The neoclassical era was a renaissance that transcended the merely aesthetic. Far from being limited to a new artistic current, it impregnated a renovating spirit in the very conception of cities. In this context, Manuel Tolsá stood out. the figure of a visionary whose contribution was key to molding urban spaces under the precepts of the new era. As an architect and sculptor, his work left an indelible mark on the urban transformation experienced by the cities of that time.
At the end of the 18th century, the novo-Hispanic capital saw the birth of a pioneering institution in the formal teaching of fine arts: the Academy of Fine Arts of San Carlos. Founded in 1781, this school was the first to teach disciplines such as architecture, sculpture, engraving and painting following the canons established in the main European cities. Although it had precedents such as the school of engraving of the Royal Mint, the Academy of San Carlos was a milestone by dedicating itself entirely to artistic training.
Under the initial baton of Gerónimo Antonio Gil, and later appointed as Royal in 1874, this institution was key in the stylistic shift experienced by Mexico City. Leaving behind the baroque heritage that characterized it, a renovating movement towards a more sober and austere neoclassical architecture of Greco-Latin inspiration began. This change transcended the merely aesthetic, becoming a true urban renewal that replaced the heavy colonial buildings with modern and avant-garde constructions.
As a result of this transformation, the Historic Center was adorned with emblematic works such as the towers of the Metropolitan Cathedral, the Citadel (originally a tobacco factory), the church of Nuestra Señora de Loreto and the headquarters of the National Museum of San Carlos. In this renovating process, the figure of the Valencian architect and sculptor Manuel Tolsá, who in 1790 was named director of sculpture at the Academy, stood out. Arriving in New Spain in 1791, Tolsá became a key protagonist of the capital’s urban modernization.
Although his initial training was as a sculptor of merit, his destiny led him to join the guild of architects. At a time when it was uncommon for an individual to hold more than one title and practice different disciplines, Manuel Tolsá made an exception. Around 1792, the Valencian master applied to the Academy of San Carlos for recognition of his title as an architect.
This distinction allowed him to participate in large-scale works, such as the Cathedral of Mexico City, after the death of the architect Damián Ortiz de Castro in 1793. Beyond his talent for designing monumental sculptural pieces, Tolsá left his mark on the city’s most emblematic religious precinct, giving it a unique identity.
“The missions of Manuel Tolsá”, Jorge Vázquez Ángeles describes the master’s “touch”:
Thanks to the balustrades that run the entire length of the project, Tolsá unified the diverse styles and fashions that since 1571 left their mark on the building. The pediment on the main façade and the dome with lantern are major contributions of Tolsá, who worked on the project until its completion in 1813 […].
Manuel Tolsá the architect who left his mark on Mexico City
Manuel Tolsá, the famous Valencian architect and sculptor, left an indelible mark on Mexico City with his outstanding works. Although his most emblematic work was the remodeling of the Metropolitan Cathedral, he also captured his talent in other religious precincts such as the altars of the Templo de La Profesa, the church of Santo Domingo and the remodeling of the church of Nuestra Señora de Loreto, to mention a few.
His genius was not limited to the sacred realm, as he also enriched civil architecture with creations such as the Casa del Marqués del Apartado, built between 1795 and 1805, located behind the Templo Mayor, on the old Calle del Reloj, today República de Argentina.
However, two of his most emblematic and recognized works are the equestrian statue of Charles IV, commonly known as “El Caballito”, and the majestic Palacio de Minería. The former, initially conceived for the Plaza Mayor and later relocated to different points such as the University, the Bucareli traffic circle and Paseo de la Reforma, found its definitive home on May 27, 1978 in the plaza that bears the name of the Valencian master, on Tacuba Street.
As for the Palacio de Minería, one of the first commissions received by Tolsá in 1792, it stands as a neoclassical jewel and a true icon of the capital. Originally conceived as the headquarters of the Royal Seminary of Mining, founded in 1773 for the teaching of engineering and metallurgical techniques, the building began construction in 1797 and from 1813 became the home of this educational institution. Despite some interruptions, such as its use as military barracks during the Revolution, the Palacio de Minería has maintained its educational vocation and, since 1980, houses the prestigious International Book Fair, after a restoration process that preserves it as a treasure of cultural heritage.
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