroque altarpiece for the hermitage of Santa Elena, dated 1707. Also we can find an altarpiece of this artist in the church of San José, of the Monastery of Carmelaca Mothers of Caravaca.

Source: www.regiondemurcia.com

 

ETNOGRAPHIC MUSEUM IN MINIATURE. ANGEL REINON

 

The miniature ethnographic museum “Ángel Reinon”, located in the heart of the city of Caravaca de la Cruz, presents a detailed tour of a group of traditional trades and human activities in its most lost or very transformed parts. It gathers more than 400 exclusive miniature pieces, of a great formal perfection, made of iron and wood, which compose a unique collection. Through the tooling and tools, the sample moves us in time and makes us recover for a few moments trades that accompany man from its origins, as well as a lexicon already forgotten or restricted to our elders.

Angel Reinon

Ángel Reinon Sánchez was born in Caravaca in 1924, in the bosom of a large family of nine brothers, seven women and two males who inherited the family office. He leaves school at a very young age to devote himself exclusively to blacksmith’s work, with an endless day, because the rest time was spent with his brother to continue doing extra work to increase the low wages. Of great-grandfather, grandfather and father Blacksmiths, he sees with satisfaction how his two sons and a grandson follow the family tradition. We are faced with an excellent artistic and artisanal collection, a singular manifestation of material culture of evident anthropological, ethnological and linguistic interest.

Miniature

Each one of the tools is unique for its beauty and by unrepeatable; entirely handmade and perfected with sandpaper and lime, with surprising detailing. They stand out in the ensemble, for their great perfection and for the number of hours the artist has employed in his creation, the tractor, the forge lathe, the agricultural blades and a truly extraordinary chariot.

This museum presents a real miniature world as each one of the pieces can be used as the ones of natural size, and it should also be noted that many are articulated and move. We could plow, fill the sausages of the slaughter, cook bread and even distill essences. The collection is distributed in nine wall displays and five exempt showcases. We can make a tour of the trades of the traditional and modern farmer, blacksmith, farrier, stonemason, Miller, distiller of Essences, Alpargatero, carpenter and bricklayer, as well as admiring the usefulness of a traditional house and the activity of the slaughter. This work is done by a person who, accustomed from the thirteen years to work tirelessly, since his retirement is dedicated to the realization of these miniatures, without knowing how or why, but with a clear objective: the thoroughness, the perfection and the delight in the work well done.

 

TIMETABLE

Throughout the year.

From Tuesday to Friday: from 10:00 to 14:00

Saturdays: from 10:00 to 14:00 and from 16:00 to 19:00

Sundays: from 10:00 to 14:00

Monday: Closed

RATES

Bookings

You can request your reservation by email to Reservas@caravacajubilar.net or by phone at 968705620.

Address: C/door, nº 3 under Bookings: E-mail: reservas@caravacajubilar.net

Source: http://www.ruralmur.com

“Sueños de Coplas” in Caravaca de la Cruz next Saturday 23 September

 

 

The show ‘ Sueños de Coplas ‘ will end the next 23rd of September, at 21.30 hours, to the cultural programming of summer, developed in the last three months, with more than a hundred acts, between concerts, presentations of books, theatrical performances, Film projections and folklore and flamenco shows.

The Councillor for culture and celebrations, Óscar Martínez, and the mayor of women and social services, María José Soria, reported that the performance ‘ dreams of Couplets ‘ will be held on the Paseo de la Slide and will be made available to all residents of districts transport Free bus, coordinated by the different women’s associations based in the municipality.

‘ Sueños de Coplas ‘ will be run by ‘ sugar, cinnamon and clove ‘, a group formed by the singers Inmaculada Paniagua, Sheila Zamora, Gema Castaño, finalists of the program of Canal Sur ‘ a Tu vera ‘. During the show there will be a complete tour of this musical genre, recalling its most emblematic voices.

 

Source: http://www.regmurcia.com

CONVENT AND CHURCH SAN JOSÉ OF MADRES CARMELITAS

In the historic centre of Caravaca, in particular, in its main street we find the church of San Jose that belongs to the monastery that receives the same name, of Barefoot Carmelite nuns, founded in 1576, in the life of Saint Teresa of Jesus.

Both the church and the convent were made in the 17th century, although the temple was completed in the last third of the eighteenth century, after several decades of completion.

Style: Baroque.

Period: XVIII century.

Address: Calle Mayor, 35. Caravaca de la Cruz.

Architecture

The church was erected on a primitive hermitage dedicated to Saint Joseph, in the eighteenth century. Its ornamentation is of rococo style. The factory of the temple is of masonry and brick, with ashlar cover of the eighteenth century.

Its internal structure is of a single nave of 28.5 meters of length by 14 of width, covered by vault Vaida, with lateral chapels covered by vaults of half cannon with Lunettes. On the transept, dome over pendentives decorated with Carmelite saints and beads.

The choir is located at the feet, in two bodies: High and low closed by sixteenth-century forging lattices. It has a single belfry, with two bells, located on the side of the epistle, as it prevents the canonical right in the Conventual churches.

According to the original history of the convent, of the Prioress Carmen Teresa, the nuns bought the gold with which the church was decorated. Gold that those who thought to employ in the ornament of his neighbor, when they received the order of expulsion, decreed in 1767 by King Charles III. We refer to the laminate of gold bread that served to make the wide decoration of beads used in the altarpiece and the inner wall of the walls.

The monastery of San José of Barefoot Carmelite Mothers was founded by St. Teresa of Jesus, in 1576, on the main street, then outside the city. The foundation of the building is fully explained and described in the Santa’s own memoirs. According to these, one day in March of 1575, among the faithful who listened to the sermon of a Jesuit father, in the Church of the company, were four damsels of noble lineage. After the religious office, and during a change of impressions, they decide not to return to their respective domiciles until they get that the mother Teresa decided to establish a monastery of her reformed Carmelite order in that city.

The Saint received the first news of Caravaca in its first refurbished convent: s. José de Avila. His first intention was to come in person to Caravaca, as he used to do in most of his foundations. However, the unexpected foundation of Seville and the news he had about the distance from Caravaca and the bad state of the roads that led to this place, was what motivated his decision to send two collaborators.

The report of these was what made definitive decision to Santa Teresa de Ávila the foundation in Caravaca. The same saint says that it is due to them the foundation of this city, since without license of the foundress they made the corresponding writings of a possession in the aforementioned street Mayor, next to a hermitage dedicated to San José. They and the widow Catalina de Otálora, together with Rodrigo de Moya, father of one of the novices who contributed some of the necessary money, are the real architects of what is now a four hundred year old monastery.

Inauguration

The foundation was not easy, since the permission that the government of King Felipe II had to grant for such a company was granted, however, in one of the clauses it was specified that the new monastery would be subject to the mandate of the commander of Caravaca. , then belonging to the order of Santiago.

The saint, knowing what this could report in order to the independence of the convent and to the politics of the moment, did not see with good eyes this dependence and again requested again, in June 1575, demanding that the monastery depended directly of the order Del Carmen.

At last the King granted the license, difficulties were corrected with the bishopric of Cartagena to be able to say Mass in the house and was sent priora: The mother Ana of San Alberto, officially inaugurated the monastery, with the translation of the Blessed Sacrament, the Day 1 of January of 1576. From this moment on, the present building began to be erected, first with the annexation of houses that were next to the convent, whose purchase authorizes the Holy One on September 30, 1589, and then with that of the hermitage of San José, annexed to them.

 

Characters

 Santa Teresa de Jesús: Born on March 28, 1,515, in Avila, at five thirty in the morning, place where today stands the temple that venerates it.

The whole work of Teresa, born in the bosom of Avila, therefore its streets and temples are perennial relics that have stamped the traces of their sandals.

He founded in Avila his first convent, San José de las Madres, and later those of Medina, Malagón, Valladolid, Toledo, Pastrana, Salamanca, Alba, Segovia, Beas, Sevilla, Villanueva del Jarama, Palencia, Soria, Caravaca de la Cruz and Burgos where he restored the Primitive purity, stiffness, and sobriety of the San Alberto rule.

Physical fatigue and illness stop one day in Alba de Tormes and there dies on October 4, 1,582.

Source: http://www.regmurcia.com

 

Church of the Soledad / Currently archeological museum

Old parish church

It served as a parochial church until, almost completed the present Major Church of Salvador, moved to this Blessed Sacrament in 1571. The temple belongs to a linkage that enjoys the House of the Count of Clavijo, annexed to the church and currently owned by the Hon. . Town Hall of the City.

Restorations made

The building was restored in 1969 by the Directorate General of Architecture of the Ministry of Housing, directing the works of the architect Víctor Caballero Hungary.

Cultural Interest

Since May 30, 1997, it has received the declaration of Cultural Interest (BORM Decree 43/1985, dated May 30), and is included in the Historic Artistic Group of Caravaca de la Cruz (BORM Decree 43/1985, of 12 of June) and being affected by the legal regulations of the Special Plan of Interior Reformation and Protection of the Old Town drafted for the purpose.

Characters

Among the characters related to the history of the building, we highlight the following:

Pedro Monte de Isla. Reasons for stylistic style on the side cover, with pilasters and modillon capitals, with the solutions executed by Pedro de Monte in Murcia (Contraste covers, now in the Museum of Fine Arts, and later cover of the Almudi).

Counts of Clavijo. The church of Nuestra Señora La Soledad is on the property of the Counts of Clavijo

It is a temple of the second half of the sixteenth century, possibly based on the site of an old Gothic hermitage. It is a columnar church of three naves, covered with nine vaults of very slender and harmonious proportions, of square plant, and three sections by nave. It has columns of Tuscan order on pedestals or plinths.

The exterior stands out for its character of strength and its large and accentuated buttresses, both rectangular and circular in the corners. Everything from stonework. A cornice run of brick, of singular beauty, finishes the set. The doors and windows are of Renaissance style; the lateral, of century XVII is ascribed to the Baroque, although with extreme moderation.

At present it lacks presbytery and choir, this rises to the feet, disappearing in works of restoration. It had a steeple and not a brick tower, demolished in 1966 before the imminent danger of ruin.

Its furniture heritage (altarpieces, baptismal font and sacred items that constitute its trousseau) has been distributed since the 16th century by other churches in Caravaca.

At present the Temple of the Solitude has become Local Archaeological Museum. At the main entrance stands the lintel consisting of an honorary Roman stone from the Historic Site of the Strait of Caves de la Encarnacion.

Ownership: Archeological Museum

Degree of protection: initiated BIC

Style: Renaissance

Period: 16th century

Address: C / Santa Ana. Caravaca de la Cruz

Source: http://www.regmurcia.com

Festivities of Caravaca in 1960 and 1970

 

The festivities created a special and meaningful to Caravaca de la Cruz symbol since held in honor of the Stma. and Vera Cruz. They were declared of international tourist interest in 2004 and days from 1 to 5 may: Caballos del Vino, moors and Christians and rituals as the blessing of the wine and flowers and bath of the cross, blessing of the waters, held since the 16th century.

In this blog we will focus on as the wine horses were consolidated as a celebration of such repercussions for Caravaca, where the 1960s were a point key to do so.

HISTORY OF THE 2ND OF MAY

“May 2, at ten in the morning, they gather in the Chapter House, the Town Hall, brotherhood and notables of the population. The Mayor delivers to the elder brother of the brotherhood a cookie sheet covered in flowers of time and crosses of silk, embroidered on a very thin fabric, put then in place the procession preceded several richly harnessed horses and flags, which lead ask for an amount of wine; gigantones, flutes and music bands, joining in the transit to such corporations, Vicar, now Archpriest, with the clergy. This will flock to the sanctuary, which is on the highest part of the city, and the site, as we have already said, of the old fortress. Inside already from the Church, they penetrate into the chancel, clergy and corporations, and then the greater chaplain pulls out the relic of the Tabernacle and the plays in the wine that contains a magnificent silver vase. Call this ceremony, in which are blessed also flowers and small crosses, bath of wine”

THE HORSES OF THE WINE

The older documents are dated in 1765, and detail the costs of horse prepared annually by the order of Santiago, also describing its enjaezamiento:”a pastry of blue cloth with your fringe and Royal coat of arms placed on the burden of wine, which goes up to the Castle bath of Holy Cross. Incarnate with three horlas smooth satin flag and gallon of gold to edge, this figure of satin smooth white on both sides the Holy Cross for embellishment of the horse when up this load of wine according to custom”.

The expression “Horse of the wine” was already used in 1804.

At the end of the 19th century the horses stopped transporting wine, but instead of disappearing were consolidated, popular participation. Races, announcing with the “traditional” adjectives were regularized.

The contest of Enjaezamiento, was created in 1921 established 3 prizes determined by a jury. The first winner was the horse harnessed by Dolores Michelena. The horses are enjaezaban with blankets, shawls and clothing similar to valuing the whole, especially the flag and other accessories, which were renewed each year.

In the mid-1940’s started to make embroidered piece for the wine horses. The first was Dolores Michelena; other horses followed his example, highlighting the horse of the hole that was the first to introduce the embroidered parts.

The 1960s represent the consolidation of the celebration, generalizing the use of the Red handkerchief between the caravaqueños. In 1967 the figure of the bride (later Amazon) was established and in 1969 it acquired certain organizational independence upon the creation of the Subcommittee of the horses of wine, integrated into the Commission of celebrations. “The Panterry”, the “horse of the spiders” and “Student” were the most prominent horses.

 

 

“In the 1974 arise the riders penalties, widespread popular participation and ensuring their economic maintenance the first were”Pure blood”and”Jupiter”, which later would add:”Solterón”,”Sovereign”,”Spirited”,”Terry”and”Mayréna”and” Triana”. In 1977 was the side of the horse wine.

The contest of horse hair, was established in 1980 by performing for the first time the following year (1981). I will be held on the afternoon of May 1 in the Plaza of the pit.

The Horse Clothing Contest  was modified in 2002, participants divided into 4 blocks, 15 penalties per block. Beginning to be used in the race a sophisticated timing system.

In 2011 the wine horses were declared well Cultural intangible by the Government of the Region of Murcia and in 2012 was approved his candidacy to be declared Intangible Cultural heritage of humanity by UNESCO.

Source:

Inicio

Torrecilla de Robles y Godínez, 1888

THE HOUSE OF THE COUNTS OF SANTA ANA OF THE TOWERS, BEFORE QUESADA, (POPULARLY OF THE VIRGIN.)

At the end of street Rafael Tejeo imposing rises popularly called “House of the Virgin”, one of the most beautiful and emblematic of the caravaquena of the Baroque civil architecture buildings. It owes its name to the niche that houses the image of Nuestra Señora de las Angustias or conquests, copy of the patron saint of Granada, which overlooks benefactor to inviting passers-by to pray a salve giving therefore 80 days of indulgence from his dressing room.

The House, which belongs to the lineage of the counts of Santa Ana de las Torres, has a long history and it has been changing its appearance from the 16th century until the middle of the 18th century when Don Andrés de Quesada Fernandez de Cordoba and his spouse Doña Antonia de Robles Miñarro and T Abellán OMAs reformed in very essential parts the former factory with the appearance that today we can admire and which fortunately has just undergone changes.

 

His factory has some peculiarities that distinguish it from other houses of his time not only in the whole of the region, but within the same city, some deliberately sought and others imposed by the above extension; Thus, before the typical house caravaquena (where normally the murcian porch is replaced by hallway that opens directly or through a door to the imperial staircase) here are, a rectangular courtyard, which allows access to the various rooms by means of a double set of stairs mutually opposing: the main and called staircase of the supplier (under whose hollow the ditch that caters the needs of the House and irrigated orchards is located) which on the one hand allows free movement without meetings between the family and employees and, on the other hand, the direct communication of the service to the main rooms located on the first floor and the rise of Eskimos to the false where the grain, avoiding dust and dirt in the rooms designed to house was kept.

The façade-based brick is one of the few that retains the farthingale and has magnificent rococo railings. In terms of niche or camarín de la Virgen is, both on the inside as it is on the outside, one of the pieces of the region more delicate Bill. Its crystals tasaron 116 real and 200 large lanterns that gave light to the image; as well as 10 others that distributed by the facade they burned continuously. The image itself was valued at 640 Reals and is copy of the patron saint of Granada. We ignore its author even though we know that the Builder of the House had account with the sculptor Francisco Fernández Caro, we do not know if for the execution of this image or any for the chapel of the House of the Penicas.

Weapons of the lineage are represented at the top of the stairwell. At that time was no longer frequent placement of shields on the front but was a constant inside placement – as we can see in other houses of Caravaca – already were polychromed plaster (as in the adjoining the San Mamés, House of the Melgares de Segura (, House of Doña María Girón, etc.), cabinets (House of the counts of Reparaz) or, as in this case, mural painting in which fortunately has been preserved and remains as the only sample of so many other shields caravaqueños that have disappeared under the successive painting restorations (2).

To understand the reason for the establishment of the Quesada in Caravaca must explain that in this family it falls, by absence of male offspring, the Majorat of the Moya, ancient noblemen of Beas de Segura who settled in Caravaca as governors of the Castle and fortress, named by the Marquis of los Vélez, House to which they were closely linked. This role was played continuously by Knights of this surname in a manner hereditary quasi during more than 200 years.

 

The governors were appointed by the King through the Commander. Among other privileges and obligations assigned were defense and custody of the Castle and Holy Cross with its shrine, taking over that he was in good saves all the reverence and veneration as possible, not allowing to leave the relic of its place rather than in very forcible cases or in cases stipulated festivities and processions, forcing don’t innovate anything, as well as guard and holding one of the three keys of the sanctum.

 

Source: Of the Peña Velasco, conception. “The retable Baroque in the ancient Diocese of Cartagena”. University of Murcia, 1992. PAG. 295.

Teatro Thuillier ¿Cómo se creó? / Theatre Thuillier How was it created?

Introducción al blog

El teatro thuillier es un lugar singular y significativo para Caravaca de la Cruz, sin embargo es probable que no sepamos con certeza sus origenes y su trayectoría. En este blog podremos encontrar los antecedentes históricos. Está disponible en español y en inglés.

Introduction to the Blog

The Theatre Thuillier is a singular and significant place for Caravaca, however it is probable that we do not know for sure their origins. In this blog we can find the historical antecedents. It is available in English and Spanish.

Teatro decimonónico en Caravaca de la Cruz

El gusto por el teatro de los caravaqueños es proverbial y viene desde la antigüedad, prueba de ello es que al menos desde 1581, está documentado, que el Corpus se celebraba con representaciones teatrales religiosas; teatro de calle que se mantendría durante todo el siglo XVII.  Algo más tarde, en torno a 1656, sabemos de la existencia de una ermita dedicada a N.S. del Buen Suceso y ligado a ella, un patio de comedias cuya recaudación le quedaba destinada.

Además del Patio de Comedias del Buen Suceso, a partir del siglo XVIII se representaban piezas en la Plaza Mayor, siempre con motivo de algún suceso importante vinculado a la población.  En Caravaca actuaron cómicos de Murcia y compañías de farsantes o comedias, en 1769, 1797 y 1771. Pero hasta  mediados del siglo XIX no se construye un teatro moderno acorde con la importancia de Caravaca. Se encomendaron sus obras a Alejandro López y los decorados pictóricos al sardo Enrique D’Almont que además asumió su dirección. El edificio se dio oficialmente por terminado el 3 de mayo de 1847 inaugurándose con una obra de teatro esa misma noche.  La inversión superó los 60.000 reales. Un cuarto de siglo después hubo que reparar el desgastado mobiliario y se repuso la decoración. Fue el momento en el que el Ayuntamiento decidió ceder el local de manera gratuita a las compañías de aficionados.

El Diario de Murcia no precisa qué compañía era la que actuaba en Caravaca allá por 1881 con motivo de las fiestas de la Cruz.  Sabemos que en octubre actuaba en la localidad la compañía dirigida por Ricardo Simo, que procedía de Águilas. Pero al año siguiente fue una compañía de zarzuela que estaba actuando en Cartagena con gran éxito la que visitó la población. Era su principal protagonista el tenor cómico murciano Pablo López. En el verano de 1889 el teatro local vio en su escena la zarzuela “Clotilde” del autor Abelardo Rodríguez y música del pianista Nogueras que, a decir del comentarista de prensa, “estuvo animada y graciosa”.

Dos acontecimientos teatrales tuvieron lugar en 1892. En marzo se representaba en Los Royos el clásico de Zorrilla “Don Juan Tenorio”, curiosamente fuera de temporada y meses después pasaba por Caravaca la compañía infantil de zarzuela del colegio cartagenero Progreso y Porvenir de la Infancia, que actuaba bajo la dirección de Vicente Fuster.

En muchas localidades había algún grupo de teatro compuesto por aficionados; también en Caravaca y en 1893 pusieron en escena dos obras en la noche del día del Corpus: “La cruz del matrimonio” y “El loco de la buhardilla”. Algunos de sus componentes eran: “Encarnación Calzada, señora Torrecilla, señores López Melgares, Pérez Miravete, etc”. La función se clausuró con la actuación de un sexteto dirigido por Alfonso García de Murcia.

Las ordenanzas municipales dedicaron varios artículos al comportamiento cívico de los ciudadanos en el teatro, en 1895. El objetivo era lograr que un sector de público demasiado vehemente guardara la compostura precisa durante las representaciones. En cuanto a las actuaciones, aquel mismo año volvió una compañía de zarzuela ya conocida en Caravaca que, bajo la dirección de Pablo López, andaba de gira por Cartagena, Almería y Albacete, todo un auténtico lujo.

thuillier antiguo

Escenario del Teatro Thuillier 1906

La Compañía Gorgé y Grajales ponía en escena con motivo de los festejos de la feria de septiembre en 1898, dos zarzuelas. El año había comenzado con una función a beneficio de la asociación procesionista de los blancos a cargo de una compañía local de aficionados dirigida por Vicente de la Torre. La siguiente referencia hallada es de tres años después, es decir, de 1901 y el momento, las fiestas de la Cruz, pero el precio excesivo de las entradas provocó, al parecer, un fracaso de público; otro tanto le sucedió a la compañía de zarzuela que en octubre visitó la localidad. Pero en 1902 fue una compañía cómica la que pisó escenario en Caravaca con Espantaleón al frente. También se representaron obras de teatro en el Salón Novedades, desde 1909 y en el Salón Teatro del Casino, en 1911.

La compañía de Emilio Thuillier

La compañía dramática del malagueño Emilio Thuillier Marin visitó Caravaca en 1903 y alcanzó tal éxito que se decidió poner su nombre al teatro.  Por cierto, el cuarto teatro data de 1926 y se trata del Gran Teatro Cinema que, como su nombre indica, nació más orientado al séptimo arte que a las representaciones escénicas.  A pesar de ello, para todo se empleaba y prueba de ello es que la Compañía de zarzuela Galván-Andreu, de reconocido prestigio en la Región, visitó Caravaca en octubre de 1905 y cosechó en ella un nuevo éxito.  En la feria de 1910 pasarían por el teatro una docena de obras diferentes, destacando las de los hermanos Álvarez Quintero. En 1914 triunfó en el Teatro Thuillier  la Compañía de zarzuela dirigida por Pascual Gregori y Mateo J. Nogueras.

emilio thuillier

Dando un considerable salto en el tiempo, cabe mencionar que en 1925 se celebró una función benéfica a beneficio de la Santa Cruz.  La Compañía era de aficionados locales y pusieron en escena una comedia de los hermanos Álvarez Quintero titulada “Doña Clarines” además del juguete cómico “Lola, Lolilla, Lolita y Lolo”. Actuaron Julia y Pepita Martínez Carrasco, José Melgares Alfonso, Carmen Celdrán y Andrés Piqueras y las hermanas Bolt, entre otros. Meses después, los caravaqueños disfrutaban con la comedia de los hermanos Álvarez Quintero titulada “El genio alegre”.  Benizar dispuso del Teatro de la Infancia desde 1926. En cuanto a obras y autores, reseñar la existencia de un monólogo dramático escrito en 1918 por J. José Ibáñez, titulado “La hija del emigrante”.

Su última remodelación, a cargo de los arquitectos Joaquín y Manuel Sainz de Vicuña, tiene lugar en 1986. El aforo del teatro es de 428 plazas. Actualmente en él se llevan a cabo proyecciones cinematográficas, obras de teatro, actuaciones locales, entre otras actividades culturales. Se encuentra en la Calle Teatro de Caravaca de la Cruz.

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Fuentes:

http://www.regmurcia.com

www.murciaturistica.es

INFORMATION IN ENGLISH

The origin of Theater in Caravaca

Emilio Thuillier

Nineteenth-century theatre in Caravaca de la Cruz

A taste for the caravaqueños Theatre is essential and comes from old, proof of this is that since at least 1581, it is documented, that Corpus Christi is celebrated with religious drama; Street Theatre that would continue throughout the 17th century. Somewhat later, in lathe to 1656, know of the existence of a chapel dedicated to our Lady of Buen Suceso and linked to it, a patio of comedies whose collection was intended.

In addition, to the Patio of comedies of the Buen Suceso, from the 18th century parts represented in the Plaza Mayor, always on the occasion of some important event related to the population. In Caravaca acted comedians of Murcia and companies fakers or comedies, in 1769, 1797 and 1771. But a modern theatre in keeping with the importance of Caravaca is not built until the mid-nineteenth century. Deeds is entrusted to Alejandro López and the pictorial decorations to the Sardinian Enrique D do Almont which also took over its management. The building was officially completed on 3 May 1847, inaugurating it with a play that night. The investment surpassed the 60,000 reals. A quarter century later had to repair the worn furniture and decoration, is returned. It was the moment in which the Council decided to give the local free amateur companies.

The journal of Murcia does not require what company was it acted in Caravaca in 1881 on the occasion of the celebrations of the cross. We know that the company directed by Ricardo Simo, who came from Eagles it acted in the town in October. But the following year it was a company of zarzuela which was acting in Cartagena with great success which visited the population. It was the main protagonist murcian comic tenor Pablo López. In the summer of 1889 the local theatre saw his scene “Clotilde” zarzuela de Abelardo Rodríguez author and music of pianist Nogueras, say press commentator, “was lively and funny”.

Two theatrical events took place in 1892. In March the Zorrilla classic is represented in the Royos “Don Juan Tenorio”, curiously out of season and months later passed by Caravaca the child company of zarzuela Cartagena School progress and future of childhood, acting under the direction Vicente Fuster.

In many towns had some group of theatre made up of amateurs; also in Caravaca and in 1893 put in scene two works on the night of the day of the Corpus: “The double cross” and “Crazy from the attic”. Some of its components were: “Encarnación Calzada, Lady turret, Lords López Melgares, Perez Miravete, etc”. The function is closed with a performance by a sextet led by Alfonso García de Murcia.

Municipal ordinances devoted several articles to civic behaviour of the citizens Theatre, in 1895. The objective was to achieve that a too vehement public sector kept the precise composure during performances. As for the performances, that same year returned a company of zarzuela already known in Caravaca which, under the direction of Pablo López, walking tour of Cartagena, Almeria and Albacete, a real luxury.

Stage of the Teatro Thuillier 1906

The company Gorge and Grajales put in scene on the occasion of the celebration of the fair in September in 1898, two operettas. The year had begun with a function to the benefit of the Association procesionista of whites by a local amateur company directed by Vicente de la Torre. The following reference found is three years later, i.e. in 1901 and the time, the festivities of the cross, but the excessive price of tickets, apparently caused a failure of public; the same happened to the company of Operetta who visited the town in October. But in 1902 was a comic company that stepped on stage in Caravaca with Espantaleon in front. Also plays were represented in the news room, since 1909 and at the Teatro Casino lounge, in 1911.

The company of Emilio Thuillier

Malaga’s Emilio Thuillier Marin dramatic company visited Caravaca in 1903 and reached such a success that it was decided to put his name to the theatre. Indeed, the fourth Theatre dates back to 1926 and it’s Grand Theatre Cinema, which, as its name suggests, was born more oriented to the seventh art that plays. Despite this, for everything is used and proof of this is that the company of zarzuela Galvan-Andreu, of recognized prestige in the Region, visited Caravaca in October 1905 and reaped new

Success in it. At the fair of 1910 they would by theater a dozen different works, highlighting the Álvarez Quintero brothers. In 1914 he won the Thuillier Theatre directed by Pascual Gregori and Mateo J. Nogueras zarzuela company.

Making a considerable leap in time, it is worth mentioning that in 1925 a charity function held for the benefit of the Holy Cross. The company was of local fans and put in scene the Álvarez Quintero Brothers Comedy titled “Doña Clarines” in addition to the comical toy “Lola, Lolilla, Lolita and Lolo”. They played Julia and Pepita Martinez Carrasco, José Melgares Alfonso, Carmen Celdrán and Andrés spouts and the Bolt sisters, among others. Months later, the caravaqueños enjoyed the Álvarez Quintero Brothers Comedy titled “The happy genius”. Benizar had the children’s Theatre since 1926. In terms of works and authors, mentioning the existence of a dramatic monologue written in 1918 by J. José Ibáñez, entitled “The daughter of the emigrant”.

Its last remodel, by architects Joaquín and Manuel Sainz de Vicuña, takes place in 1986. The capacity of the theatre is 428 seats. Currently, cinematographic projections, plays, local performances, among other cultural activities are carried out.

It is located in the street which name is Teatro of Caravaca de la Cruz.