This article may be expanded with text translated from the corresponding article in Spanish. (March 2011)Click [show] for important translation instructions.
View a machine-translated version of the Spanish article.
Machine translation like DeepL or Google Translate is a useful starting point for translations, but translators must revise errors as necessary and confirm that the translation is accurate, rather than simply copy-pasting machine-translated text into the English Wikipedia.
Consider adding a topic to this template: there are already 4,816 articles in the main category, and specifying|topic= will aid in categorization.
Do not translate text that appears unreliable or low-quality. If possible, verify the text with references provided in the foreign-language article.
You must provide copyright attribution in the edit summary accompanying your translation by providing an interlanguage link to the source of your translation. A model attribution edit summary is Content in this edit is translated from the existing Spanish Wikipedia article at [[:es:Catedral de Lima]]; see its history for attribution.
You should also add the template {{Translated|es|Catedral de Lima}} to the talk page.
The Basilica Metropolitan Cathedral of Lima and Primate of Peru, otherwise Lima Cathedral Basilica, is a Roman Catholic cathedral located in the Plaza Mayor of downtown Lima, Peru. Construction began in 1535 and completed in 1649. It is dedicated to St John, Apostle and Evangelist.
Location in the city
The Basilica Cathedral of Lima occupies the east side of the Plaza Mayor of Lima, on Calle Gradas de la Catedral, block 2 of the current Jirón Augusto Wiese (former Jirón Carabaya).
History
The Cathedral of Lima was built on the site of the Inca shrine of the Puma Inti and the palace of the Cuscoan prince Sinchi Puma, a direct descendant of the Inca Sinchi Roca.
When Francisco Pizarro founded Lima, he assigned a plot of land to the church, making Sinchi Puma renounce his assets on paper certified by a notary, so that the occupation of the site chosen for the church would not mean usurpation of ownership.
In 1535 Pizarro laid the first stone and carried, in a public demonstration of faith and humility, the first wood for the construction of the church (first cathedral), which was built under the patronage of Our Lady of the Assumption, finishing the construction in 1538 and inaugurated on March 11, 1540, placing the Blessed Sacrament for the first time that day.
After the disputes between Diego de Almagro and Pizarro, and after having established the Viceroyalty of Peru, Pope Paul III, taking into account the growth of the city of Lima, issued a bull on May 14, 1541 creating the Diocese of Lima and raising the small church to the category of cathedral which began to be built in 1542 during the government of Cristóbal Vaca de Castro. Francisca Pizarro Yupanqui, daughter of the founder of Lima, contributed the considerable sum of five thousand golden pesos for the construction of the new cathedral, which came to cost fifteen thousand golden pesos, thanking the King of Spain through a real cédula of 19 March 1552.
With the changes introduced by the peacemaker Pedro de la Gasca to give it greater distinction, the new church (second cathedral) begun by Cristóbal Vaca de Castro was inaugurated in 1552 by ArchbishopJerónimo de Loayza. This was a small building -9 x 19 m.-, very modest and narrow, and for its foundations reddish stone was brought from a quarry in Lunahuaná. The new cathedral later had Saint John the Evangelist as its patron saint.
Later, when the city of Lima became an Archbishopric, the construction of a new cathedral was considered in accordance with the rise in status of the episcopate of Lima, as well as with its population growth. In 1564 ArchbishopJerónimo de Loayza decided on a sumptuous building to rival the most famous cathedrals in Spain (such as Seville Cathedral then, and now the largest in Spain), thus beginning a change in dimensions. The work began with the demolition of the primitive adobe walls, but the new construction would not be completed.
Master builder Alonso Gonzales Beltrán was given the task, in 1564, of designing a large church with three naves and side chapels. But his project, inspired by the Seville Cathedral, turned out to be too grandiose and costly.
When Viceroy Martín Enríquez de Almanza arrived, in 1581, being Archbishop of Lima Toribio de Mogrovejo, arranged for a new cathedral to be built and in 1585 the Trujilloan architect Francisco Becerra, who had made plans for several buildings in Mexico and Quito, was called from Cusco, where, at the time, he was working, and was in charge of the construction of the third cathedral. Becerra made a new plan (considered to be the plan on which the existing cathedral is based) that took, in part, the cathedrals of Jaén and Seville as models. The first had three naves, like the one in Lima, the second had five, but there are doors in the arms of the crossing, three doors in the main façade and a side courtyard called, as in the Cathedral of Lima, the Patio de los Naranjos, which is reached through the side door that is to the left. The definitive layout of the cathedral, made by Becerra, resulted in a Renaissance-style church, with a wide floor plan and 3 large naves and two side chapels.
Deteriorated aspect presented by the Cathedral of Lima after the earthquake of 1687 according to a painting by an anonymous author and made in the 18th century.The Cathedral of Lima and the Plaza Mayor according to an engraving from 1860.
The Cathedral of Lima is a temple with three naves with two more chapels and a flat closing wall. (...) The three naves are of the same height, as in the one in Jaén. This last one was the immediate precedent of the two Peruvian cathedrals.
—Taken from El Arte Hispanoamericano (1988).
In 1602, the church was still "an old shack-type, covered with straw with much indecency" according to a letter that Philip III of Spain sent to Archbishop Toribio de Mogrovejo in which he urged him to hurry up with the construction work.
In 1604 the first part of the third cathedral was inaugurated. When Becerra died in 1605, only half of the church was built.
Description of the facade and determination of its style
Central portal of the cathedral, this one is of Renaissance style. You can see the corinthian capitals of the columns. In the niches, the images of the apostles stand out, surrounding the great image of Jesus Christ. Medallions, heads, angels and other Plateresque ornaments can also be seen.
The façade of the Cathedral of Lima is in the Renaissance style with Plateresque decorations. Its tall towers with slate spires are Neoclassical with stylistic influences from El Escorial School and Northern Europe.
It has 3 doors, as in most cathedrals. The main one (the one in the center) is called Puerta del Perdón, the right side is called Puerta de la Epístola and the left side is called Puerta del Evangelio.
There are also 2 side doors, one that leads to the Calle de Judíos (right side) and another that leads to the Patio de los Naranjos (inner courtyard attached to the Cathedral). In the back of the cathedral (Calle de Santa Apolonia) there are 2 other portals: Santa Apolonia and San Cristóbal.
On the main façade you can see statues of the Apostles, and in the central niche, the Sacred Heart of Jesus. Currently, in the upper part you can see the coat of arms of Peru, in the place where the coat of arms of the city of Lima was originally located together with the phrase Plus Ultra.
Next to the Cathedral are the Church del Sagrario (one of the oldest in Lima) and the Archbishop's Palace, seat of the ecclesiastical government of Lima.
Description of its interior
The Cathedral of Lima shows several styles, from late Gothic, Renaissance to Baroque and Plateresque, due to the date of the start of construction, the architectural style is Renaissance. It has a rectangular hall plan, emulating the Cathedral of Seville. The ceiling is supported by Gothic ribbed vaults that recreate a starry sky, which are made of wood and stucco to relieve the weight on the walls and prevent them from collapsing in the event of an earthquake.
Originally its altars were Baroque in style, some of them being replaced by Neoclassical altars. The choir stalls, although presenting a Renaissance tradition, have an eclectic layout. In its chapels and sacristy it preserves works by the most famous sculptors of the colonial era in Peru.
The cathedral itself is a perfect synthesis of the architectural styles that were developed in the city of Lima from its origins to the present day.
Naves
The Cathedral of Lima has 3 naves and 2 additional naves where the side chapels open.
Along the side naves, large-format paintings of the Via Crucis can be seen. Pope John Paul II visited this site twice, in 1985 and 1988, which is commemorated on two plaques that can be seen at the entrance.
Chapels
Chapel of Nuestra Señora de la Esperanza
In the left nave we can see, in the first chapel, the old baptistery, with its baptismal font. A beautiful image of Our Lady of Hope (Virgen dolorosa) is preserved there, a sculpture that is part of the processional Marian group of Holy Week in this city and that traditionally presides over the cults of Lent and Holy Week. In the recent restorations it was possible to discover the old polychromy that covered the chapel, which is now exposed for visitors.
Chapel of la Sagrada Familia
The next chapel is the Chapel of la Sagrada Familia, in which ancient polychrome wood carvings of Jesus, Mary and Joseph are preserved. Also, on the walls, there are two large oval paintings with the images of Saint Peter and Saint Paul, and four wooden panels that belonged to the old choir stalls, prior to the current one. Formerly, this chapel belonged to the city's carpenters' guild.
Chapel of Antigua (Los Reyes)
The next is the one that currently receives the name of the Chapel of la Antigua, as the one located in the retrochoir and that was under the patronage of the University of San Marcos. In the past, students received their academic degrees there. The altarpiece housed in this chapel, in Neoclassical style, is attributed to the Spaniard Matías Maestro and is presided over by an image of the Our Lady of la Antigua (from the mid-16th century), Patron Saint of the University since 1627, and two wooden statues stand out, of Saint Mark and Saint Thomas Aquinas, coming from the old Chapel of the University in the current Plaza Bolívar. The columns of the altarpiece are painted with different colors, each symbolizing the original faculties of the University.
Chapel of the Peruvian Saints
The next is the Chapel of the Peruvian Saints, presided over by the image of Saint Rose of Lima, the first saint in the Americas, together with those of Saint Martin de Porres, Saint John Macias and Saint Francisco Solano, Peruvian saints. It was originally dedicated to Rose of Lima shortly after her canonization, and was initially located in the now defunct Church of Belén. In it is the tomb of Mons. Emilio Lissón, 27th Archbishop of Lima, currently in the process of beatification.
Then, over the door that leads to the Patio de los Naranjos you can see the monumental pipe organ commissioned by the 20th Archbishop of Lima Francisco Xavier de Luna Pizarro, built in Belgium by the organ builder Hippolyte Loret (1810-1879), and is disused for more than 60 years.
Chapel of la Inmaculada Concepción
Next is the impressive Chapel of la Inmaculada Concepción, this is one of the few chapels that retains its primitive Baroque altar, since many have Neoclassical altars, after the reforms made by the Presbyter Matías Maestro, he respected this one for being so beautiful. The altar is dominated by the image of Our Lady of la Evangelización, a 16th-century wood carving sent by Charles V, Holy Roman Emperor. It is one of the first images of the Virgin to reach the New World. In her right hand he holds the Golden Rose, a papal decoration conferred by John Paul II in 1988 on his second visit to Peru and which has very few Marian devotions. On the left wall of the chapel there is a large-format painting of Saint Josemaría Escrivá de Balaguer, founder of Opus Dei, made in 2005 for the 30th anniversary of his death and to commemorate the moment in which this saint visited this same chapel in 1974. The painting replaced the sepulcher altarpiece of Archbishop Diego Morcillo, located in that place for more than two centuries and which was relocated in another chapel of the cathedral. In the altarpiece there are also figures of a Nativity that according to tradition was the first in the city of Lima, commissioned by the daughter of Francisco Pizarro. The walls are beautifully azulejos, found after a restoration.
Then there is the entrance to the sacristy, where we see, on the left, a bas-relief of the Adoration of the Shepherds, from the 16th century, one of the oldest pieces in the Cathedral, which presided over the main altar of the first cathedral. On the right, a painting of the Our Lady of Guadalupe. In addition, we see medallions of la Dolorosa and the Ecce Homo, and carvings of Saint Ambrose and Saint Augustine.
Chapel of la Virgen de la Paz
Following the nave, is the Chapel of la Virgen de la Paz, where the Blessed Sacrament is currently reserved. On the left wall there is a painting of Saint John the Evangelist, Patron Saint of the Cathedral, giving Communion to the Virgin; and to the right is the tomb of the Servant of God Friar Francisco Camacho.
Choir stalls
The impressive choir stalls, currently flanking the main altar, was designed by the Spaniard Martín Alonso de Mesa and made by the Catalan Pedro de Noguera in the 17th century. In the backs we see figures of numerous male saints and female saints (Apostles, Doctors, Popes, Bishops, virgins, etc.), Formerly the choir was located in front of the main altar (a position similar to that of the Cathedral of Mexico City). On the back of the Cathedra (which is located in the left stalls, under a canopy) is the figure of the Redeemer. The main altarpiece, in Neoclassical style, is presided over by an Immaculate Conception. Under the presbytery is the crypt of the Archbishops, where the remains of almost all the archbishops of this city are found, from Jerónimo de Loayza (the first) to Cardinal Augusto Vargas Alzamora, the last to die.
The Neoclassical pulpit is crowned by an image of Saint John the Evangelist, and the crucifix that remains in front, by a Paschal Lamb. In the transept of the nave, we see 4 statues (2 on each side) of Saint John the Evangelist, Saint Peter, Saint Paul and Saint James the Greater. It is the work of the builder Matías Maestro, who led the renovation of the old Liman Baroque altars, replacing them with Neoclassical altars.
Cathedral choir stalls.
Male saints and female saints of the choir stalls.
In the right nave, starting again from the entrance, is first the crypt of Francisco Pizarro, completely covered with mosaics alluding to the Conquest. On one of the walls you can see the coat of arms of Lima. In the sarcophagus it is seen that the head is separated from the body, possibly detached by multiple manipulations to which its remains were exposed. The original body was discovered in the early 20th century. In front of the sarcophagus, there is a small chest containing earth from his hometown, Trujillo.
Formerly, when entering the Cathedral of Lima, it was always thought that Pizarro's body was the one that was presented in a glass urn located in an altar of the Cathedral itself. Precisely the tourist guides indicated the right side, near the entrance, the altar was made of marble, and there was a mummified skeleton, of a saffron color. In 1891, on the occasion of the 350th anniversary of his death, it was decided to publicly display his remains in this place, and since then it has been a must for everyone who visits Lima.
In 1977 the cathedral is subjected to a restoration inside, and that is when some workers of the crypt of the cathedral, accidentally came across a lead box with some blurred inscriptions, they could not imagine that It was about the true remains of the Spanish founder of Lima. Behind a wall was a niche where they found the box. The inscription read: Here is the head of the Lord Marquis Don Francisco Pizarro, who discovered and won the kingdoms of Peru and placed in the Royal Crown of Castile. Next to it was found a coffin lined on the inside with velvet, containing a large number of bones. A team of scientists managed to determine that those remains belonged to a woman, two children, a mature man who was later found to be Pizarro. In addition, these scientists worked long months to determine the origin of these remains. Archaeologists, anthropologists, pathologists, radiologists, chemists, and historians joined forces to obtain data and details related to Pizarro's hectic political and military life.
In this chapel was originally the altarpiece of the Cristo del Auxilio, now in the Chapel of Santa Ana.
Chapel of San Juan Bautista
Then there is the Chapel of San Juan Bautista, whose altarpiece presents polychrome reliefs alluding to the life of the saint. It is dominated by a large crucifix, one of the oldest in the cathedral. Its altarpiece was made by the famous Sevillian sculptor Juan Martínez Montañés, and brought to the New World by ship for several years. It is considered among the best altarpieces of the cathedral building, although it originally belonged to the Church of la Limpia Concepción in Abancay Avenue.
Chapel of la Virgen de la Candelaria
Next is the Chapel of the Virgen de la Candelaria, whose altarpiece is a masterful work of the priest Maestro. His style is Baroque-Neoclassical transition.
Chapel of Saint Turibius of Mogrovejo
Then the Chapel of Saint Turibius of Mogrovejo, second Archbishop of Lima and Patron of the Latin American episcopate, whose remains are preserved in the Cathedral (a reliquary with his relics can be seen on this altar). In this chapel other reliquaries with episcopal ornaments of the saint can be seen on the walls. On the left is the tomb of Cardinal Juan Landázuri Ricketts, 30th Archbishop of Lima, and on the right, a large painting that shows the episode of the theft of some hosts from the neighboring Church del Sagrario (the hosts were miraculously found, it is said, in the neighboring Rímac District, where the Church of Santa Liberata currently stands, there is another painting that shows the moment of the discovery). Like the altarpiece of Saint Rose of Lima, it originally belonged to the now defunct Church de Belén.
Then, above the side door, is the gallery for the choir, with its organ.
Chapel of San Juan Evangelista
Follow the Chapel of San Juan Evangelista (formerly Chapel of Santa Ana). On the left wall is the tomb of Nicolás de Ribera the Elder, the first mayor of Lima. Its altarpiece is one of the most beautiful in this cathedral, its style is Baroque-Neoclassical transition.
Chapel la Visitación
Then, we see the Chapel of la Visitación or of las Ánimas, with the group of the Visitation presiding over it. To the left is a Risen Christ who leaves in triumphal procession on Easter Sunday.
Chapel of las Ánimas
Next is the sepulcher chapel of the Archbishop of La Plata and Lima, and Viceroy of Peru, Friar Diego Morcillo Rubio de Auñón, originally dedicated to the Souls in Purgatory. The sepulcher altarpiece was originally located on one side of the Chapel of la Concepción, and bears the authentic image of that chapel, which in turn replaced the carving of Diego Morcillo, the same one that is exhibited separately in the same environment.
Chapel of San José
Finally, the last chapel is dedicated to Saint Joseph, with polychrome reliefs on the altarpiece alluding to his life. Some reliefs of the life of the Virgin are also exhibited in this area of the nave. The sculptural group of the Holy Family that presides over the altar is due to the sculptor Pedro Muñoz de Alvarado.
Sacristy and Chapter House
Returning to the Sacristy and already entering it, we find ourselves in the ante-sacristy, also called the room of zodiac, since on its walls there are 12 paintings painted in the Bassano workshop, alluding to the 12 zodiacal signs. Attached is the Sala Mons. Alberto Brazzini, inaugurated in honor of the prelate, who died on May 29, 2001, who was the Auxiliary Bishop of Lima. Numerous objects of religious art are exhibited here, his heritage and donated by the family to the Cathedral; besides some of his episcopal ornaments and jewels.
Moving on to the Sacristy, we see the large chest of drawers the work of the Basque Juan Martínez de Arrona, with wooden panels decorated with images of Christ, the twelve apostles, Saint Joseph and Saint John the Baptist; as well as the twelve articles of faith of the Apostles' Creed on each panel. Beautiful ancient liturgical vestments are also on display here.
Finally, we arrived at the Chapter House, where the members of the Ecclesiastical Council used to meet (and continue to meet on saturday afternoons). On the walls there are medallions of all the Archbishops of Lima, with a review of each one. Vestments and ornaments used by Pope John Paul II on his two visits to Peru, sacred vessels that were his gifts to the Peruvian Church and some clothing of the former archbishops are also exhibited here.
Defunct chapels
Chapel of San Bartolomé
It was located behind the presbytery and separated from it by an ambulatory. The main altarpiece, of Tuscan order, consisted of three bodies and had as its main part a canvas of the martyrdom of Saint Bartholomew. In the same enclosure was the sepulcher altarpiece of the Archbishop of Lima, Bartolomé Lobo Guerrero, with three bodies in imitation marble. The sculpture of the Archbishop can still be appreciated as part of the tour of the Cathedral Museum.
Chapel of la Virgen de la Antigua
It was in the back room of the church. In its main altarpiece was originally the canvas of Our Lady of la Antigua, now in the chapel of the Kings. A text from the 17th century describes the original Baroque altarpiece, mentioning the existence of twelve Solomonic columns and thirty paintings of the Virgin, in addition to the canvas that is the title of the altarpiece. The chapel disappeared with the reforms undertaken at the end of the 19th century, together with four other auxiliary chapels of the first one, which were located on the sides of the choir.
A well known urban Legend is that in 1820 a vast ammount treasure the so called Treasure of Lima was hidden in the Cathedral by the citizens of Lima and that to save it from Jose San Martin revolutionary armies it was placed on a british vessel which was supposed to anchor in the Harbor; instead the ships Captain killed the guards and fled to Cocos Island where he buried the treasure and that years later treasure hunters still tried to find legendary lost treasure of Lima. Underscoring this legend are several facts:
1] In 1855 a New York Newspaper printed an 1854 letter from San Francisco California which recounted that there was going a treasure expedition to Cocos Island based on a near deathbed confession-only the treasure did not come from Lima but was alleged to be from a Spanish gallon that had been captured in 1816 by pirates and buried on Cocos Island[2]
2] August Gissler who lived on Cocos Island from 1889 to 1908; his quest for treasure was also unsuccessful: in over twenty years he never found more than six gold coins despite diligent searching
3] By 1929 the version of the so called Cathedral of Lima/Treasure of Lima was printed in an American newspaper[3]
The monumental complex of the Basilica and Convent of San Francisco of Lima, also known as "San Francisco el Grande" or "San Francisco de Jesús", is located in the Historic Center of Lima, Peru. This church together with the Sanctuary Nuestra Señora de la Soledad and the Church del Milagro set up one of the welcoming and artistics corners of Lima. Ramón Menéndez Pidal, Spanish philologist and scholar in this regard commented: "It is the largest and noblest monument that erected in these prodigious lands the conquest".
The Cathedral Basilica of Our Lady of Amiens, or simply Amiens Cathedral, is a Roman Catholic church. The cathedral is the seat of the Bishop of Amiens. It is situated on a slight ridge overlooking the River Somme in Amiens, the administrative capital of the Picardy region of France, some 120 kilometres north of Paris.
Located principally in the city centre or Cercado de Lima and Rímac areas, the Historic Centre of Lima is among the most important tourist destinations in Peru.
The Cathedral of the Savior or La Seo de Zaragoza is a Roman Catholic cathedral in Zaragoza, in Aragon, Spain. It is part of the World Heritage Site Mudéjar Architecture of Aragon.
The Metropolitan Cathedral of the Assumption of the Most Blessed Virgin Mary into Heaven is the cathedral church of the Roman Catholic Archdiocese of Mexico. It is situated atop the former Aztec sacred precinct near the Templo Mayor on the northern side of the Plaza de la Constitución (Zócalo) in the historic center of Mexico City. The cathedral was built in sections from 1573 to 1813 around the original church that was constructed soon after the Spanish conquest of Tenochtitlan, eventually replacing it entirely. Spanish architect Claudio de Arciniega planned the construction, drawing inspiration from Gothic cathedrals in Spain.
The Cathedral of Braga is a Roman Catholic church in the northern city of Braga, Portugal. Due to its long history and artistic significance, it is also one of the most important buildings in the country. It is the seat of the Archdiocese of Braga and of the Primate Archbishop of Portugal and Spain.
Toulouse Cathedral is a Roman Catholic church located in the city of Toulouse, France. The cathedral is a national monument, and is the seat of the Archbishop of Toulouse. It has been listed since 1862 as a monument historique by the French Ministry of Culture.
The Cathedral Basilica of Salvador, officially dedicated to the Transfiguration of Christ and named Primatial Cathedral Basilica of the Transfiguration of the Lord is the seat of the Archbishop of the city of Salvador, in the State of Bahia, in Brazil. The Archbishop of Salvador is also ex officioPrimate of Brazil. The structure was built by the Society of Jesus as part of a large Jesuit monastic and educational complex. The current church is the built on the site, and was consecrated in 1654. After the expulsion of the Jesuits from Brazil in 1759 the school and church were transferred to the Archbishopric of Bahia. Archbishop Augusto Álvaro da Silva ordered the demolition of the existing cathedral of Salvador in 1933 to construct a tram line, and elevated the existing Jesuit structure to the status of basilica.
The Metropolitan Cathedral of Quito, known simply as la Catedral, is the Catholic cathedral in Quito, Ecuador. Located on the southwestern side of the Plaza de la Independencia, it served as a seat of the Diocese of Quito from 1545 until 1848 when it was elevated to Archdiocese. In 1995, it was elevated to the Cathedral of Ecuador, making it the seniormost Catholic church in the country.
The Cathedral of San Cristóbal de La Laguna or Catedral de Nuestra Señora de los Remedios is a Roman Catholic church in Tenerife, Spain. Begun in 1904 and completed in 1915, it is dedicated to the Virgin of Los Remedios. The cathedral is the mother church of the diocese, which includes the islands of Tenerife, La Palma, La Gomera and El Hierro in the province of Santa Cruz de Tenerife. It is therefore where the episcopal seat of the bishop of this diocese, currently occupied by Bishop Bernardo Álvarez Afonso. This is one of the most important churches of the Canary Islands.
The Cathedral of Sigüenza, officially Catedral de Santa María de Sigüenza, is the seat of the bishop of Sigüenza, in the town of Sigüenza, in Castile-La Mancha, Spain. It was declared Bien de Interés Cultural in 1931.
The monastery of San Martiño Pinario was a Benedictine monastery in the city of Santiago de Compostela, Galicia, Spain. It is the second largest monastery in Spain after San Lorenzo de El Escorial.
The Primatial Cathedral of Saint Mary of Toledo, otherwise known as Toledo Cathedral, is a Roman Catholic church in Toledo, Spain. It is the seat of the Metropolitan Archdiocese of Toledo.
The Church of Nuestra Señora de la Asunción is a church and parish in Meco, Spain. The church was added to the Bien de Interés Cultural registry in 1982.
The Minor Basilica and Convent of Nuestra Señora de la Merced is a Roman Catholic church located in Lima, Peru. It was designed in the Baroque style known as Churrigueresque. The church was built under the supervision of Friar Miguel de Orenes in 1535. The Blessed Virgin Mary of Mercy, the patroness of the Peruvian Armed Forces, is venerated in the Basilica. The Mercedarians, who evangelized the region, helped to develop Lima by building many of the churches preserved today.
The Church of Nuestra Señora del Manzano or Iglesia de Santa María del Manzano is a Catholic church in the town of Castrojeriz, in the province of Burgos. Construction of the current building was begun in 1214, through the will of Queen Berengaria of Castile, daughter of Alfonso VIII of Castile and mother of Ferdinand III of Castile. It is located at the foot of the hill on which the Castle of Castrojeriz stands. It previously held the rank of collegiate church.
Ourense Cathedral is a Roman Catholic church located in Ourense in northwestern Spain. Dedicated to St Martin, it was founded in 550. The first structure was restored by Alonso el Casto. The present mainly Gothic building was raised with the support of Bishop Lorenzo in 1220. Its local patroness is Saint Euphemia. There is a silver-plated shrine, and others of St Facundus and St Primitivus. The Christ's Chapel was added in 1567 by Bishop San Francisco Triccio. It contains an image of Christ, which was brought in 1330 from a small church on Cape Finisterre. John the Baptist's Chapel was created in 1468 by the Conde de Benavente. The Portal of Paradise is sculptured and enriched with figures of angels and saints, while the antique cloisters were erected in 1204 by Bishop Ederonio. The Capilla de la Maria Madre was restored in 1722, and connected by the cloisters with the cathedral. The eight canons were called Cardenales, as at the Cathedral of Santiago de Compostela, and they alone did services before the altar; this custom was recognised as "immemorial" by Pope Innocent III, in 1209. The cathedral, which has undergone an impressive transition of architectural styles of Romanesque, Gothic, Renaissance, Baroque and Neoclassical, was built to a Latin Cross plan. It has been a functional basilica since 1887. The cathedral has a crucifix that is held in great reverence all over Galicia.
The Church of Saint Peter of the Clergymen is an 18th-century Roman Catholic church in Salvador, Bahia, Brazil. It was constructed by the Brotherhood of Saint Peter in approximately 1709 and was renovated in the 18th and 19th centuries. The church was listed as a historic structure by National Institute of Historic and Artistic Heritage (IPHAN) in 1938 and is part of the Historic Center of Salvador UNESCO World Heritage Site.
The Basilica and Maximus Convent of Nuestra Señora del Rosario, popularly known as that of Santo Domingo, located in the city of Lima, Lima Region, capital of Peru, it's an architectural set of religious buildings under the invocation to Our Lady of the Rosary and is located at the intersection of the first block of the Jirón Camaná with the second block of Jirón Conde de Superunda, in the historic center of Lima. The historic chapter house of the Basilica of Santo Domingo was the place where the University of San Marcos, officially the first Peruvian university and the oldest university in the Americas, began to function in the 16th century.
The Basilica of La Merced, also known as Convent of La Merced, is a minor basilica located in the city of Cusco, Peru. It is located 100 meters southwest of the Plaza de Armas in front of the Plazoleta Espinar. It belongs to the Order of the Blessed Virgin Mary of Mercy and has, annexes, both the convent and the premises of La Merced College. The church has a three-nave basilica plan covered with brick vaults and dome on the crossing, with Baroque altars on its lateral naves and Neoclassical style on the main altar. It also has a tower with Baroque bell tower topped with a semicircular dome. Highlights its portal-side reredos and the Renaissance portal of the muro de pies, the choir stalls, its colonial paintings and polychrome wood carvings. Inside rest the remains of Diego de Almagro, Diego de Almagro II and Gonzalo Pizarro.
This page is based on this Wikipedia article Text is available under the CC BY-SA 4.0 license; additional terms may apply. Images, videos and audio are available under their respective licenses.
