996:
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738:
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890:
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295:, who, as an eyewitness to the events, had full knowledge of what was buried there. The construction of the basilica and convent of San Francisco began around the year 1537, just three years after the Spanish foundation of the city, with the completion of a temporary church that remained until 1550, when the construction of the current building began and which was completed around 1680. Although the building was officially inaugurated in 1705.
1945:
1959:
1931:
603:. However, no gallery has been assigned to the chapter house, which never existed in San Francisco. In reality, it is not possible to know exactly what other rooms were distributed around the four cloistered bays and where they were located, however, and according to Friar Fernando de Cozar, at a later time (1647) in the Cloister there was the
443:. Among the papers in the convent's Archive, there is also a handwritten memoir from 1632 that speaks of Germán de Alemán, Jorge de la Cruz and his son Francisco, who worked on the construction of the basilica during the first period, that is, that of Friar Jodoco Ricke; for whose services he gave them, in agreement with the
690:, which was the one that, without ceasing to fulfill urban functions, had much more sacred characteristics than the plaza. This, at least during the 16th and 17th centuries, was the burial place for the common people. This space is preceded by a half concave and half convex staircase, inspired by a design by
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in the second half of the 18th century. In this characteristically
Baroque altarpiece, there is a clear predominance of decorative elements over images; It is complemented by the magnificent Calvary group (of which the Our Lady of Sorrows is a part) placed in its central niche, also attributed to the
1100:
through which the light that fills the entire space is filtered. In its rear part is the sacristy and, upon entering the nave, a small choir which is reached through a staircase placed to the right of the entrance to the chapel. Faced with its structural simplicity, in Cantuña the ambivalence between
566:
If a specific analysis of its architectural environment is made, it will be noted that in San
Francisco the classic typology of Medieval monasteries survived. In this, the spatial distribution started from the church, its guiding axis, and from there the cloister galleries opened where the cells, the
921:
valley, becoming its patron saint. After his death, the chapel was to pass to his legitimate children, failing which, to the natural he had, and as there were no direct heirs, he appointed his brother Juan de VillacĂs as his successor. Being established that the costs of ornamentation of the chapel
545:
From 1895 to 1960, a new use of spaces was produced and modernity arrived at the complex. Despite the fact that San
Francisco has preserved its physical structure unalterably, at this stage there were changes linked to the application and use of new construction techniques and materials at the time
536:
and the consequent extirpation of spaces suffered by the
Basilica between 1810 and 1894. A deep crisis of values went through the Order during these years; the Franciscans were forced to cede large areas of the Maximum Convent, which caused their functional destructuring. However, in the areas that
351:
of the recently created city of San
Francisco de Quito, by virtue of the physical ordering of the city, initially assigned to the Franciscans an area of land that was equivalent to two blocks, each 220 feet in length. However, in 1538, after successive adjudications by the same Cabildo, an area of
622:
But equally, the complex network of dependencies that was organized in its interior it recreated its own self-sufficient microcosm, similar to that of
Medieval monasteries. As in these, in San Francisco, in addition to the basic dependencies we have those dedicated to health, education, trades,
478:
It corresponds to the internal ornamentation and minor architectural complementation, and covers the period between 1651 and 1755. During these years the rise and consolidation of the Order was reflected in the increase in the artistic assets of the
Maximum Convent (this church). Its splendor,
266:
that for years supplied the city with water from its central fountain, and which has functioned as a popular market, as a space for military and political concentrations, and as a meeting place and social recreation. The concave-convex staircase that connects the square with the Atrium, which
422:
It is unknown who drew the original plans for the complex, the most accepted hypothesis is that they were sent from Spain, based on the topographical study of Ricke and
Gosseal. It can also be perfectly assumed that architects came from Spain for the construction of the Franciscan monastery,
1110:
master. Legarda carved the columns, panels, frieze, cornice, arch, finial and dozens of exquisite elements ornamental. The niches and shelves are full of beautiful sculptures that are also his own; he finally completed the ensemble by giving the central niche a frame of mirrors and silver.
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were normally distributed. The definitive form was the quadrangular courtyard, with its respective four galleries; contributing, the main ones, to denominate their respective gallery: gallery of the chapter house, gallery of the refectory, gallery of converts, gallery of the mandatum.
1060:
has given, and that can still be seen on its altar. However, by 1763 the indigenous had already lost all rights, and by successive decrees the space for the cult of the Our Lady of
Sorrows, patron saint of a brotherhood also of painters and sculptures, had been authorized, but this
1101:
spatial organization and decoration is evident, which, as in the main church, has undergone profound transformations during the 18th century. The altarpiece of the main altar together with the pulpit constitute the most interesting decorative element of the space. Attributed to
824:, the Mudéjar decoration, original from the end of the 16th century, remains intact because the central nave collapsed in an earthquake and was replaced by a Baroque coffered ceiling in 1770. Mudéjar ceilings at the ends, Baroque in the central nave, altarpieces full of images,
785:
The original plans of the basilica were subjected to various changes throughout the almost 150 years that its construction took. Many times these changes were "violent and misguided" due to earthquake damage and the evolution of art and culture to finally reach the almost
405:, King of Spain, to speak of the monastic and clerical complex of San Francisco that was financing in the new city of Quito, in the lands of the New World. Immediately afterwards, in a very proud tone, he declared that famous phrase that the sun never set in his empires.
248:, adding approximately 40,000 square meters of construction. Multiple activities are currently carried out there: conventual and religious, public care in the areas of health, communication, education and others of a popular nature that keep the building active.
498:
Both the temple and the chapels and the various cloisters of the
Convent underwent various changes from the mid-18th century, especially due to the various earthquakes it had to face. These stages could be considered within the construction process.
226:, in front of the square of the same name. It is the oldest and most significant religious site in Ecuador. The structure is the largest architectural complex within the historic centers of all of South America, and for this reason it was known as "
979:. In the year 1671 the brotherhood was established and three years later the old vault of the Tertiary Order was granted to its brothers. Apparently, this was in force until the middle of the 19th century, registering its last brothers in 1848.
438:
However, the name of Friar Antonio RodrĂguez, a native of Quito, and a great architect who flourished in the mid-17th century, as the author of a large part of the basilica and another jewel of Quito's colonial architecture, is preserved: the
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in cash. In this way, in the year 1947, within a general process of the Order, to value its artistic treasures, the community undertook the repair and arrangements of this space. On 26 October of this year, it was blessed, devoting it to the
339:
cultures was reinforced after the archaeological studies carried out in the basilica on the occasion of its renovation, between 1983 and 1990, in which important ceramic pieces were found, belonging to those pre-Columbian cultures (and also
744:
557:
On the other hand, with the installation of new dependencies (museum, printing office, theater, radio, private educational establishment) there was a functional readjustment of its spatial structure that, gradually, became more public.
1176:, which saw the birth and development within its walls, the San Francisco Complex is, without a doubt, the largest gallery of this artistic movement. It has over 3,500 objects that cover a period between the 16th and 18th centuries.
1145:
925:
In 1939 the friars had difficulties with some heirs of Francisco de VillacĂs, who claimed rights over the chapel. In a special way about the crypt that belonged to them and that the Convent had given, about six years ago, to Mr.
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The monastic and clerical complex of San Francisco is also an enormous art gallery in which dozens of paintings by famous Quitoan and European painters are exhibited; but its main attraction lies in the works belonging to the
449:(...) for payment of the making of this church and main chapel and choir of San Francisco, because the convent does not have what to pay them, they are given legal possession of the plots above the quarries and towards the
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more than three hectares was reached. In 1533, its limits, both to the north and to the south, coincided with those of the Plaza de San Francisco, so that the lot was facing the Plaza, without exceeding any of its sides
520:, the Franciscans dedicated an enormous effort to the reconstruction of the conventual dependencies. With regard to this, there was an aesthetic redefinition of the interior of the church, by placing a Baroque
515:
This corresponds to a period of architectural reconstruction that occurred between the years 1756 and 1809. Despite the secularization of the doctrines, which caused a considerable decrease in the funds of the
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to hide the treasures of Quito to free them from Spanish greed. Once urged to reveal the secret of the goods he spent lavishly despite being only an indigenous person, Cantuña said he had made a pact with the
737:
1406:
The two side naves of the church are filled with sculptures of saints placed on altarpieces covered in gold leaf, before whom hundreds of faithful kneel every day to implore miraculous "intercessions".
291:
ordered its total destruction. In the city fire the palace was destroyed and buried under a huge amount of rubble and garbage. One of Rumiñahui's soldiers was the great-grandfather of the indigenous
1387:, whose model would have been a restless girl niece of the sculptor, generates such visual appeal that its replicas have become an emblematic gift from the Quito council to its foreign guests. The
587:
The church, in the case of San Francisco, is also the center of that order. Starting from it, the four cloister galleries are projected, all of the same size, in which at least two elements of the
427:, on which, the artistic and severe façade of the church is displayed. Although there are also those who support the theory that it was Ricke and Gosseal who did all the work from start to finish.
383:, divided the Convent from the garden; this street must have been closed definitively in the middle of the 17th century, due to the construction of the two cloisters adjoining the main cloister.
331:. That is to say, the place had enormous historical and strategic significance for the indigenous people that the Franciscans wanted to evangelize. The thesis of the place as the center of the
930:, believing that there were no heirs with the right to this space. The patrons of the chapel lost their rights by not accepting a contract, by which they were offered the old crypt behind the
415:
This stage covers a period of fifteen years: between 1535, with the construction of the church and provisional residence of the religious; between 1551 and 1575 the church, the facade and the
1029:, made up of the most skilled indigenous sculptors and painters of the city of Quito, who immediately began its construction in 1581. At the end of the 17th century it was handed over to the
877:
230:". San Francisco is considered a jewel of continental architecture for its mixture of different styles combined throughout more than 150 years of construction. San Francisco is part of the
2010:
1037:. The brotherhoods of Veracruz became infatuated with turning the chapel into an authentic reliquary of unique jewels, so the art collection that it housed since its inception, including
853:
769:
995:
619:
and a small church with a sacristy. The adjoining gallery of the church, the mandatum, must have had benches for reading in accordance with the ancient norms of spatial organization.
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419:
were raised; and the mid-1650s, with the construction of almost a dozen cloisters adjacent to the main one. This is considered the most important construction period of the complex.
865:
889:
1121:, a harmonious group full of devout sentiment, whose culmination is the admirable expression of the Saint, lost in pain and illumination. No less impressive is the effigy of
1089:. Perhaps to redeem himself from such a pact, Cantuña collaborated with a lot of money out of his pocket to see the chapel finished and which has borne his name ever since.
1990:
1985:
661:
The architectural complex of San Francisco de Quito was necessarily linked to its urban environment. There are three spaces that defined relations with the outside world:
1133:
377:
sirs of the Cabildo to grant him a piece of land for a garden to put it in the house of San Francisco because it makes a turn of the land and because it goes straight
841:
251:
Inside the church there are more than 3,500 works of colonial art, of multiple artistic manifestations and varied techniques, especially those corresponding to the
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is a small church with a single vaulted nave, with projecting ribs and lunettes. On the presbytery, which forms a single body with the nave, rests a dome with a
121:
423:
architects who, knowing practically the land, knew how to take advantage of its inclination, for the design and execution of that admirable step and beautiful
2000:
1420:, a style that was born in the courtyards of this convent, and whose fame transcended borders and today can be found in important museums around the world.
642:
1161:
61:
371:. In 1538 the plot was extended to the north; that is to say, from the Main Cloister to the current dependencies of the Police; On this occasion, Friar
1194:, the original (i.e., main and oldest) sculpture is located at the main altar of this basilica (this photo is a colonial replica exhibited in Germany).
430:
1980:
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of the interventions. Due to the modernization of the city's urban infrastructure, the convent facilities benefited from electricity, drinking water,
1618:, for its part, is a collection of 27 large easel canvases attributed to different artists, which are located in the corridors of the main cloister.
463:
1621:
287:, before the advance of the armies commanded by the Spanish from the south and the impossibility of defending the city the indigenous general
2005:
1007:,15 it is one of the side chapels of the convent, located at the southern end of the atrium, and which is dedicated to the veneration of the
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Indigenous who served the Basilica and, on the other hand, one more piece of land for it, which is deduced from the coristado to the current
1426:
905:
The most outstanding case in the second half of the 17th century was that of Don Francisco de VillacĂs who, on 6 November 1659, founded a
831:
The complex is completed with the Convent, in which the architectural beauty of the main cloister stands out, arranged around the immense
45:
78:
1916:
1743:
283:
In pre-Columbian Quito, the current lands of the Basilica and Convent of San Francisco were occupied by the royal palace of the Inca
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form we know it today; That is why San Francisco is one of the most important buildings in Colonial Hispanic American architecture.
394:
With all that I have invested in its church, and in the towers that stand out in the city, I should see them from here (from Madrid)
1699:
1729:
215:
447:, some land from the quarries up towards Pichincha. In said Memory some of the works that those workers worked are specified: "
434:
Basilica of San Francisco in 1840 by Juan AgustĂn Guerrero, before the 1868 earthquake that would bring its top of spires down.
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1359:
1346:
1333:
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In the main altar of San Francisco, dominated by a large baroque altarpiece and covered in gold leaf, the sculptures of the "
255:, which was born precisely in this place. It also has a Franciscan library, described in the 17th century as the best in the
668:, which was a purely urban space, perfectly demarcated, which connected religious and civilians through various activities (
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402:
316:
263:
1995:
114:
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however, was seriously affected as a result of the 1755 earthquake which, among other things, destroyed partially the
319:, they arrived in the city two years after its foundation, managed to acquire some plots on the southwest side of the
1041:, frescoes and sculptures, they have given it fame as one of the most exquisite on the Americas and the name of the "
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1774:
1081:
288:
1591:
1574:
1561:
1548:
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1049:
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320:
1638:
1626:
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219:
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73:
379:". A street from east to west, which kept the rhythm of the checkerboard grid and extension of the current
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1535:
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650:
416:
245:
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of the church. The 16th-century Mudéjar artesonado is preserved in the crossing and in the choir nave.
275:
facade of the main building, is considered of great architectural importance in the Colonial Americas.
1735:
1241:
1048:
The Brotherhood of Veracruz de Naturales enthroned on the main altarpiece the beautiful sculpture of
914:
793:
The facade of the basilica reflects the early presence, and for the first time in South America, of
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1770:
1307:
1294:
1261:
1211:
1203:
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17:
1844:
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308:
1964:
1872:
975:, brought from Spain by Friar José de Villamar Maldonado, exact copy of the work of the sculptor
967:, was dedicated from the second half of the 18th century to the cult of the image of the Blessed
927:
964:
1658:
1396:
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was built between 1573 and 1581. It has two galleries: the lower one with canted arches in the
341:
336:
323:, in the same place where one day the military seats of the heads of the imperial troops were:
1864:
1820:
1793:
1790:
Imagenes del Ecuador del Siglo XIX: Juan Agustin Guerrero 1818–1880 Tapa blanda – 1 Enero 1981
1739:
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severity and exterior Mannerism contrast with the internal decoration of the church, in which
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444:
348:
292:
1856:
1073:
1056:
had carved, considered one of the most beautiful in polychrome wood that the imagery of the
918:
533:
521:
196:
1330:
La impresiĂłn de las llagas de San Francisco (The impression of the wounds of Saint Francis)
922:
would be borne by its patron, these had been entrusted to Quitoan Friar Antonio RodrĂguez.
524:
in the main nave that did not attempt against the aesthetic harmony of the entire complex.
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1288:
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1199:
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The basilica's choir stalls, although made in the early-17th century, belong to the late
324:
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1950:
1603:
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723:
480:
468:
66:
1974:
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1221:
Among the most recognized sculptures that the San Francisco complex houses, we have:
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572:
1417:
1215:
1173:
1057:
1038:
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252:
1024:
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elements, which made it a point of reference for this style on the continent. The
1860:
1814:
1431:
1392:
1019:
798:
727:
592:
588:
576:
332:
1958:
1926:
817:
813:
632:
483:
471:
88:
1868:
1845:"Vantage Points: Andeans and Europeans in the Construction of Colonial Quito"
136:
123:
1114:
832:
794:
596:
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268:
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906:
703:
547:
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remained under their control, traditional forms of organization persist.
364:
344:) under the nave, the cloisters, the orchard, the atrium and the square.
328:
244:
have been built (six of them of great magnitude), three temples, a large
241:
212:
1930:
1434:, whose sculptural panels were carved by the Quitoan Friar Juan BenĂtez.
1105:, its factory would be related to the enormous prestige achieved by the
1400:
1097:
1066:
934:, where the religious were buried, in exchange for paying ten thousand
806:
628:
600:
580:
424:
272:
107:
1625:
Plaza de San Francisco (Basilica and Convent of San Francisco) in the
1607:
231:
1917:"VĂrgenes, Santos y santeros: la imaginerĂa religiosa en el Ecuador"
1391:
is the main icon of one of the two largest religious processions on
1423:
Among the most relevant pictorial works of San Francisco, we have:
363:
asked the Cabildo to hand over, on the one hand, some land for the
1620:
1160:
1151:
Tomb of Francisco Cantuña and his heirs, at the basilica's Museum.
1086:
994:
935:
821:
730:
columns, and the upper one with segmental or basket-handle arches.
641:
506:
462:
304:
223:
103:
1399:
and penitents, in the purest medieval style, evoking the Spanish
1127:, which for a long time was wrongly attributed to Father Carlos.
1072:
According to the legend collected by the proto-historian of the
910:
624:
487:
1395:
in Ecuador, which brings together popular strata, in an act of
809:
styles are mixed with gold leaf to give an unusual splendour.
303:
With the support of the European Franciscan Congregation, the
532:
This stage corresponds to the institutional crisis of the
1693:
1691:
1689:
1687:
1685:
1683:
1681:
1679:
1080:, Cantuña was the son of Hualca, who would have helped
1704:. Universidad Catolica Andres. pp. 117–119, 124.
1610:, corresponding to the 17th century and attributed to
240:
On its three and a half hectares of surface, thirteen
828:
and cherubs looking at the center of the High Altar.
627:(to maintain the strict conventual discipline). The
913:, census taxes on his assets and especially on the
181:
173:
165:
157:
152:
113:
99:
94:
84:
72:
60:
55:
31:
812:In its three naves, San Francisco unveils Mudéjar
1317:San Pedro de Alcántara (Saint Peter of Alcántara)
1005:Chapel of la CofradĂa de la Veracruz de Naturales
2011:Convents of the Catholic Church in South America
748:Complete facade of the Basilica of San Francisco
354:(to the west it should reach up to the coristado
1915:Eljuri Jaramillo, Gabriela (24 November 2011).
1238:El Bautismo del Señor (The Baptism of the Lord)
1069:, which had gained greater prestige over time.
390:
1343:Tránsito de la Virgen (Transit of the Virgin)
615:next to the art and theology classrooms, the
8:
1813:Juan AgustĂn Guerrero; Wilson Hallo (1981).
1788:Juan AgustĂn Guerrero; Wilson Hallo (1981).
1765:
1763:
1761:
1759:
1757:
1755:
1113:The Chapel of Cantuña also houses works by
1723:
1721:
44:
28:
1991:Roman Catholic churches completed in 1650
1986:1535 establishments in the Spanish Empire
1214:stand out; both prominent members of the
1119:Impression of the Wounds of Saint Francis
1117:, including one of his masterpieces: the
1437:
1425:
1356:Virgen del Carmen (Virgin of the Carmel)
1223:
1183:
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429:
1650:
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1107:Brotherhood of la Virgen de los Dolores
1035:Brotherhood of la Virgen de los Dolores
999:Entrance door to the Chapel of Cantuña.
837:
753:
706:stone extracted from the quarry of the
1891:"Bramante en la arquitectura de Quito"
1843:Webster, Susan Verdi (December 2011).
1602:The convent also keeps a series of 16
1584:The Miracles of Saint Anthony of Padua
1571:Immaculate Crowned by the Holy Trinity
820:and columns of various styles. In the
700:Tercero y cuarto libro de arquitectura
474:in the crossing and in the choir nave.
1659:"Church and Convent of San Francisco"
1383:The mobility of the sculpture of the
1092:From an aesthetic point of view, the
193:Basilica and Convent of San Francisco
32:Basilica and Convent of San Francisco
7:
1895:Bramante en la arquitectura de Quito
1838:
1836:
1172:Being the very cradle of the famous
716:, which were properly sacred places.
694:as found in Spanish translations of
649:convave-convex stair design for his
2001:Renaissance architecture in Ecuador
1616:The life of Saint Francis of Assisi
1139:Colonial hand carved interior doors
653:. In a 1611 English translation of
202:Iglesia y Convento de San Francisco
38:Iglesia y Convento de San Francisco
18:Church and Convent of San Francisco
1816:Imágenes del Ecuador del siglo XIX
1771:Instituto Cervantes Virtual Center
1271:TraiciĂłn de Judas (Judas Betrayal)
1045:" by the Ecuadorians of the time.
991:Interior of the Chapel of Cantuña.
511:Basilica of San Francisco in 1920.
25:
1469:Genealogy of the Franciscan Order
835:, in two superimposed galleries.
218:that stands in the middle of the
50:Church and Plaza de San Francisco
1981:Roman Catholic churches in Quito
1957:
1943:
1929:
1532:Veronica wipes the face of Jesus
1144:
1132:
947:Chapel of the Pillar of Zaragoza
888:
883:Inside view of the church domes.
876:
864:
852:
840:
768:
756:
736:
702:. The entire atrium is made of
401:it was the first expression of
262:The complex is preceded by the
59:
1849:Colonial Latin American Review
1775:"16. Iglesia de San Francisco"
859:Main altarpiece of the church.
1:
816:ceilings, lavishly decorated
403:Charles V, Holy Roman Emperor
317:Charles V, Holy Roman Emperor
2006:Baroque buildings in Ecuador
1861:10.1080/10609164.2011.624330
1418:Colonial Quito School of Art
1216:Colonial Quito School of Art
1174:Colonial Quito School of Art
1058:Colonial Quito School of Art
1027:of the Veracruz de Naturales
895:Rear view of the pipe organ.
657:'s treatise on architecture.
494:Restorations and adaptations
253:Colonial Quito School of Art
228:El Escorial of the New World
720:The main cloister/courtyard
467:The preserved 16th-century
2027:
1698:Fernando Arellano (1988).
1639:List of buildings in Quito
1519:Jesus falls the third time
1018:It was handed over by the
928:PacĂfico Chiriboga y Borja
1460:Andrés Sánchez de Gallque
1304:El Calvario (The Calvary)
1168:, in the basilica Museum.
1050:Saint Luke the Evangelist
1043:Sistine Chapel of America
1013:Saint Luke the Evangelist
963:, at the left end of the
595:have been preserved: the
43:
36:
1701:El arte hispanoamericano
1627:Historic Center of Quito
1558:Saint Camillus de Lellis
1493:Jesus sentenced to death
1373:Manuel Chili "Caspicara"
1360:Manuel Chili "Caspicara"
1347:Manuel Chili "Caspicara"
1334:Manuel Chili "Caspicara"
1321:Manuel Chili "Caspicara"
1256:Jesus of the Great Power
1124:Saint Peter of Alcántara
37:
1480:Saint Francis of Assisi
1369:San José (Saint Joseph)
651:Belvedere Court project
1728:Bethany Pitts (2019).
1629:
1614:. The series known as
1587:series of 12 paintings
1455:series of 15 paintings
1435:
1195:
1169:
1031:Franciscan Third Order
1003:Originally called the
1000:
992:
969:Our Lady of the Pillar
871:Detail of the ceiling.
714:The church and chapels
658:
631:, the nursing and the
512:
475:
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115:Geographic coordinates
1819:. Ediciones del Sol.
1792:. Ediciones del Sol.
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1484:Francisco de Zurbarán
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205:), commonly known as
1663:World Monuments Fund
1506:Jesus with the cross
1389:JesĂşs del Gran Poder
1275:José Olmos "Pampite"
1252:JesĂşs del Gran Poder
1208:Jesus del Gran Poder
1166:JesĂşs del Gran Poder
486:ceiling in the main
321:Plaza Mayor de Quito
161:Basilica and Convent
137:0.22028°S 78.51556°W
79:Archdiocese of Quito
1996:Franciscan convents
1937:Architecture portal
1308:Bernardo de Legarda
1295:Bernardo de Legarda
1204:Bernardo de Legarda
1103:Bernardo de Legarda
1009:Our Lady of Sorrows
763:The main courtyard.
623:orchard and even a
257:Viceroyalty of Peru
235:World Heritage Site
182:Direction of façade
142:-0.22028; -78.51556
133: /
1965:Catholicism portal
1630:
1612:Miguel de Santiago
1592:Bernardo RodrĂguez
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915:Hacienda Guachalá
708:Pichincha volcano
696:Sebastiano Serlio
655:Sebastiano Serlio
637:Services Cloister
605:Room of Profundis
518:Province of Quito
237:"City of Quito".
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1898:. Retrieved
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1666:. Retrieved
1662:
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1452:Third Order
1422:
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1405:
1382:
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541:Modern phase
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387:Construction
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361:Jodoco Ricke
358:
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325:ChalcuchĂmac
309:Jodoco Ricke
302:
285:Huayna Cápac
282:
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239:
227:
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192:
190:
153:Architecture
26:
1734:. England:
1545:The Descent
1432:Renaissance
1393:Good Friday
1025:Brotherhood
1020:Franciscans
818:altarpieces
799:Renaissance
593:Middle Ages
589:monasteries
503:Third phase
411:First phase
381:calle Sucre
375:asked the "
307:'s clerics
140: /
62:Affiliation
1975:Categories
1826:842395269X
1799:842395269X
1731:Moon Quito
1711:9802440175
1645:References
965:main altar
907:chaplaincy
814:artesonado
688:The Atrium
647:Bramante's
633:apothecary
484:artesonado
472:artesonado
128:78°30′56″W
89:Roman Rite
1900:28 August
1877:161162315
1869:1060-9164
1668:10 August
1397:curucuhos
1227:Sculpture
1206:and the "
1180:Sculpture
1115:Caspicara
1082:Rumiñahui
1076:, Father
833:courtyard
826:mascarons
795:Mannerist
726:style on
666:The plaza
617:Gatehouse
609:Refectory
597:refectory
569:refectory
342:panzaleas
299:The plots
289:Rumiñahui
269:Mannerist
242:cloisters
185:Southeast
174:Completed
125:0°13′13″S
1777:. Spain.
1736:Hachette
1633:See also
1447:Made in
1441:Painting
1411:Painting
1233:Made in
1067:mestizos
1033:and the
973:Zaragoza
932:sacristy
847:Interior
788:Eclectic
704:andesite
692:Bramante
674:doctrine
670:tianguez
599:and the
579:and the
548:sewerage
399:—
365:Yanakuna
337:Caranqui
329:Quizquiz
216:basilica
213:Catholic
100:Location
95:Location
74:Province
56:Religion
1472:Unknown
1401:Seville
1098:lantern
1022:to the
919:Cayambe
807:Baroque
803:Mudéjar
724:Mudéjar
629:kitchen
613:Library
601:bedroom
591:of the
581:parlour
481:Mudéjar
469:Mudéjar
445:cabildo
425:parapet
349:Cabildo
293:Cantuña
279:History
273:Baroque
211:, is a
197:Spanish
108:Ecuador
1875:
1867:
1823:
1796:
1742:
1708:
1608:zaguan
1444:Author
1230:Artist
1063:whites
936:sucres
678:market
611:, the
607:, the
577:cellar
575:, the
571:, the
417:atrium
246:Atrium
232:UNESCO
1873:S2CID
1210:" by
1202:" by
1087:devil
1052:that
911:pesos
822:choir
781:Style
728:Doric
453:(...)
305:Ghent
224:Quito
104:Quito
1902:2023
1865:ISSN
1821:ISBN
1794:ISBN
1740:ISBN
1706:ISBN
1670:2022
1188:The
1065:and
1011:and
951:The
805:and
625:jail
550:and
488:nave
347:The
335:and
333:Inca
327:and
311:and
191:The
177:1650
169:1535
158:Type
85:Rite
1857:doi
971:of
959:or
698:’s
455:".
356:).
222:of
1977::
1893:.
1871:.
1863:.
1853:20
1851:.
1847:.
1835:^
1773:.
1754:^
1738:.
1720:^
1678:^
1661:.
1403:.
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1015:.
955:,
943:.
684:).
680:,
676:,
672:,
639:.
554:.
259:.
199::
106:,
1919:.
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1859::
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1802:.
1748:.
1714:.
1672:.
1291:)
1287:(
1258:)
1254:(
710:.
396:"
392:"
271:-
195:(
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
