His works have been edited in modern times by Alonso Zamora Vicente in the Clásicos Castellanos collection, in 1944, and there are other later no less notable ones, for example that of María Luisa Cerrón Puga in Ediciones Cátedra, from 1984, which notes the Italian sources. In a recent essay, Antonio Alatorre insists, without providing new biographical details, that 'Francisco de la Torre was born in the middle of the 16th century in Santa Fe de Bogotá, where he seems to have spent his entire life.' Much influenced by Petrarchism, some of his poems are translations of Italian writers, especially Benedetto Varchi, and he builds his songbook around a certain Filis, who upon the return of his lover from Italy finds himself married to another. As models, he has Garcilaso and Horacio within a worldview completely immersed in Neoplatonism, but he is singled out by his very fine sensitivity to topics such as the night, the lonely turtledove, the pain due to the absence of the beloved, and so on. In Francisco de la Torre, the existential Garcilasian melancholy is assessed, refined and refined even more until it reaches almost the pre-romantic Like the poet from Toledo, his attitude is extremely pagan. The work is divided into three books: First and second books of the lyrical verses, where some sonnets of extreme formal perfection and emotion stand out, such as those dedicated to the night and pastoral themes, and the third book of the adonic verses, as well as eight eclogues. gathered under the title of Bucólica del Tajo. He also made some contributions to Spanish metrics, such as the so-called La Torre stanza or adonic sapphic, which was surely the first to cultivate, and wrote dirges in loose heptasyllable and in hexasyllables : His Songs are justly famous, especially A la turtledove and A la hind wounded. 'Francisco de la Torre and his very probable homeland: Santa Fe de Bogotá'.

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